JOHN ZOFFANY, R.A.

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JOHN ZOFFANY, R.A.

HIS LIFE AND WORKS. 1735-1810

BY LADY VICTORIA MANNERS and
DR. G. C. WILLIAMSON £ &

LONDON: JOHN LANE, THE BODLEY HEAD
NEW YORK: JOHN LANE COMPANY MCMXX

Printed in Great Britain ly R. Clay < 5 ^ Sons , Ltd. } London and Bungay.

ADDENDA ET CORRIGENDA

Desborough, Lady, Panshanger , Hertford.

The other picture named on p. 192, is a portrait, full length, of George, Earl Cowper,
about 24 x 18.

There is a replica of this picture in the possession of Admiral of the Fleet,
Lord Walter Kerr, G.C.B., of Brocket Hall.

Eiloart, Mrs. Bernard, 55, Cathcart Road, Earls Court, London.

Group representing her great grandfather, General William Palmer with his wife, a
Begum of Delhi, and their three children. General Palmer was at one time a Private
Secretary to Warren Hastings. He died May 20th, 1816, and his wife in May, 1828.

A large picture, which in parts appeared to be unfinished.

Kerr-Lawson, Mr. J., 3, Turner Studios, Glebe Place, Chelsea, S. IV.

FURTHER ADDENDA ET CORRIGENDA

Anson, Admiral Lord Frederick.

On the plate opposite p. 40 there is a misprint Auson for Anson.

On page 107, for “ Daniel ” read “ Daniell.”

Garrick and Mrs. Cibber.

On the plate opposite page 146 there is a misprint of “ Belvedera,” for “ Belvidera.”

On page 171, for “ Roma ” read “ Poma.”

On page 175, omit the dates (1693-1758): they refer to Dr. Sharp’s father who was also
Archdeacon of Northumberland, and not to the Dr. Sharp in the picture.

On page 242, for latter read last.

On the colour plate facing p. 150 and in the List of Plates, the printers have put Queensborough
instead of Queenborough. The similar entries in the book are correct.

New Discoveries.

Mrs. Esdaile, of 59, Ladbroke Grove, London, possesses a water-colour drawing of Norwood
Green which bears an inscription to the effect that it is by Zoffany. It is clear that Zoffany did
paint at Norwood, as on p. 290 there is an allusion to a drawing of Gipsies at Norwood.

It may therefore be taken for granted that the inscription, clearly an old one, is probably correct,
although the drawing is not of the kind one usually gives to Zoffany.

Sir Ernest Robertson, Bart., of Purneah, Bengal, has a portrait of Sir George Abercromby
Robinson, Bart, (of 1832), which is said to be by Zoffany.

escaped his attention.

Northwich Park Collection.

It should have been stated that the picture alluded to on p. 222 is the property
of Capt. Spencer-Churchill and that it represents a scene from a play stated to
include Garrick, Mrs. Betterton, and someone else who has been styled Mr. Betterton
but who is more likely to be Mr. Cibber. It is a good picture and about 36 x 35.
Dr. Lionel Cust, who is preparing a catalogue of the pictures in the gallery, has
supplied us with this information.

p. 35, 11 . 2, 5 , for Dolland read Dollond.
p. 53, 1 . 24, for Cosways read Cosway’s,
p. 54, 1 . 9 , for Humphrey’s read Humphry’s,
p. 99 ) 1 - l)lif or Serampur read Serampore.
p. in, 11 . 26, 27, for Cater read Gator.

p. 136, note 2, for Tremamando in two places read Tremamondo.

p. 172, 1 . 1, for Maria Walpole (Duchess of Gloucester) read Maria Walpole (Countess
Waldegrave), Duchess of Gloucester.

Printed in Gre.it Britain By R. Clay Sons, Ltd., Letuion and B’<n?ay.

ADDENDA ET CORRIGENDA

Desborough, Lady, Panshanger, Hertford.

The other picture named on p. 192, is a portrait, full length, of George, Earl Cowper,
about 24 x 18.

There is a replica of this picture in the possession of Admiral of the Fleet,
Lord Walter Kerr, G.C.B., of Brocket Hall.

Eiloart, Mrs. Bernard, 55, Cathcart Road, Earl's Court , Londoti.

A large picture, which in parts appeared to be unfinished.

Kerr-Lawson, Mr. J., 3, Turner Studios , Glebe Place, Chelsea, S. IV

Portrait Group, representing an old gentleman and an old lady.

The former is in profile and wears a plum-coloured coat and a grey wig. He is
holding a book of poetry and appears to be reading from it or expounding it to
his companion. She is in a low cut dress with a fichu and has a lace cap on her head.
The colouring is dark and rich and there is a representation of a cloudy sunset in the
background of the picture. Size about 22 x 19.

Lecon field, Lord, Petworth House , Petivorth.

He possesses a painting attributed to Zoffany, representing David Garrick at
tea, on his lawn at Hampton, and his brother, George Garrick, fishing.

The picture, however, which we have not seen, differs, we are told by its owner,
in almost all respects from the painting belonging to Lord Durham described on
p. 104 and illustrated opposite p. 142. There was an interesting discussion concerning
it in “The Fishing Gazette” for January 24, 1920, p. 43.

Mathias Duncan, Esq.

It is possible that the picture named on p. 218 is a replica of a more important work.

Nevinson, Mr. H. W., 4, Dotvnside Crescent , Hampstead, N.W. 3.

Two family portraits which we have not been able to see before going to press.

Unknown Owner.

It has been suggested that it is possible that the portrait of William Lock (spelled
Loch in error on the plate) named on p. 237 may represent William Locke of Norbury
Park (1732-1810), the connoisseur and collector. On the other hand, another
correspondent suggests that there was an important person named William Loch in
India when Zoffany was there, and the portrait may be of him.

For information respecting other pictures by Zoffany which do not appear in their proper
places in Appendix A, see p. 248, on which is a list of pictures which were heard of
whilst the book was passing through the press.

We have recently seen a fireboard decorated with flowers, very similar to the one
represented in the portrait of Maria, Duchess of Gloucester, illustrated opposite p. 164.
These fireboards are now exceedingly rare and the existence of this one proves how
meticulously correct Zoffany was. No adjunct of “parlour decoration” appears to have
escaped his attention.

Northwich Park Collection.

p. 35, 11 . 2, 5 , for Dolland read Dollond.

p. 53, 1 . 24 , for Cosways read Cosway’s.

p. 54, 1 . 9 , for Humphrey’s read Humphry’s.

p. 99, 1 . Z 1 ,for Serampur read Serampore.

p. hi, 11 . 26, 27 , for Cater read Cator.

p. 136, note 2 , for Tremamando in two places read Tremamondo.

p. 172, 1 . x, for Maria Walpole (Duchess of Gloucester) read Maria Walpole (Countess
Waldegrave), Duchess of Gloucester.

PREFACE

In presenting the following pages to our readers, it is desirable that
I should take upon myself the responsibility for them, and assume the
burden of such errors as may be discovered.

Lady Victoria Manners, and I, have acted throughout in complete
unity as regards purpose, intention and scheme, but the actual composition
of the book has fallen to me, while for the discovery of the pictures,
their examination and description, my colleague is mainly responsible.

Where it has been practicable, we have inspected the paintings to-
gether, and aided each other’s judgment, but while this has been possible
in London, it has been difficult to accomplish elsewhere, and it is due to
the unceasing industry and perseverance displayed by Lady Victoria,
that so large and full a catalogue of Zoffany’s works has been compiled.

The lists of exhibited works and of pictures recently sold we owe
to the remarkable volumes compiled by Mr. Algernon Graves, and to
his ready and generous courtesy in permitting ample use to be made of
them. For the other appendices I am responsible, and it is believed
that they may be found of service to the collector and critic.

For the work of finding out the pictures and the allusions to them, in
connection with the chapters on the “ theatrical groups ” and “ con-
versation pieces,” Lady Victoria Manners is chiefly concerned, while,
on the other hand, for all the researches concerning Zoffany’s life in
India and for the personal chapter I have to assume responsibility.

In all the chapters we have consulted one another at every stage.

We are greatly indebted to the various members of Zoffany’s family,
who, when once discovered, have met us in generous fashion, given us
such information as they possessed, and placed at our entire disposal
documents, photographs, drawings and miniatures, as also the Patent of
Nobility and the papers belonging thereto.

In this connection especial gratitude is due to the painter’s only
surviving granddaughter, Mrs. Oldfield, and to her daughters, as also
to Mrs. Everard Hesketh, a great-granddaughter, and particularly to
Miss Beachcroft and Miss Ellen Beachcroft.

PREFACE

It has been our regret that we have been unable to get into similar
touch with those who are descended from the two elder daughters of the
painter, to trace many pictures painted by him, and to find a host of his
studies, sketches and papers that should still be in existence, but which
seem to have disappeared since they were sold in 1810 by Robins, the
auctioneer, at his “ great rooms ” in the Piazza, Covent Garden.

We have to tender our hearty thanks for kindly assistance rendered
us in connection with Zoffany’s career in India, by Earl Curzon, who has
taken a vivid interest in that part of the book and supplied very' much
valuable information ; by Mr. Stephen Wheeler, who has supplied a
mass of invaluable material concerning the Cock Match picture, and
generously placed all his notes at our disposal, including the correct
Indian names in Persian script ; by the Archdeacon of Calcutta, the
Chaplain to St. John’s Church, the Rev. Frank and Mrs. Pennv, and
Messrs. H. E. A. Cotton, J. J. Cotton, William Foster, S. C. Hill, T. G.
Sykes and by the authorities of the Victoria Memorial Exhibition,
notably by Mr. Frank Harrington.

We have also to thank Dr. Lionel Cust for much kindly aid, Sir Claude
Phillips for many a valuable hint and some important advice, the Rev.
Charles Swynnerton for information concerning Angelo’s portraits, and
Mr. W. T. Whitley for various pieces of information and for many useful
suggestions and hints.

To His Majesty the King we owe a very special and respectful ex-
pression of our gratitude for a splendid photograph of the “ Tribuna ”
picture, Zoffany’s chief work, for photographs of many other paintings
and for details of all those contained in tiic Royal Gallery ; but to almost
all the owners ot Zoffany pictures we have also to express grateful thanks.
'1’hey have treated us with much consideration, and in manv cases have
supplied us with photographs and referred us to documents.

\\ ithout their aid the book would have failed in its illustrations and
lost its especial attraction, and we would desire particularlv to mention
the aid of Mr. Asch, the Duke of Atholl, Mr. Bridgeman, the Duke of
Buccleuch, the Marquis of Bristol, Mr. G. E. Lloyd Baker, Miss Boothby,
Colonel Bradney, Miss Bevan, Earl Curzon, K.G., Mrs. Somers Cocks,
the Hon. Evan Charteris, the Earl of Durham, Mr. G. and Mr. Maldwin
Drummond, Lady Desborough, Colonel Daniell, Messrs. Ehrich, Sir
Reginald Graham, Rev. R. Holden, Mr. Impey, Mrs. Kennedy, Mr.
Longman, Mr. Middleton, Mr. Robert Marshall, Sir R. C. Munro-
Ferguson, Lady Muir Mackenzie, MacLeod of MacLeod, Sir Hugh
McCalmont, Mr. Mathias, Sir E. Nugent, Mr. Oswald, Lord O’Hagan,
Sir H. Parry’, Mrs. Spencer Perceval, Capt. Pepys, the Duke of Port-
land, Lord Ribblesdale, Colonel Roundell, Mr. R. S. Strachey, Lord

PREFACE

Vll

Sherborne, Sir Douglas Seton-Stuart, Lady Sayer, Mr. Harry Verney,
Rev. Wentworth Watson, the Hon. Frederic Wallop, Lord Willoughby
de Broke, Sir William Young, Mr. Yorke, the Earl of Yarborough and
many others.

Finally, in this respect we must make separate mention of the Com-
mittee of the Garrick Club for their goodness in relaxing, for this occasion
only, their hitherto inflexible rule against photographing or copying the
theatrical paintings which form an unrivalled collection in their Club
House.

Yielding, most gracefully, to our importunate desires, they have tem-
porarily suspended the rule and allowed us to have photographed for this
volume many of their chief treasures, and for this favour, which renders
our book unique in its attractions, we return them very grateful thanks.

We must not fail also in expressing our sincere thanks to our
publisher, Mr. John Lane, for the pains he has taken in searching for
pictures by Zoffany. In this search he has been very successful, and,
moreover, has been able to acquire for his own collection some
important examples, all of which appear amongst our illustrations.
He desires still to continue this search, and to hear of any other
paintings by Zoffany, or any engravings of his work not here recorded.

Our thanks are also due to the Editor of the Connoisseur for much
consideration, and to all our numberless correspondents whom we have
troubled with our inquiries, as also to Messrs. Agnew, Ehrich, Colnaghi
and Knoedler for information and to the latter for the loan of a photo-
graph of Zoffany’s house at Chiswick. We had considerable assistance,
in the early stages of our book, from the late Sir Walter Armstrong,
who was a great admirer of Zoffany’s work, and regarded Mr. Wallop’s
group as “ the best he had ever seen.” The late Mr. Lockett Agnew also
interested himself in our researches, and gave us many pieces of important
information, as also did the late Mr. Martin Colnaghi.

George C. Williamson.

Burgh House ,
Hampstead ,
London.

INTRODUCTION

own rooms, surrounded by their own furniture and ornaments, engaged
in amusement or in eating and drinking, and he sets before us with loving
devotion the very objects they possessed, whether of silver, glass, porce-
lain, bronze or marble, and painted in such clear fashion that we can
identify the very things, and see for ourselves the whole scene as it
appeared to the artist of the day. These two characteristics should be
sufficient to entitle Zoffany to be regarded as a painter of no mean repute.
More, however, can be said. He would appear to have been a profound
student of the best elements of Dutch painting, and to have trained him-
self upon the works of the Dutch masters, such as Gerard Dow, Van
Mieris, Terborch, Metsu, De Hooghe and others, men who delighted
in painting interior scenes, and who had great appreciation of detail, and
a love of rich material. The only English artist who approximated to
these Dutch painters was Hogarth, and the art of Hogarth and the paintings
of Zoffany have often been compared. Hogarth was undoubtedly the
master of the so-called conversational pieces in England, and it is clear,
in considering the works of Zoffany, that he was largely influenced by
Hogarth, and, while deriving considerable inspiration from the Dutch,
built upon the example of Hogarth, adding to his skill of composing the
groups, that love of meticulous detail and exquisite treatment which he
derived from Holland . 1 To the breadth and grandeur of Hogarth he
never attained, but his contribution to English art is the adoption of the
style of the Dutch painters to the conversation pieces of which Hogarth
was the originator in England. In painting such family groups, the
artists who have excelled are comparatively few. Franz Hals, of course,
stands at the head of them, followed by Hogarth, Terborch and Zoffany,
and the last we do not regard as the least. There has, in fact, been made
a comparison between the work of Hals and that of Zoffany, and it has
been pointed out that both men were extremely successful in composition,
both delighted in bringing together a number of persons united by some
common thread of interest, and arranged in a group somewhat corre-
sponding to that of a family, and that both were successful portrait painters,
but the comparison can be more easily drawn between Hogarth and Hals
than between Hals and Zoffany, because in skill, in spacing, in values,
and in breadth, the two men first named more nearly resemble one
another, while Zoffany’s peculiar skill consisted in that which he drew
from the Dutch masters, his fine draughtsmanship and elaboration of
detail, and his correct and almost affectionate representation of textures
such as velvet, satin, silk, brocade and the like. In this, it may be said,
that in a measure his paintings act as a corrective to the more loose style

1 His admiration of Hogarth is revealed to us in the Catalogue of his sale. Fine
impressions of engravings after Hogarth fill no less than eleven lots. ( See Appendix.)

INTRODUCTION

of the greater English masters of his period. It would appear, from a
consideration of Zoffany, that he was probably attached to objects almost
as much as he was to persons, and one would consider him as a man who
had a great love for his own household goods, and was not really com-
fortable unless he was surrounded by such things as made his rooms
beautiful, and appealed to his sense of luxury and comfort. That being
so, he realised that, in order to make his family portrait groups perfect
and interesting, he must give an almost equal attention to the fittings of
the parlour in which he represented the persons, as to the persons them-
selves, and, in consequence, his paintings reproduce in their structure
the sense of comfort and of family life which, it is clear, he aimed to
set upon his canvas. The furniture, the mantelpiece, the porcelain or
bronzes on the mantelshelf, the pictures on the walls, the panelling and
the framework of the doors and the windows, the tea equipage with its
fine porcelain and choice silver, the carpets and the rugs on the floors,
the curtains and the children’s toys, were all treated by Zoffany in his
best pictures as parts of the family life, which must be illustrated if the
family portrait was to be a true reproduction, and, moreover, he believed
that all these adjuncts deserved care on his part, and he accordingly
painted them with great skill and attention. At the same time, it must be
mentioned that Zoffany never allowed accessories to usurp or to assume
too high a position in the picture. They were always accessories to the
group, and the persons who were represented occupied, as they naturally
should occupy, the chief position. If Zoffany was painting a musical
family — as, for instance — the Sharps— the instruments upon which they
were playing, or which they held in their hands, were a necessary part of
their life, and were, in his opinion, not to be merely suggested, but to
be carefully and judiciously painted. If his sitters were reading or
writing or playing, the same attention was to be given to the letters,
newspapers, books or playing-cards with which they were engaged, and
a strong conscientiousness of purpose marked the work of Zoffany in all
these groups. There are, of course, examples when Zoffany overdid this
love of accessories, for instance, in those two fine pictures “ The Tribuna ”
and “ The Sharp Family,” where the compositions are distinctly over-
crowded. The same remark applies to many of his Indian groups.
There are far too many persons represented in them, but that perhaps
was partly the fault of those who commissioned the picture, and who
desired that it should include almost every member of the family. Even,
however, in these larger out-of-door compositions, Zoffany always deter-
mined to make the group a homely revelation, by introducing drinking-
vessels, a chess-table, a pipe-bearer, or some servants, all adjuncts to the
picture, rendering it more interesting at the time when it was executed,

INTRODUCTION

1 His admiration of Hogarth is revealed to us in the Catalogue of his sale. Fine
impressions of engravings after Hogarth fill no less than eleven lots. (See Appendix.)

INTRODUCTION

of the greater English masters of his period. It would appear, from a
consideration of Zoffany, that he was probably attached to objects almost
as much as he was to persons, and one would consider him as a man who
had a great love for his own household goods, and was not really com-
fortable unless he was surrounded by such things as made his rooms
beautiful, and appealed to his sense of luxury and comfort. That being
so, he realised that, in order to make his family portrait groups perfect
and interesting, he must give an almost equal attention to the fittings of
the parlour in which he represented the persons, as to the persons them-
selves, and, in consequence, his paintings reproduce in their structure
the sense of comfort and of family life which, it is clear, he aimed to
set upon his canvas. The furniture, the mantelpiece, the porcelain or
bronzes on the mantelshelf, the pictures on the walls, the panelling and
the framework of the doors and the windows, the tea equipage with its
fine porcelain and choice silver, the carpets and the rugs on the floors,
the curtains and the children’s toys, were all treated by Zoffany in his
best pictures as parts of the family life, which must be illustrated if the
family portrait was to be a true reproduction, and, moreover, he believed
that all these adjuncts deserved care on his part, and he accordingly
painted them with great skill and attention. At the same time, it must be
mentioned that Zoffany never allowed accessories to usurp or to assume
too high a position in the picture. They were always accessories to the
group, and the persons who were represented occupied, as they naturally
should occupy, the chief position. If Zoffany was painting a musical
family — as, for instance — the Sharps — the instruments upon which they
were playing, or which they held in their hands, were a necessary part of
their life, and were, in his opinion, not to be merely suggested, but to
be carefully and judiciously painted. If his sitters were reading or
writing or playing, the same attention was to be given to the letters,
newspapers, books or playing-cards with which they were engaged, and
a strong conscientiousness of purpose marked the work of Zoffany in all
these groups. There are, of course, examples when Zoffany overdid this
love of accessories, for instance, in those two fine pictures “ The Tribuna ”
and “ The Sharp Family,” where the compositions are distinctly over-
crowded. The same remark applies to many of his Indian groups.
There are far too many persons represented in them, but that perhaps
was partly the fault of those who commissioned the picture, and who
desired that it should include almost every member of the family. Even,
however, in these larger out-of-door compositions, Zoffany always deter-
mined to make the group a homely revelation, by introducing drinking-
vessels, a chess-table, a pipe-bearer, or some servants, all adjuncts to the
picture, rendering it more interesting at the time when it was executed,

INTRODUCTION

xii

and to us who see it now, intensifying its interest a hundredfold, because
Zoffany’s pictures reveal to us the persons whom he painted, in their own
surroundings, far more than do the works of the greater portrait painters
of his days . 1

He put right away from him the ideas of classic drapery and classic
arrangement that were so dear to Sir Joshua Reynolds. He appears to
have had little sympathy with the fashionable landscape, the ordinary
stone vase or red curtain, or even with the distant view over town, river
or country, which sufficed as a suitable setting for the greater portraits of
the day. Zoffany aimed at something more intimate. If a house was
to be introduced, it was a view of the family residence ; if gardens or the
river, the details were so carefully painted that the scene could be easily
recognised, and all its adjuncts were correct. In consequence, many of
Zoffany’s best pictures not only give us the persons in the habit in which
they lived, but also views of their houses, gardens or farmyards, that are
of unusual interest in the present day.

Another comparison may also fittingly be made. There are a few of
Zoffany’s pictures — -notably his portrait of Dollond the optician, which is
now at Buckingham Palace — in which a complex system of lighting is
challenged, attacked and conquered, and in which his painting, with its
dry excellence, accurate draughtsmanship, and extraordinary fidelity to
life, claims a distinct connection with that of Chardin.

On the other hand, almost as an extraordinary antithesis to it, there
is a group of paintings by Zoffany, the chief of which is the one called
“ The Minuet,” which hangs in the Glasgow gallery, in which there is a
strong feeling of Watteau. In this, the artist had an instinct of poetry,
an almost overwhelming one, and there is a dreamy grace about this
particular group, and about one or two others painted in this special
manner, which lets us see that Zoffany was aiming at something rather
higher, and was at the moment sacrificing his conscientiousness in por-
traiture and in accessories, to the conception of a family group painted
with a certain poetic feeling.

As regards his theatrical work, to which we have already made allusion,
he was evidently a profound lover of the stage himself, or he could never
have painted his theatrical subjects so well. Doubtless he was attracted
by the composition of the theatrical groups, and by the glowing colour
of the costumes and the scenery. He appears to have made sketches on

1 Mrs. Piozzi in her Glimpses at Italian Society, written in Genoa in 1784 ( see p. 53),
has an interesting allusion to Zoffany. She says, “ My chief amusement at Alexandria
was to look out upon the huddled market-place, as a great dramatic writer of our day
has called it; and who could help longing there for Zoffani’s pencil to paint the lively
scene ? ”

Coll, of the Hon. F. Wallop

MINIATURE OF A MAN, NAME UNKNOWN

SIGNED AND DATED

By some critics it is suggested that this represents
Lord Carlisle

1 1 appears to have an F on the reverse

INTRODUCTION

xiu

the stage itself for his principal compositions, and he was not content
with giving us the portraiture of the actors in question, but he let himself
go upon the rich materials used in the costumes, and upon all the various
accessories, representing them with a brilliance, an almost jewel-like
quality, that marks his best works. His pigments must have been very
carefully prepared, probably he ground his own colours, and was exceed-
ingly particular respecting them. They have stood well, and in many
examples the colour values are as clear and well defined as they must have
been when the work was first completed. There are occasions, of course,
where the colouring has its smooth, enamel-like quality somewhat over-
done, but one of the features of Zoffany’s work is the conscientiousness
with which it is carried out. Nothing is scamped, neglected, overlooked.
The picture in its way is perfect, and in this respect is almost unrivalled.

In his single portraits he is not as great as he is in his interior groups,
but even here the same careful attention to details marks his work, the
same effect of rich colouring and of beautiful textures. That he was at
times inadequate in his single portraits is undoubtedly true, and he does
not occupy a very prominent position, either with regard to such single
portraits, or with regard to religious pictures. There were many men of
his day who could paint small single portraits better than Zoffany often
painted them. There were numbers who could paint them just as well
as Zoffany, but not perhaps with exactly the same consideration of the
textiles and materials.

His Scripture pictures are negligible in the consideration of his art.
He did not possess the power of creating religious emotion, nor had he
either the sympathy or the deep respect for the subjects which he trans-
ferred to his canvas, enabling him to make of them successful pictures.
That he painted too many pictures may readily be granted, that he was
careless in some of his compositions is quite certain, and that many of
the pictures attributed to him are not worthy of him, may also be said,
but, as he was not in the habit of signing his works , 1 it is quite possible
that some of the paintings attributed to him, even upon fairly distinct
evidence, may have little or nothing to do with him, and may be the
work, either of his pupils, or of those who were painting similar pictures
in his time, but his greater paintings are well known, easily recognised,
and triumphant in their particular way.

1 We have only seen one picture, the portrait of Mr. Maddison, belonging to Mr.
John Lane, in which we are convinced the signature is a genuine one. Mr. Lane also
possesses a signed self-portrait in the form of a drawing dated 1761, undoubtedly
genuine, and there are signatures to be found on other drawings ( e . g. the self-portrait
which forms our frontispiece and the fine drawing of Lord Heathfield). Mr. Wallop’s
important miniature is also signed.

XIV

INTRODUCTION

The writers of this volume have endeavoured to trace all the paintings
that have been attributed to Zoffany, to inspect most of them, and to
decide, as far as they could, which might rightly be considered to be the
work of the master himself ; with the result that they are able to present
a very full list, and to illustrate Zoffany’s work in a manner w T hich it has
long been desirable should be done.

The man himself had a romantic career, and every effort has been made
to gather up, not only from the memoirs of the period, from newspapers,
and from correspondence, but also from those persons who are con-
nected with the family, all the testimony that can be obtained concerning
the different events in his life, and it has been interesting to prove that
many of the current stories respecting the artist were not merely apocryphal
legends, but were actual facts.

The narrative has been set forth of his first adventures in England, of
his desertion by his first wife, which left him almost penniless, of his
painting of clock-faces and moving figures, of his romantic second marriage,
and of his feeling for adventure, which would not permit him to settle
down to a prosaic career in England, but urged him to seek relief, first
in a projected journey with Sir Joseph Banks, and then in his trip to
Italy, and finally to his sojourn in India. Every scrap of information
respecting him that has been known to the authors, has been gathered
together, and nothing has been neglected, however trivial, provided that
it shed some light upon a part of his career.

The search for his pictures, and for information respecting him, has
been rather more difficult than would have been the case with some of
the better known artists, because Zoffany worked among the smaller
country squires of England, and for the people of lesser degree, especially
for those who lived away from London, while his great rivals, Reynolds,
Romney, Gainsborough and others, had as their sitters, the more notable
people of the day, those whose history and career it is more easy to trace.
Considerable use has been made of the diaries of Mrs. Papendiek, be-
cause, as she was a personal friend of Mrs. Zoffany, she spoke from intimate
knowledge, but, as has been mentioned further on in the book, she is
not wholly to be depended upon, for she was a garrulous old lady, who
wrote about events long after they had transpired, and often mixed up
dates and names in almost inextricable confusion.

For public events, Zoffany had not much interest. His life, like that
of his pictures, was of an intimate character, and the recollections of his
granddaughter are of the smaller and more homely details of his life,
rather than of the greater events. So far as can be told, he does not
appear to have kept any diary, and his books of accounts were destroyed
when Mrs. Zoffany died of the cholera. His letters are but few, not

INTRODUCTION

numbering a dozen in all, but there are many allusions to him in the
diaries and correspondence of the day, and as far as possible, the writers
of the volume have endeavoured to make use of them, and to present,
to the best of their ability, a faithful portrait of an artist of no mean repute,
and one whose works deserve to be better known and more appreciated
than they have been hitherto.

G. C. W.

BIBLIOGRAPHY

[The figures in square brackets refer to the British Museum catalogues.]

Anderdon’s interleaved copies of the Royal Academy Catalogues in the British Museum
Print Room and Royal Academy Library.

Angelo, Reminiscences of. 1828. Grego edit., 2 vols., 1904. [K.T.C. 105. A. 8.]

Angelo’s Picnic or Table Talk. 1834.

Beale, T. W. : Oriental Dictionary. Keene’s edit., 1894. [2092. e.]

Bengal Past and Present. Calcutta Academies. [Ac. 8603.]

Bengal Sporting Magazine. Vol. II. July 1834. [P.P. 1850.]

Berkeley Grantley : Recollections. 1866. Vol. IV.

Biographica Dramatica. Baker. 1782.

Blechyndon, K. : Calcutta Past and Present. 1901-5. [010058. ee. 22.]

Buckland, C. E. : Dictionary of Indian Biography. 1906. [2094. b.]

Carey, W. H. : The Good Old Days of fohn Company. 190 7. [09057. bb. 31.]

Chamberlain, A. B. : Life of Romney. 1910.

Cotton, H. E. A. : Calcutta Old and New. 1907. [010058. ee. 48.]

Cust, L. H. : Notes on Pictures in the Royal Collection. 1911. [7857. K. 11.]

Catalogue of Pictures in the Royal Collection. 1909. [7855. K. 19.]

Royal Paintings. 1905-6. [Tab. 651. b. 1.]

Dale, Wm. : Tschudi.

Delany, Mrs. : Letters of Lady Llanover. 1862.

Letters of. 1820. [1086. i. 7.]

Correspondence. 1861. [2407. d. r.]

Doran, Dr. : M an and Manners at the Court of Florence. 1876.

Earwig, The. 1781. (Said to have been written by M. Lowe.) [11630. e. 10. (1).]
Eaton and Hodgsons : Royal Academy and its Members. 1905. [07806. g. 24.]

Elmes, Jas. : Arts and Artists. 1825.

Fitzgerald, Percy : Life of Garrick. 1868. [2407. 9. 6.]

Forbes : Oriental Memoirs. Vol. II. 489.

Foster, W. : Paintings in the India Office. 1914.

Garrick, D., Memoirs of : Davies. 1780.

„ „ „ Murphy. 1801.

,, ,, ,, Fitzgerald. 1868.

„ „ „ Knight. 1894.

Graves, Algernon. All his invaluable works on the Royal Academy and other
Exhibitions.
b

xvn

XV111

BIBLIOGRAPHY

Grier, S. G. : Letters of Warren Hastings to his Wife.

Hastings, Warren : Memoirs Relating to the State of India. 1757.

iSee front.)

Haydon, T. W Life of. 1876. [10826. dd. 9.]

Hazlitt, W. : Complete Works. Glovers, cont. [012272. ee. 1.]

Hedgecock, F. A. : David Garrick and his French Friends. 1912. [010827. h. 32.]

Hill, S. C. : Life of Maj.-Gen. Claud Martin.

Bengal in 1756-7. (front.)

Hobbes : Picture Collector’s Manual.

Hodges, Wm. : Travels in India. 1793. [683. 1. 13.]

Hyde, H. B. : Parochial Annals of Calcutta. 1901. [4744. g. 22.]

The Parish of Bengal. 1899. [476 7. d. 38.]

India, Imperial Gazetcer of. 1909.

Jerdan, Wm. : Autobiography. 1852. [10856. aa. 24.]

Johnson, S. : Life of Boswell. 1887 edit.

Lives of the Poets. 1905 edit.

Thrale Letters. 1788.

Karr, Sir W. Seton : Calcutta Gazette Extracts. (5 vols.) [09057. dd. 23.]

Keen, H. G. : Madhavd Rdo Sindhia. 1890. [10603. dd. 28.]

Lawson, Sir C. : Memoirs of Madras, 1905. [010057. S ■ 48-1

Leslie, C. R. (and Taylor) : Life of Reynolds. 1865. [10826. cc. 20.]

His Autobiography, i860. [010827. e. 5.]

Levy, Miss F. N. : American Art Annual.

Literary Anecdotes. Nichols. 1812-1815.

Literary Gazette, July 8, 1826 and July 15, 1825.

Monthly Magazine, The. 1808. 2 vols. [257. C. 1. 19. PP. 5460.]

Moore, E. W. : Privy Council Appeals. 1836. [709. e. 1— 15. |

Appeals to Privy Council. 1836. [5310. f. 1.]

Nevill, R. : Sporting Prints. [R.P.P. 1931. pcx.]

Nichols, J. : Literary Anecdotes. 1782. [275. h. 3-11.]

Nollekens and his Times {see Smith).

Northcote, f ., Conversations of. 1901. [12352. dd. 34.]

Memorials of. Gwynn. 1898. [10S25 i. 15.]

Book of Fables. 1845. [12304. ee. 27.]

Life of Reynolds. 1818. [1044. e. 20.]

Notes and Queries. 10th Series, VII. 429; VIII. 14; and many other references.

Papendiek, Mrs. : Court Life in the time of George III. 1887. [10825. dd. 19.]

Parke, Fanny : Wanderings of a Pilgrim. 1850. [10055. I* 20.]

Parsons, Mrs. C. : Garrick and his Circle. 1906.

Pasquin, Anthony (John Williams) : Memoirs of the Royal Academicians. 1796.
[1044. d. 11.]

Poems. 1789. [992. b. 25.]

Liberal Critique on the R.A. [1422. g. 23.]

Critical Guide to the R.A. [1044. d. 11.]

Royal Academicians. [11. 777. g. 70.]

BIBLIOGRAPHY

xix

Paston, G. : Life of Mrs. Delany. igoo. [10856. c. 2.]

Penny, Rev. F. : The Church in Madras.

Pindar, Peter: His Works. 1794-6. [992. h. 29.]

Punjaub Educational Journal. Feb. 1906.

Pye, John : Patronage of British Art. 1845. [786. h. 33.]

Ralph. James : The Case of the A uthors. 1762.

Redding, Cyrus : Recollections. 1858. [10856. a. 16.]

Yesterday and To-day. 1863. [12633. k. 12.]

Redfern : Art Sales. [22639. 11.]

Redgrave : Dictionary of Artists.

Robinson, H. Crabb, Diary of. 1872. [2408. b. 4.]

Sandby : History of the Royal Academy. 1862. [2262^.19.]

Scott, Rev. S. : St. fohn’s Church, Calcutta. 1909.

Sequier : Dictionary of Artists. 1870. [7854. ff. 7.]

Shee, Sir M. A., Life of. i860. [10827. h. 27.]

Sieveking : Sir H. Mann. 1912. [010827. K. 16.]

Smith, J. T. : Nollekens and His Times. Whittens edit.

Book for a Rainy Day. Whittens edit. 1905.

Smith, T. C. : British Mezzotinto Portraits. 1878.

Spielmann, M. H. : British Portrait Painting. 1910.

Stage, The English. Genest. 1832.

Taylor, John : Records of my Life. 1832. [613. g. 15.]

Taylor, Tom: Life of Hay don. 1853. [10826. cc. 17.]

Essays. 1872. [7854. i. 10.]

Tennyson, Charles. Art. in the Quarterly Review for January 1917.
Thespis. Hugh Kelly. 1776.

Twining, Thomas : Travels in India. 1839. [010057. i- 1 .]

Victor, Benjamin : History of the Theatres of London. 1761-71.

Walpole, H. : Letters. Toynbee edit., 1904, etc.

Memoir of, by Austin Dobson. 1890.

Wraxall, Sir Nathaniel : Memoirs. 1884.

PEDIGREE OF THE ZOFFANY FAMILY

As first wile, between = JOHANN ZOFFANY -
1750 and 1758, a German 1733-1810 (Nov. 11),

lady, the niece of a priest at. 87.

at Coblenz. She left
him and died soon after-
wards.

as second wife Mary
Thomas, aged 15 at time
of marriage, 1 755-* 832
(March 28), at. 77.

A boy, the eldest
child, who died from
an accident, aged
16 months and is
buried at Kew.

Maria = John Doratt of
Theresa I Bruton Street,
Louisa, surgeon, after-
c. 1 777. ! wards Sir John
I Doratt, c.
1779-1863.

I June 1799

Cecilia = Rev. Thomas
Clementina I Home, Jr.,
Elizabeth, ' of Chiswick.

Charles, Augustus. David,
married his

Jeannie, Rose,
married and
lived in
Brussels.

II II

Thomas. Alfred. Robert, George.

Judge Home.

I I I

Clementina, Cecilia. Laura,
married her
cousin Charles.

- Robert, 14th child
of Samuel Beach-
croft, a Director
of the Bank of
England,

1840.

Robert
Zoffany,
1816-1884,
married
Emma Payne.

Alfred Thomas,
oh. 1880,
in Queensland.

Alfred,
1821-1862,
married
Cecilia Collins.

Claudine Celia,
married
James Woolley
Roberts, of
Manchester,
and died 190G.

Zoffany,

Douglas,

1823^874,

married
Mary Lewis.

Edward,
1826-1904,
married
Mary Frost.

Zoffany
Dewar,
r868-r9oo,
married
in r887
Caroline
McLaren.

Ellen Kathleen,
1863-
(living)

Amy Elizabeth,
1864- ,

married

Cuthbert

Reynolds

(living).

Henry George,
r829~r862,
married

Elizabeth

Robinson.

Kate,

■857- ,

married
Everard
Hesketh
(living).

Mary Louisa,
1832
ving).

Zoffany Graham, Laura Harriettc = E. J. Jones. Eva Florence = E. T. Hooper. May Beatrice == Major Urquhart EtheAlary Kathleen
deceased. | No issue. Amy. Bartholomew. Zoffany. Claudina.

Oliver Duncan Ernest

(Capt.). Raymond

Urquhart

James C.

Frances,
1867-. ,

married
Oscar
Ben well
(living).

Claudine Mary,
married, in
Natal, Charles
Shaw, and died
in 1912.

William Fortescue.

Robert Henry,
a magistrate
at Newcastle
in Natal.

George Philip,
living at
Durban.

Zoffany, Douglas
1892-
(living).

A FEW DATES

1733. Born.

c. 1750. In Austria and Italy.
c. 1755. At Coblenz.
c . 1759. London.

1761. Painted his own portrait. See National Portrait Gallery.
1762-3. Exhibited at Society of Artists.

1764. Moved to Great Piazza, Covent Garden.

1765. Moved to Lincoln’s Inn Fields.

1765, 6, 7, 8 and 9. Exhibited at Society of Artists.

1770. First exhibited at the Royal Academy and continued to show
there till 1774.

1774. In Florence, probably went there in 1772 or very early in

1773 -

1776. In Vienna and created Edler von Zoffany — a Baron.

1779. Back in England.

1780. The date of the Conyers picture.

1781. Exhibited picture of the Sharp Family. He was robbed this

year also. See Walpole.

1782. Date of the Verney picture.

1783. Went to India.

1786. Date of the Cock-Match.

1788. Date of the Bridgeman picture.

1790. Back in England. Exhibited the Towneley Marble picture.
1796. Lived at Strand-on-the-Green.

1800. Last Exhibit at the Royal Academy.

1804. Named for the Royal Academy Council, but was abroad,
where is not at present known.

1810. Died.

XXI

CONTENTS

CHAP - PAGE

PREFACE BY DR. WILLIAMSON V

INTRODUCTION ix

BIBLIOGRAPHY xvii

PEDIGREE OF THE ZOFFANY FAMILY Facing xxi

A FEW DATES IN CONNECTION WITH ZOFFANY’S CAREER . . xxi

I. THE EARLY LIFE OF THE ARTIST 3

II. ZOFFANY AS A ROYAL ACADEMICIAN 24

III. HIS CAREER IN ITALY 42

IV. HIS LATER WORK 66

V. ZOFFANY IN INDIA 80

VI. ZOFFANY’S RETURN HOME 1 14

VII. ZOFFANY HIMSELF, AND HIS WIFE AND FAMILY .... 126

VIII. GARRICK AND THE THEATRICAL PICTURES 1 39

IX. ZOFFANY’S CONVERSATION GROUPS 151

X. SINGLE PORTRAITS 1 62

APPENDIX

List of the Works of Zoffany, at present known, arranged under the names of
owners, and with details as to their having been exhibited, their sizes,
colouring, etc. ........... 171

List of Works that have been heard of while this book was passing through

the Press ............ 248

List of Pictures by Zoffany exhibited at the Galleries of the Society of Artists,
1762-1769 ; of the Free Society of Artists in 1766 and of the Royal Academy,
1770-1800, with some extracts from Walpole’s Catalogues, and the names
of the present owners of the pictures, so far as they can be traced . .251

xxiii

XXIV

APPENDIX

PAGE

List of Engravings after the Works of Zoffany in the British Museum and else-
where, and some references to the engraved portraits of Zoffany that are known 259

List of Pictures by Zoffany that have been exhibited from time to time. British
Institution, 1814-1867 ; Suffolk Street, 1833-1834 ; Manchester, 1857 ;
International Exhibition, 1862 ; Royal Academy Winter Exhibitions,
1871-1912; Wrexham, 1876; Edinburgh, 1883; Grosvenor Gallery, 1888-
1890 ; New Gallery, 1891-1898 ; Grafton Gallery, 1894-1897 ; Birmingham,
1900-1903; Glasgow, 1902; Whitechapel, 1906-1912; Burlington Fine
Arts Club, 1907; Franco-British Exhibition, 1908; Paris, 1909; Japan
Exhibition, 1910 ; and National Portrait Exhibition, 1867 . . . 269

Catalogue of the Sale of Zoffany’s Pictures and Effects after his decease,

May 9, 1811 ........... 287

Copy of the Last Will and Testament of Zoffany, dated April 22, 1805 . . 297

Translation (from the German) of the Charter granted to Zoffany by the Empress

Maria Theresa, with Grant of Arms and Title of Nobility, December 4, 1776 301

List of some Pictures by Zoffany that have been sold in recent times . . . 307

List of Pictures by Zoffany which have been exhibited but which cannot now be

traced, or of which the present owner’s names are unknown . . 313

Note concerning Zoffany and Mrs. Warren Hastings 3*9

Index ............. 321

LIST OF ILLUSTRATIONS

Portrait of Zoffany by Himself. (Signed)
{Coll, of Miss Beachcroft)

Frontispiece

To face page

Miniature representing a Man, name unknown. (Signed and dated)

{Coll, of the Hon. F. Wallop)

Drawing of Zoffany by Himself. (Signed and dated 1761) ......

{Coll, of Mr. fohn Lane)

Portrait of Stephen Francis Rimbault .........

{Coll, of Mrs. Alfred Aslett)

Bracket Clock by Rimbault, with Moving Figures Painted by Zoffany .

{Coll, of Mr. T. W. Greene)

Bracket Clock by Fladgate, with Figures above the Dial by Zoffany .

{Coll, of Mrs. Hope)

Bracket Clock with Painted Decoration and Figures. (Attributed by long tradition
to Zoffany ............

{Coll, of Messrs. Harris & Sinclair)

Group by Benjamin Wilson, representing William Powell and His Family

{Coll, of the Garrick Club)

Portrait by Benjamin Wilson, representing Thomas King, the original Sir Peter
Teazle ...............

{Coll, of the Garrick Club)

Portrait of Mrs. Garrick in her Youth .........

{Coll, of the Late Air. Asher Wertheimer)

Garrick and Mrs. Cibber in " The Farmer’s Return.” (From Garrick’s Sale)

{Coll, of the Earl of Durham)

Portrait of David Garrick in pencil and wash, on paper. (From the Garrick Sale, June

1823)

{Coll, of Dr. G. C. Williamson)

Family Group representing John, Third Duke of Atiioll, with His Wife and Seven'
Elder Children, on the Banks of the Tay
{Coll, of the Duke of Atholl)

The Original Receipt from Zoffany for the Money he received for Painting the
above Picture. (These two pictures on one Plate)

(Coll, of the Duke of Atholl)

Scene from “ Love in a Village,” representing Shuter, Beard and Dunstall. (From
the Print) ..............

(Original in Coll, of the Earl of Yarborough)

xii

Group of Members of the Nugent Family in a room from which can be seen the Horse
Guards Parade .............

(Coll, of Sir E. C. Nugent, Bart.)

Portrait Group representing Sir John Hopkins, his Wife, Two Sons and Three
Daughters

(Coll, of Colonel Bradney, C.B.)

Group of Five Figures Entitled the Minuet. (These two pictures on one Plate)

(Coll, of Major Saville)

Portrait of Miss Stevens .

(Coll, of Lord Glenconner)

XXV

XXVI

LIST OF ILLUSTRATIONS

To face page

The Porter and the Hare ............ 20

{Coll, of Messrs. Ehvich Bros.)

Portrait Group of the Drummond Family ........ 20

{Coll, of Mr. George Drummond)

Portrait of Andrew Drummond, the Founder of Drummond’s Bank ... 20

{Coll, of Mr. George Drummond)

Group representing H.M. King George III with Queen Charlotte and the Royal'
Family

{Coll, of H.M. the King)

Derby Porcelain Groups copied from the above Painting. (These two pictures on one
{Coll, of Mr. A. Amor) Plate)

Scene from “ The Alchymist,” showing Garrick as Abel Drugger and Burton and
Palmer as Subtile and Fall. (From the Print) .......

{Original in the Coll, of the Earl of Carlisle)

Portrait of Master James Sayer, the Son of Robert Sayer the Print-dealer .

{Coll, of Lady Sayer)

The Life School in the Royal Academy .........

(Coll, of H.M. the King)

Key to the above Picture ...........

(By the courtesy of the Cocoa Tree Club.) ( Facing each other)

Another Key to the same Picture ..........

(From the original signed copy belonging to the Royal Academy of Arts.) (By kind
permission)

The Antique School of the Royal Academy ........

(Coll, of the Royal Academy of Arts)

Portrait of Peter Dollond, the Optician, with his Assistant. Known as The Lapidaries

(Coll, of H.M. the King)

Group representing Queen Charlotte and her two Elder Children in Buckingham
House ...............

(Coll, of H.M. the King)

Group representing Queen Charlotte with her two Brothers, her Sister Christiana
and two of her own Children. (Gravure Plate) ......

(Coll, of H.M. the King)

Portrait of John Montague, Earl of Sandwich .......

Coll, of the Trinity House)

Two Portrait Groups representing Various Members of the Sayer Family
(Coll, of Lady Saver)

Group representing Richard Kempenfeldt, Sir Samuel Cornish and Mr. Thomas
Parry in the Cabin of H.M.S. "Norfolk” ........

(Coll, of Sir Hubert Parry, Bart.) (By the courtesy of the Arundel Society)

Portrait of Admiral Lord George Anson ........

(Coll, of Messrs. Leggatt)

Group of Persons supposed to represent Captain Cook and his Family. (Attributed
to Zoffany) ..............

(Coll, of Mr. Wm. Haffeiy)

Zoffany’s House at Chiswick. (Water-colour drawing by Rowlandson)

(By kind permission of Messrs. Knoedler & Co.)

Portrait of Maria Theresa Elizabeth, Eldest Daughter of Johann Zoffany, R.A., and
afterwards Wife of Sir John Doratt ........

(Coll, of Mrs. Hesketh)

Portrait of George, Earl Cowper. (Gravure Plate) .......

(Coll, of Messrs. Tooth <S- Co.)

Group representing H.R.H. the Duke of York and Six of his Companions .

(Coll, of Miss Boothby)

Group representing Lord and Lady Cowper and Lady Cowper’s Father, Mother
and Sisters. (Gravure Plate) ..........

(Coll, of Lady Desborough)

Group of Wandering Minstrels. (Painted for Duke Ferdinand de Bourbon)

(Coll, of the Parma Gallery)

Portrait of the Archduchess Maria Christina ........

(Coll, of the Vienna Gallery)

LIST OF ILLUSTRATIONS

XXVll

To face page

Grant of Arms made to Zoffany by the Empress Maria Theresa .... 56

Great Seal of the Empress from the Patent of Nobility given to Zoffany . . 56

Signature of the Empress Maria Theresa to the Patent of Nobility given to Zoffany 60

(Above three items from the Coll, of Mrs. Everard Hesketh)

The Tribuna, Florence. (Gravure Plate) ......... 62

(Coll, of H.M. the King)

Key to the Same ............. 62

(By permission of the Royal Academy of Arts.) (Facing each other)

The Graham Family Group ........... 64

(Coll, of Sir Reginald H. Graham, Bart.)

View of Strand-on-the-Green, showing the House in which Zoffany lived . . 68

Group representing the Sharp Family on their Yacht in the Thames. (Gravure Plate) 70

(Coll, of Mr. Granville Lloyd Baker)

John Wilkes and his Daughter. (Gravure Plate) ....... 72

(Coll, of Sir George S. Baker, Bart.)

Group representing John Wilkes and Serjeant Glynn ...... 74

(Coll, of Colonel Prideaux Brune)

Portrait of the Rt. Hon. Charles James Fox ........ 74

(Coll, of the Rev. R. Holden)

Group representing Charles Hope Vere and his two sisters. (Gravure Plate) . . 76

(Coll, of Mr. Harry Verney, C.B.)

Portrait of Mr. Maddison, Prime Warden of the Goldsmith’s Company. (Signed and

dated.) (Colour Plate) ............ 78

(Coll, of Mr. John Lane)

Portrait of Boswell ............. 78

(Coll, of Sir Cosmo A ntrobus, Bart.)

Portrait of Boswell ............. 78

(Coll, of Messrs. Craddock <&• Barnett)

Portrait of the Nawab Wazir of Oudh ......... 80

(Coll, of Lord Teignmoutk)

Colonel Mordaunt’s Cock-Match in 1786. (Gravure Plate). ..... 84

(Coll, of Mr. R. S. Strachey )

Key to the Same ............. 84

(By the courtesy of Mr. Stephen Wheeler.) (Facing each other)

Colonel Mordaunt’s Cock-Match in 1786 ......... 88

(From the mezzotint by Earlom after the original in the possession of the Marquis of
Tweeddale)

Key to the Same ............. 88

(By kind permission of the Cocoa Tree Club.) (Facing each other)

Portrait of Mr. Marcus Saville Taylor ......... 92

(Coll, of Mr. Henry Sinclair)

Tiger Hunting in the East Indies .......... 94

(From the mezzotint by Earlom. The original picture or an oil-sketch for it belongs to
Mrs. Alexander Kennedy)

Key to the Picture ............. 94

(By the courtesy of the Cocoa Tree Club.) (Facing each other.) (Folding Plate)

The Embassy of Hyderbeck to Calcutta ......... 96

(From the mezzotint by Earlom)

Key to the Picture ............. 96

(By the courtesy of the Cocoa Tree Club.) (Facing each other.) (Folding Plate)

Portrait of Madhava Rao Sindhia .......... 96

(From a copy of the original which is now in a small pagoda near Poona)

Portrait Group representing Warren Hastings and his Wife and her Indian Maid 96
(Coll, of the Earl of Curzon, K.G.)

Group representing Sir Elijah Impey with Lady Impey, and their Children, and

Ayahs and Servants ............ 98

(Coll, of Mr. Edward Impey)

Painting of the Last Supper

(St. John's Church, Calcutta)

The Death of Captain Cook, February 14, 1779. (These two pictures on one Plate)
(Coll, of Greenwich Hospital)

XXV111

LIST OF ILLUSTRATIONS

To face page

Family Group, name unknown, perhaps depicting Mrs. Bruere and her Children . 106

(Coll, of Mr. William Asch)

Group representing Colonel Martin Colonel Polier, Mr. Wombwell and Zoffany.

(Gravure Plate) ............. 108

IColl. of Mr. W. C. Bridgeman, M.P.)

The Auriol Family Group ............ no

(Coll, of Mr. Daskwood )

Group representing Three English Children, Painted in India . . . .no

(Coll, of Mr. A. P. Cunliffe)

Group representing Colonel Blair with his Wife, two Daughters and an Ayah

(Coll, of Captain A. Pepys)

Group representing Mr. and Mrs. Hussey and their Daughter. (These two pictures
(Coll, of Mr. Robert Marshall) on one Plate)

Group representing Claud and Boyd Alexander u t ith their Hindoo Servant

(Coll, of Sir Claud Alexander)

Portrait of Edward Pearce. (These two pictures on one Plate)

(Coll, of Sir Robert Edgcumbe)

Portrait of Nathaniel Middleton, Resident at Lucknow, under Warren Hastings,

with three Indian Officials in Attendance . . . . . . .no

j- no

1 no

Portrait Group of the Morse Family .........

(Above two pictures from the Coll, of Mr. H. B. Middleton)

Portrait Group of Suetonius Grant Heatly with his Sister Temperance receiving
an Important Message from an Official. (Gravure Plate) .....

(Coll, of Captain and Miss Blunt)

Portrait of Patrick Heatly watching the Ship which takes his Sister Temperance
from India to America ...........

(Coll, of Captain and Miss Blunt)

Group representing William Watts, Governor of Fort William, negotiating the
Treaty with Mir Jafir and his Son Miran .......

Portrait of Governor Watts ...........

Portrait of Mrs. Watts ............

(Above three pictures from the Coll, of Mrs. Watts)

Portrait of Beneram Pundit the Vakeel or Minister of the Rajah of Berar .

(Coll, of Mr. F. Edwards, formerly in that of Miss Winter who had it from Warren
Hastings)

An Indian Scene .............

(Coll, of Mr. E. S. Mostyn Pryce )

Group representing Various Members of the Rice Family .....

(Coll, of Mr. C. Nugent Humble)

Portrait of Zoffany by Himself ..........

(Coll, of Miss Ellen Beachcroft)

Painting of the Last Supper ...........

(In Brentford Church, Middlesex)

The Towneley Marbles ............

(Coll, of Lord O'Hagan)

Group of Certain Connoisseurs ...........

(Coll, of Lord O'Hagan)

Thomas Knight as Roger in “ The Ghost ” ........

(Coll, of the Garrick Club)

Portrait of Zoffany as a Young Man by Himself. (Perhaps Exhibited at the R.A. in

I 77 I )

(Coll, of Mr. IF. J . Davies)

Portrait of Zoffany in Middle Life. (Colour Plate) .......

(Coll, of Mr. John Lane)

Engraved Portrait of Zoffany after the original in Florence . . . .

Miniature representing Zoffany in Fancy Costume .......

(Coll, of Miss S. J . Beachcroft)

Portrait of Zoffany by Himself, Painted in 1761. (Gravure Plate)

(National Portrait Gallery)

112

1 12

112

116

118

122

124

126

128

LIST OF ILLUSTRATIONS

XXIX

To face page

Portrait of Mrs. Zoffany ............ 130

Group representing Zoffany and His Children . . . . . . .132

{Both in the Coll, of Mrs. Everard Hesketh)

The Ferguson Group, giving a Portrait of Zoffany in 1781 ..... 132

{Coll, of Sir Ronald C. Munro-F erguson)

Drawing in Red and Black Pencil representing Lord Heathfield. (Signed) . .134

{Coll, of Mr. H. Burton Jones)

Sketch in Black Chalk representing a Father and Son examining a Drawing . 136

{Victoria and Albert Museum )

Scene from " Macbeth ” — Garrick and Mrs. Pritchard . . . . . .138

{Coll, of the Garrick Club)

A Similar Picture, the Version from which the Engraving was made . . . 140

{Coll, of H.H. The Maharajah Gaekwar of Baroda, G.C.S.I.)

David Garrick as Lord Chalkstone in “Lethe.” (Gravure Plate) .... 140

{Coll, of the Garrick Club)

Portrait of David Garrick ........... 140

{Coll, of the Garrick Club)

Group representing Mr. and Mrs. Garrick in their Garden at Chiswick . . . 140

{Coll, of the Earl of Durham)

Mr. and Mrs. Garrick at Tea entertaining Dr. Johnson at their Villa at Chiswick 142

{Coll, of the Earl of Durham)

Scene from “ The Clandestine Marriage ” — King, Mrs. Baddeley and Baddeley . 142

{Coll, of the Garrick Club)

Portrait of Thomas King as Lord Ogleby . . . . . . . .144

{Coll, of the Hon. Evan E. Charteris)

Scene from “Speculation” — Munden, Quick and Lewis ...... 144

{Coll, of the Garrick Club)

Portrait of David Ross as Hamlet .......... 144

{Coll, of the Garrick Club)

Scene from “The Village Lawyer” — John Bannister and Parsons. . . . 144

{Coll, of the Garrick Club)

Garrick and Mrs. Cibber as Jaffier and Belvidera ....... 146

{Coll, of Mr. Somerset Maugham)

Group representing Two Persons believed to be Sheridan and Mrs. Robinson . 146

{Coll, of the Duke of Buccleuch and Queensberry)

Charles Macklin as Shylock ........... 146

{Coll, of the Marquis of Lansdowne)

Portrait of Charles Bannister ........... 148

{Coll, of the Garrick Club)

Portrait of William Parsons ........... 148

{Coll, of the Garrick Club)

Portrait of Thomas Weston as Billy Button ........ 148

{Coll, of the Garrick Club)

Portrait of Thomas King as Touchstone ......... 148

{Coll, of the Garrick Club)

Portrait of Mrs. Salusbury ........... 148

{Coll, of the Marquis of Lansdowne)

Portrait of Miss Farren, afterwards Countess of Derby . . . . .150

{Coll, of Sir D. A. Seton-Steuart, Bart.)

Group representing certain members of the Townshend Family. (Colour Plate) . 150

{Coll, of Lord Queenborough)

Group representing Captain Hervey taking leave of His Family .... 152

{Coll, of the Marquis of Bristol)

Group representing Charles Dibden with his Second Wife and Daughter . . 152

{Coll, of the family of the Late Sir Henry Bulwer)

Group representing the Three Children of the First Lord Sondes . . . .152

{Coll, of the Rev. Wentworth Watson)

Group representing John, Fourteenth Lord Willoughby, with his Wife and their

three Children . . . . . . . . . . . . .152

{Coll, of Lord Willoughby de Broke)

XXX

LIST OF ILLUSTRATIONS

To face page

Croup representing Mr. and Mrs. Palmer and their Daughter, known as the Drawing

Lesson ............... 154

[Coll, of the Hon. F. Wallop )

Group representing two Men Playing Cards . . . . . . . .154

[Coll, of Laura, Lady Simeon )

The Dutton Family Group ............ 154

[Coll, of Lord Sherborne )

Group representing a Hunt Breakfast at Holme Park, Berks . . . . .156

[Coll, of Messrs. Ehrich Bros.)

Group of Sporting Gentlemen ........... 156

[Coll, of Mrs. Payne Whitney)

The Burke Group with a Portrait of Zoffany. (Colour Plate) . . . . .156

[Coll, of Mrs. Spencer Perceval)

Group representing Sir Lawrence Dundas and his Grandson, afterwards First Earl

of Zetland .............. 156

[Coll, of the Marquis of Zetland)

Master James Sayer at the age of 13. (Colour Plate) ...... 158

[Coll, of Lady Sayer)

Portrait of Mrs. Oswald ............ 158

[Coll, of Mr. R. Oswald)

Group representing Mary and Agnes Berry as Young Girls ..... 158

[Coll, of Sir R. C. Munro-F erguson)

Group representing Sir James Cockburn and his Daughter ..... 158

[Coll, of Miss Alice de Rothschild)

A Family Group, names unknown, called the Minuet ...... 160

[Coll, of the Corporation of Glasgow)

Group representing the Third and Fifth Sons of John Cocks of Castleditch . . 160

Group representing the Seventh and Eighth Sons of the same .... 160

(Both in the Coll, of Mr. Joseph C. T. Heriz-Smitli)

Portrait of Dr. Hanson ............ 162

(Coll, of Mr. Fleischrnann)

Portrait of Dr. Richard Russell .......... 162

(Coll, of the Corporation of Brighton )

Portrait of Mr. Phipps ............ 162

(Coll, of Sir Hugh McCalmont)

Portrait of Lady Caroline Hervey . . . . . . . . . .162

(Coll, of the Marquis of Bristol)

Portrait of Lepel, Lady Mulgrave .......... 162

(Coll, of the Marquis of Bristol)

Portrait of Lady Emily Hervey .......... 162

(Coll, of the Marquis of Bristol)

Portrait of Maria, Countess Waldegrave, afterwards Duchess of Gloucester . 164

(Coll, of Mrs. Morland Agnew)

Portrait of William Burton ........... 164

(Coll, of Messrs. Agnew )

Portrait of Vincent Lunardi the Balloonist ........ 164

(Coll, of Messrs. Knoedler. Formerly in that of Lord Ribblesdale)

Portrait of Henry Duncombe ........... 164

(Coll, of the Earl of Crawford)

Portrait of Daniel de Castro ........... 164

Portrait of Sarah Judith de Castro ......... 164

(Both in the Coll, of Mr. Paul de Castro)

Portrait of Charles John Bentinck . . . . . . . . .164

(Coll, of the Duke of Portland, K.C.)

Portraits of a Brother and Sister named Harris ....... 164

(Coll, of Mr. T. Notion Longman)

Portrait of a Man in a Red Costume
(Coll, of the Hon. Evan Charteris)
Portrait of a Man, name unknown
(Coll, of Messrs. Ehrich Bros.)

164

166

LIST OF ILLUSTRATIONS

XXXI

To face page

Portrait of Jane Austen as a Child . . . . . . . . .166

(Coll, of Admiral Sir E. Rice, K.C.B.)

Portrait of General Norman Macleod . . . . . . . . .166

(Coll, of Macleod of Macleod )

Portrait of General Sir Wm. Boothby ......... 166

(Coll, of Mr. Seymour Boothby)

Thomas Gainsborough. (Gravure Plate) ......... 166

(The National Gallery)

Water-Colour Copy of a lost original representing the Rosoman Family . .174

(Coll, of Miss Austin)

Portrait of General Hon. Wm. Hervey ......... 182

(Coll, of the Marquis of Bristol)

Portrait of Lady Mary Fitzgerald . . . . . . . . . .184

(Coll, of the Marquis of Bristol)

Portrait of the Fourth Earl of Bristol . . . . . . . . .184

(Coll, of the Marquis of Bristol)

Portrait of Mrs. Robinson (Mary Darby) “ Perdita ” as Rosalind in " As You Like

It.” (Gravure Plate) ............ 200

(Coll, of the Garrick Club)

The Duke of Clarence and the Duke of Kent as Children . . . . .210

(Coll, of H.M . the King)

Portrait of a Country Gentleman, name unknown . . . . . . .214

(Coll, of Lord Lee of Fareham)

Portraits of Admiral Cunningham and his Wife Anne, at Plymouth . . .218

(Coll, of Major Otway Mayne)

Portrait of Captain Money ........... 222

(Coll, of Mr. J . M. Newborg)

Portrait of George Colman the Younger ......... 224

(Coll, of Lord O'Hagan)

William Hunter Lecturing on Anatomy ......... 226

(Coll, of the College of Physicians)

Group representing Sir Matthew White Ridley and a Friend .... 228

(Coll, of Viscount Ridley)

Portrait of the Duke of Dorset and his Friend Mr. Petley j

(Coll, of Miss Alice de Rothschild) ;

Group representing Mr. John Yorkeand his Friend. (These two pictures on one Plate) j 2 3 °

(Coll, of Mr. Thomas E. Yorke) J

Group representing Mr. Samuel Smith and his Son . . . . . . .236

(Coll, of Mr. J. L. Travers)

Portrait of William Lock. (Attributed to Zoffany) . . . . . . .236

Portrait of Thomas Gainsborough .......... 242

(Coll, of the Late Mr. Asher Wertheimer)

Group representing the Children of Sir William Young ...... 244

(Coll, of Sir W. L. Young, Bart.)

Group representing Sir William Young and one of his Sisters .... 246

(Coll, of Sir W. L. Young, Bart.)

Portrait of Queen Charlotte. Engraved Portrait after the Original with Varia-
tions ............... 260

(Coll, of H.M. the King)

JOHN ZOFFANY, R.A.

CHAPTER I

EARLY DAYS

For our information concerning Zoffany’s early years we have to
depend almost entirely upon tradition ; there seems to be no documentary
or other actual evidence in existence.

We are told that his father was a Bohemian Jew, a cabinet-maker and
decorator at Prague, and that he was employed upon some decoration or
internal fittings in the Hradshin of that famous Bohemian city, where his
skill attracted attention and he was advised to seek a wider scope for his
talent.

It is said that he then migrated to Ratisbon, where he studied archi-
tecture, and entered into the service of the Prince of Thurn and Taxis,
eventually becoming Court Architect, in which capacity he was entrusted
with some notable commissions.

It would appear, however, that his son John (or Johann) was born at
Frankfort-on-Main in 1735, and this information was discovered by Sir
Melvill Beachcroft (who is of the same family as the Robert Beachcroft
who married one of Zoffany’s daughters) in a Master’s Report in the
Public Record Office of a lawsuit between the painter and an Italian
named Tremando. The usual books of reference are therefore in error
when they give his birthplace as Ratisbon and the year as 1733.

We learn from family tradition that from a very early age young
Zoffany showed himself possessed of a talent for drawing.

At school he devoted himself to drawing portraits of his masters and
schoolfellows instead of giving attention to his lessons. Pronounced
incapable of further learning, he was placed by his ambitious father in
the studio of one Michael Speer, a painter of religious and historical
subjects, who in his turn had been educated in Italy by Solimena, called
1 ’ Abate Ciccio.

To this studio he appears to have been sent at first, in a very humble
capacity, and set to clean the brushes and palettes and to assist in the
more menial work of the place. Speedily, however, he proved, to his
slow and serious master, that he was not without some skill of his own,
and before he was twelve years old he was assisting in painting draperies

JOHN ZOFFANY, R.A.

and embellishments in the “ furniture ” pictures for which Speer was
then becoming well-known.

The scope for his activity was, however, too narrow, and when he
had spent rather more than a year with Speer the lad determined to widen
his experience.

Failing to obtain permission from his father, who had different inten-
tions for his son, he took the matter into his own hands, ran away from
home, having, it is said, “ borrowed ” a substantial sum in gold from his
father’s money-box, and fled to Vienna, thence making his way down
the Danube on a timber raft, and so journeyed into Italy, where, by slow
degrees, he made his way to Rome.

In Rome, it is said, he remained for some ten or twelve years, until
he heard of the death of his father, and during that time worked very
hard, copying in the galleries and supporting himself by the sale of
the copies he made and by the aid of the treasured gold coins he
had brought with him, which he spent with the most parsimonious
economy.

He is reported to have resided at the Convent of the Buon’ Fratelli,
having, by the kindly offices of one of the cardinals, obtained an intro-
duction to this monastic house.

When over twenty years old he found his way into Germany once
again, and took up his abode at Coblenz, where he married a girl w r ho
had a small fortune of her own and who was said to have been the niece
of one of the priests in the place. Here he remained for two or three
years, but his married life was not a happy one, and Mrs. Papendiek, 1
writing in 1833, from information derived from Zoffany’s second wife,
who was her particular friend, says that the artist treated his first wife
in very unkind fashion.

Finding that his circumstances did not improve and that his wife’s
small fortune was rapidly dwindling, Zoffany determined once more to
set out on his travels, and this time to come to England, where he believed
fame was awaiting him.

The Literary Gazette of July 8, 1826, in an allusion to him, says that
when “ Zoffany first arrived in the British metropolis, he brought with
him some trifle short of a hundred pounds,” mainly, it would appear, his
wife’s money. “ With this,” said he, relating his adventures, many
years after, to an old friend, “ I commenced ‘ Maccaroni,’ bought a suit
a la mode , a gold watch, and a gold-headed cane.”

His efforts to make a living in this country {circa 1761) as a painter of
small portraits met with no success, and the difficulties between his
wife and himself increased to such a point that she finally left him, taking
1 Court and Private Life in the Time of Queen Charlotte, I. 82.

Coll, of My. John Lane

DRAWING OF ZOFFANY BY HIMSELF
Signed and dated 1761

Coll, of Mrs. Alfred Aslett F. T. Beeson photo

PORTRAIT OF STEPHEN FRANCIS RIMBAULT, MUSICIAN

EARLY DAYS

with her what money she still possessed, and returned to her old home
in Germany, where soon afterwards she died.

Meantime Zoffany, now left wholly without means, got into deeper
difficulties than ever, and was, it is said, near to starvation in his one
room in Short’s Gardens, Drury Lane, when a painting of a village scene,
girls dancing upon the green, was brought to the attention of Stephen
Rimbault, the celebrated clockmaker, great-uncle of Edward Rimbault,
the musical author and antiquary, who was carrying on a flourishing
business in Great St. Andrews Street, Seven Dials.

The clever satirist John Williams who wrote under the nom de plume
of Anthony Pasquin 1 gives us another address where Zoffany was to
be found. He says —

“ He lodged in the attic tenement of a Mr. Lyons, a kind Hebrew,
who resided in Shire Lane near Temple Bar; his fortunes were
then so low that his cates were more scarce than rare. The harp of
his fathers was hung on a willow in the desert, and there was no
musick in his soul : his thought introduced misery, and misery
desperation. At this eventful epoch the heavy clouds which darkened
his existence began to pass away : he saw the promised Canaan in
a vision, and his nerves were restrung by fortitude. By the bene-
ficent offices of his Levitical inmate he was introduced to Mr. B.
Wilson, a portrait painter in oils, who instantly engaged Mr. Zoffanii
to paint his draperies.”

J. T. Smith, in his Nollekens and His Times 2 — receiving the story,
he says, through Nollekens from Philip Audinet (a pupil of John Hall,
the engraver), whose father served his time with Rimbault — tells us of
the event preceding the engagement with Wilson, — Zoffany’s engage-
ment to work for Rimbault. He says that the famous clockmaker’s
chief trade at that time was with Holland, where he supplied what were
known as Twelve-Tuned Dutchmen, “ clocks which played twelve tunes
with moving figures variously occupied, having scenery painted behind
them.” Smith goes on to state that “ the pricking of the barrels was
complicated, and was executed by a man named Bellodi, an Italian, who
lived in Short’s Gardens, Drury Lane, and whose son was a maker of
barrel-organs.” He one day “ solicited Rimbault in favour of a poor
man, an artist, living in his house,” who was almost starving in a garret.
Rimbault said, “ Let him come to me,” and he went and received imme-
diate employment in painting the fronts of musical clocks. Later on,

1 Authentic History of the . . . Royal Academicians, by Anthony Pasquin.

2 Nollekens and His Times, by J. T. Smith. 1828. Lane’s 1914 edit., pp. 67, 68.

JOHN ZOFFANY, R.A.

Zoffany (for he, it was) suggested that he should paint the portrait of his
patron, which he did in admirable fashion, and in Smith’s time this
very portrait was preserved over the chimney-piece of his nephew’s
front parlour, 9, Denmark Street, Soho. This Mr. [Stephen Francis]
Rimbault was then “ organist of St. Giles’s-in-the-Fields, and one of the
most extensive collectors of Rowlandson’s drawings.”

It has been stated that the moving figures in Rimbault ’s clocks did
not meet with Zoffany’s approval, for the mechanism in use was not
capable of giving the figures a graceful motion, and only swung them to
and fro, and therefore that class of work, which had actually effected
the introduction of the two men, was speedily dropped, and Zoffany
confined his attention to painting the dials with village and rustic scenes,
and with figures of gallants and ladies in the approved Watteau-like
fashion.

We have been able to discover three clocks, the dials of which are
stated to have been painted by Zoffany. In one of them, that belonging
to Mr. Greene, the mechanism is by Rimbault; therefore the tradition
may be assumed to be satisfactory. On another, belonging to Mrs.
Hope, the movement is by Fladgate, but the decoration so closely resembles
that of Zoffany, that it is probable the movement has been placed in the
old case and the decoration left as it was. The third, which we have not
indeed seen, is a clock of unusual and complex character, but there is a
definite tradition connecting the decoration with the work of Zoffany,
and on that basis we illustrate it in these pages.

In 1764 it was that Zoffany painted the excellent portrait of Stephen
Rimbault holding a piece of music in his hands, to which Smith alludes,
and that also, we are glad to be able to illustrate in this volume.

One of the Zoffany clocks is stated to have passed into the possession
of Benjamin Wilson, then living at 56 Great Russell Street, Bloomsbury, 1
in the house in which Philip Audinet afterwards lived. Wilson had always
been interested in science and mechanism, and published many papers
relative to electricity, receiving the gold medal of the Royal Society for
his experiment.

He, it is said, required a good clock, in what he termed his laboratory,
and was at first attracted by the elaborate mechanism of the movement
in the clock he purchased, and then by the accuracy of its timekeeping
qualities. Wilson, moreover, had studied under Thomas Hudson and
practised as a portrait painter in Dublin, and then in London, and on
examining with some care the dial of his clock, discovered that the figures
upon it were painted with unusual skill, and made some inquiries con-
cerning the artist.

1 Or, as one writer states, at Great Queen Street, Lincoln’s Inn Fields.

Coll, of Mr. T. IV. Greene

BRACKET CLOCK WITH MOVING FIGURES PAINTED BY ZOFFANY

Dixon photo

Coll, of Mrs. Hope

BRACKET CLOCK BY FLADGATE, WITH FIGURES ABOVE THE DIAL, PAINTED BY ZOFFANY

Coll, of Messrs. Harris & Sinclair

BRACKET CLOCK WITH DECORATION UPON IT ATTRIBUTED, BY LONG TRADITION, TO ZOFFANY

Coll . of the Garrick Club 13

WILLIAM POWELL AND FAMILY
By Benjamin Wilson

Coll, of the Garrick Ctub. 391

THOMAS KING (1730-1805), COMEDIAN

THE ORIGINAL SIR PETER TEAZLE

By Benjamin Wilson

EARLY DAYS

The result of these inquiries was that Zoffany, while not wholly relin-
quishing his work in Rimbault’s factory, entered the studio of Benjamin
Wilson at a salary of £40 a year to paint draperies and backgrounds for
his eccentric master,

Wilson was not a great artist, but a man of strictly limited powers,
and his portraits were frigid representations of their subjects, hard, often
ungainly and wanting in atmosphere and relation. In representing drapery
he was especially weak, and there he felt the younger man would be of
service to him; but he seems to have at first pledged him to secrecy,
forbidding his telling any one that he worked in Wilson’s studio and
determining to take to his own credit all the advantages he gained from
Zoffany’s greater skill.

Two of his paintings find a place in these pages by kind permission
of the committee of the Garrick Club, to whom they belong. One is a
stiff formal figure of King, who was the original Sir Peter Teazle, and it
will be noticed that the draperies might, from their appearance, be
fashioned out of tin.

The other is a group depicting Powell and his family, formal and
hard in its arrangement, and bespeaking little grace of composition save
in the figure of the young girl. Here again the draperies are wholly
lacking in softness or grace. They hang in stiff form, without any care
or charm, and in some instances actually refuse to hang at all, but jut out
in awkward fashion.

Wilson was also well-known as an avaricious person, and this we learn
from his autobiography which, contrary to his express wishes, was pub-
lished by Herbert Randolph in the work he wrote on Sir Robert Wilson,
the painter’s son. In it Wilson is reported to have said of his wife that
all he could say in her praise was that “ from the time he first knew her
he had saved more money than at any other during his life.”

He treated Zoffany, as might therefore be expected, harshly; his hours
were long, his food scanty, his pay often delayed and subject to many
irritating conditions, so that in process of time Zoffany began to rebel
against a position from which he was gaining no credit and in which he
was the subject of vast discomfort.

In what way the change came about is not very clear. According to
family stories Zoffany was a great lover of the theatre, and, meeting in
Wilson’s studio many theatrical notorieties, received from them little
attentions in the way of tickets and passes, and so was able to gratify his
love of the stage. On one of these visits it is said that he recognised in
Mrs. Garrick an actress whom he had greatly admired in past days,
perhaps in Vienna or in Italy, and that he made himself known to her
and she presented him to her husband.

JOHN ZOFFANY, R.A.

Bearing out this statement, we find a reference by Smith, in his Book
for a Rainy Day f to a picture he saw in Garrick’s home when he visited
it just after the death of the actor. “ In the dining-room,” says Smith,
“ on one side of the chimney-piece, hangs a half-length picture of Mrs.
Garrick, holding a mask in her right hand. This was painted by Zoffany
before her marriage, who was one of her admirers.”

Another story goes that Wilson, having painted a group of Garrick
and Miss Bellamy as Romeo and Juliet, the actor was of opinion when
the picture came home that it was too good to be the work of Wilson, or
at least to be his alone ; and that he did not rest till he found out who had
assisted the painter, and especially who was responsible for the costume
and draperies which were painted in a manner very different from that
usually adopted by Wilson.

This story, however, gives credit to Garrick for a quicker artistic
perception than one would have expected to find in the popular actor,
and to a determination in searching out a matter which could not have
concerned him very deeply.

It has also been stated that the Deus ex machina was Miss Bellamy,
who greatly admired the manner in which her gown was represented,
and cross-questioned Zoffany in the studio; and yet another story goes,
that there was a certain spite against the parsimonious Wilson, and a
disbelief in his artistic powers, about which he was so often talking, and
that Garrick, scenting out a mystery in the studio, and feeling convinced
that Wilson was engaged in some underhanded sharp practice, determined
to know what it was and to expose it.

Such an explanation does not oblige us to concede unusual skill in
artistic perception to David Garrick, and seems to be a more likely version
of the story.

Still another version we find in Anthony Pasquin, who says it was
Zoffany’s “ good hap to be discovered ” in Wilson’s studio “ by Mr.
Garrick, who proposed to sit to him for a dramatic portrait which he
finished so well, as to lay the foundation of an enviable fame,” and “ he
now journied through life on a path of roses while the Literary Gazette
of 1836, to which we have already alluded, tells the same story in a some-
what different way, saying that Zoffany, tiring “ of the monotony of his
employment,” determined “ to try his fortune by trading on the capital
of his talent on his o\vn account.” “ He accordingly,” says this writer,
“ took furnished apartments at the upper part of Tottenham Court Road,
near where was so long exposed the sculptured figure of the piper, and
commenced his practice as a limner, by painting the portraits of his land-
lord and landlady which, as a standing advertisement, were placed on

1 Methuen’s 1895 edit., p. 285.

( oil. of the laic Mr. Asher Wertheimer

PORTRAIT <>l MRS. GARRICK IN III K YOUTH

EARLY DAYS

each side the gate that opened into the area before the house. Garrick,
by chance, passing that way, saw these specimens, admired them, and
inquired for the painter. The interview ended in his employing the
artist to paint himself in small, and hence were produced those admired
subjects in which our Roscius made so conspicuous a figure.”

In the Earwig , which is a descriptive pamphlet of the Royal Academy
of 1781, and is said to have been written by Mauritius Lowe, is a curious
introduction into which the author has dragged, for no apparent reason,
some notes about Zoffany’s drunkenness and destitution when he was
working for Benjamin Wilson. 1

They allude to the fact, if fact it is, that Zoffany entered into a
contract to paint drapery for Wilson for three years, and was to be paid
£250 for the first year, £350 for the second, and £500 for the third;
but after receiving an advance of £50, and instructions to paint some
blue silk drapery, which he did not specially admire, he disappeared and
Wilson was unable to find him. Many weeks afterwards, the Earwig
says, he was discovered in an ale-house in St. Anne’s, Soho, without shoes,
engaged in making sketches of the frequenters of the ale-house, in return
for the drinks supplied to him. He was rescued and set to other work,
but Wilson strove to bring him back to the original contract, and there
was some considerable difficulty before an arrangement was made by
which the contract should be broken and Zoffany allowed to work for
himself. The book in question is dedicated to Reynolds, and it also
refers to Zoffany’s picture of 1781 — the Sharp family in the barge
— which it declares in tout ensemble is abominable, but as regards its
separate figures, many of them were good. It says that the scaly
monster behind the barge resembles Apollo on Parnassus.

The whole article is written in a spirit of rather bitter satire, and the
statements it contains do not seem likely to be true. 2 Smith is far more
reasonable in the amount of salary he mentions (£40), and Wilson’s par-
simony would surely have never permitted him to pay such fees as the
Earwig mentions.

It is, however, quite possible Wilson soon discovered that in Zoffany
he had found a treasure, and endeavoured to bind him to work in the
studio for a period of years with an increasing pay for each year, but the
Earwig article seems written with the express purpose of doing Zoffany
some discredit. We need not, therefore, attach much importance to the
Earwig statements, as they are wholly unsupported by any other allusions
or documents. That some disagreement between Wilson and Zoffany
took place is quite certain, but of what nature it was we do not know.

1 See B. M. 11630. e. 10 (1), 1781.

2 We are indebted to Mr. W. T. Whitley for drawing our attention to this article.

JOHN ZOFFANY, R.A.

However it came about, this also is certain, that Zoffany left both
the workshop of Rimbault and the studio of Wilson, and, encouraged by
Garrick and by numerous other actors to whom Garrick introduced him,
determined to devote his attention to portrait painting and ^specially to
the representation of theatrical scenes, for which his neat and careful
work and his excellent manner of representing costume, made him specially
suitable. Thenceforward we know him exclusively as a painter of
portraits and groups.

He entered himself as a pupil at the St. Martin’s Lane Academy
and joined the newly-founded Society of Artists, exhibiting in its
gallery in 1762 the first of his theatrical groups, and at once scoring
a success by it. This first picture (138), which represented Garrick in
the character of the Farmer returned from London, received the special
distinction of being praised by Horace Walpole and in no measured
terms.

“ Good,” said Walpole, “ like the actors,” “ and the whole better,” he
adds, with a burst of extraordinary enthusiasm, “ than Hogarth’s.”

We can form our own opinion of the value of this criticism, for the
picture is still in existence. It belongs to the Earl of Durham and came
directly into the collection at Lambton Castle from Garrick’s sale. Wal-
pole’s praise is well justified, although we hesitate to go as far as he did in
its praise, but the composition is excellent, the colour scheme admirable,
the technique neat and adequate, and the manner of painting so good that
the picture has stood exceedingly well and is still a pleasing work in
every way.

The companion work, equally good, and representing Garrick and
Mrs. Cibber as Jaffier and Belvidera (137), is in the same collection. It
appeared at the Exhibition of the Society of Artists in the following year
(1763), and both paintings passed direct to Garrick and remained in his
possession all his life.

Zoffany, it is clear, had found himself, and the result of long years of
difficulty and privation was seen in a fully-equipped genius well-fitted
for the work to be accomplished.

When first he came to England our artist appears to have been known
as Zauffely, and this was probably his original Czech name. By 1762
the word had become to a certain extent anglicised and more easy of
pronunciation. It is spelled in the early catalogues as Zaffanii or Zaffanij, 1
and then a little later in catalogues of 1768 — 1770 as Zoffanij, the “ a ”
having become an “ o ” with a corresponding greater ease in pronuncia-
tion and perhaps greater euphony, but by the time the artist became a

1 The “ ij ” suffix to the name, would, according to Slavonic rules, denote the
possessive case, and the name would mean “ of Zoffa,” if there be such a place.

Coll, of the Earl of Durham

GARRICK AND MRS. CIBBER IN “ THE FARMER’S RETURN”

From Garrick's Sale

**•

EARLY DAYS

Royal Academician the foreign affix of “ ij ” had given place to the
English “ y ” and Zoffany he became from that time and was so styled
both in English documents and in those issued on the Continent. His
Christian name, however, he does not seem to have wholly anglicised,
and he signed himself Johan, or Johann, using the former for his signature
to his will.

We have just alluded to Zoffany’s two Garrick pictures of 1762 and
1763, but in addition to these he exhibited a family group and three
portraits.

The portraits were anonymous, as was the custom of the day, and
we have not been able to identify them, but, thanks to Walpole’s notes
on his catalogue, we know that the group (140, 1763) represented
“ Mr. Palmer the actor, looking at his wife and a little boy in her
lap.”

Walpole goes no further ; he does not comment on the excellence of
the work, and we have not been able to trace the picture despite this
description of it.

Zoffany’s success in these two years was such that he was enabled to
change his lodgings and take rooms in the most aristocratic district which
artists affected at the time, that of the neighbourhood of Covent Garden.
Here in the Great Piazza he settled down, and we are told that he had
fine “ light rooms,” “ with great windows ” and “ plenty of honest
furniture ” in them.

Here it was that he first began to be well-known, especially in theatrical
circles, and amongst other acquaintances who knew him in these rooms
was John Hamilton Mortimer, R.A.

Henry Angelo, 1 in his Reminiscences thus describes the scenes which
took place between the two artists, and indirectly acquaints us with the
fact that Zoffany had a strong foreign accent in speaking.

Angelo writes thus —

“ The late John Hamilton Mortimer, an artist whose great and
promising talent, but for his own thoughtlessness, would have raised
him to the highest rank amongst painters, ancient or modern, resided
for some years over the shop of the well-known Jemmy Moran,
the bookseller. Here he was visited by Garrick, Sterne, Churchill,
Goldsmith, Quin, Caleb Whiteford, Albany Wallace, Malone,
Stevens, all the tiptop dramatic writers, players, sculptors and

1 Henry Angelo (1760 — 1839?) was the eldest son of Domenico Angelo Malevolti
Tremamondo, the fencing-master (1716 — 1802), who in England assumed the simpler
name of Angelo, and dropped his original patronymic of Tremamondo, which, however,
his younger brother continued in formal documents to use.

JOHN ZOFFANY, R.A.

painters. His studio was indeed the morning lounge of many
distinguished noblemen, and almost all the professional men of
talent of his day. 1

“ Mortimer’s portrait, whole-length, is introduced in the picture
of the Royal Academicians, painted by Zoffany, which picture he
began at his apartments at the Great Piazza, Zoffany residing here
also, in the year 1764.

“ Mortimer and he were very intimate, until one day, whilst sitting
for his portrait, Zoffany began to play off his wit against the authority
of Scripture, and turn the Old Testament into burlesque. Mor-
timer, though a bofi-vivant, and a choice wit, having too much sense
of propriety to endure this, called him an ass, which, abstracted of
his professional talent, was not far from the truth. Zoffany, highly
offended at this, for he was as vain as he was weak, bade Mortimer
quit his room, which he did, but not without first giving him such a
lecture as he might have well remembered, had he not been too much
addicted to this weakness, which lasted him even to old age. But
what gave the greater offence, it seems, was a repartee which closed
the dispute — and then the door, which Mortimer shut with a loud
bang. ‘ Why, Sir Godfrey Kneller thought upon the subject as I
think,’ said Zoffany. ‘ Perhaps so,’ replied the other, ‘ and when
you can paint half as well as he, then you may prate. To be a bad
painter, and a fool to boot, is rather too much to bear, Master
Zoffany.’

“ Mortimer was a man of fine personal appearance, of great gaiety
of manners, and a most delightful companion. He had, moreover,
an excellent heart.

“ He, and a knot of worthies, principally ‘ Sons of St Luke,’ or
the children of Thespis, and mostly votaries of Bacchus, met at the
Turk’s Head, in Gerrard Street. Here, one evening, he happened
to be sitting in the common coffee-room, wherein were a mixed
company, taking their punch and smoking, the prevailing custom of
the time. Theophilus Forrest, an honest lawyer and amateur
artist, well-known to all the coterie at the Turk’s Head, both above
and below stairs, happened to drop in ; the landlord, Swindon, a
worthy German, handed him a petition, from the widow of a journey-
man coach-painter, who had lately died suddenly in Long Acre,
and had left her and several children totally destitute. Forrest took
the petition into the public parlour, entered his subscription, five
shillings, and pinned it over the chimney-piece, that it might be
seen by the guests, saying, ‘ I shall open a book here,’ placing his
1 Reminiscences of Henry Angelo, I. 106.

Coll, of Dr G. C. Williamson

DAVID GARRICK (1717-1779)

From Ganich Sale , June, 1823

PENCIL AND WASH DRAWING ON PAPER

EARLY DAYS

pocket-book upon the table, ‘ and be widow’s clerk till twelve, when,
gentlemen, by your leave, we will close the account.’

“ Several of the company entered their names for crowns, half-
crowns, and shillings. Mortimer was seated under a brass sconce,
reading the St. James's Chronicle , when, calling for pen and ink, he
began to sketch groups of monsters, heads, caricatures, figures and
grotesques, upon the margin. It is well-known that he drew not
only with greater rapidity, but with greater spirit and grace than
any one, not excepting, perhaps, even Guercino himself. Hence,
an hour at least before the time appointed, he had entirely filled the
whole of the blank four pages.

“ * What are you about, Mortimer ? ’ inquired one. ‘ What an
industrious fit, Hamilton ! ’ exclaimed another, but he persisted
nevertheless, nor would he allow any one to look at his performances
until his task was done ; when getting upon the table, and spreading
his work to view, he began, in imitation of Cock, the celebrated
auctioneer : ‘ This lot, gentlemen, this matchless lot, this unique
effort of art, the property of a great amateur — of wine and venison —
and a renowned connoisseur in tobacco and punch, is offered to the
notice of the cognos. It is to be disposed of without reserve. Come,
gentlemen, shall I say ten pounds — five — one pound, gentlemen, —
yea, even five shillings — anything for a beginning ? ’

“ ‘ I offare von guinea, mine friend Mortimare,’ said Zoffany, who
happened to be in the next box. ‘ Thank you, sir,’ returned Mor-
timer, with a forgiving smile. ‘ Charity covereth a multitude of
sins.’ ‘ Guinea and a half,’ said another. ‘ Two guineas,’ said
Zoffany. ‘ Give me your hand,’ cried Mortimer. ‘ Ton mine
soul, ’tis peaudiful,’ added Zoffany. ‘ Two and a half,’ said Caleb
Whiteford : and so the worthies, with that generous competition
which is so catching in glorious old England, when the object is
charity, pushed it on, until the lot was knocked down for five guineas,
to some good soul, whose name I regret to say I cannot record.”

Another friend whose acquaintance Zoffany made at this time was
Richard Wilson, and the three men became very intimate, were in and
out of each other’s studios and at times even worked upon the same
picture. Ozias Humphry, and Romney, it will be remembered, are said
to have both of them worked on the famous picture of the Ladies
Waldegrave.

Wilson painted Mortimer’s portrait, and it is to be seen in the Diploma
Gallery of the Royal Academy, and he put in, it is said, the landscape
backgrounds for at least three of Zoffany’s groups. Zoffany, on his

JOHN ZOFFANY, R.A.

part, painted — so it is stated — the figures in the foregrounds of several
of Wilson’s groups, while Mortimer did others, notably those for Wilson’s
“ Niobe ” now in the National Gallery.

It is furthermore a tradition in the family that in two instances all
three artists collaborated, Wilson doing the background of landscape,
Mortimer the figures in the nude and Zoffany the costumes or draperies
that covered them.

Certainly several of Zoffany’s groups have landscape backgrounds
that recall the work of Wilson, and Wilson’s landscapes have figures that
closely resemble those of Zoffany, so we may well suppose that the
tradition is founded upon fact.

Zoffany is also declared to have assisted Wilson’s pupil, William
Hodges, in his productions, and in several instances to have painted the
figures for him, and this may account for the fact that certain pictures,
indubitably by Hodges, have at times passed as works of Zoffany. One
landscape by Hodges exhibited at the Pantheon ( circa 1770) was expressly
stated at the time to have the figures in it painted by Zoffany.

For nearly two years Zoffany lived in the Great Piazza, 1 and while
there produced one of his ablest theatrical pictures, the portrait of Foote
in the character of Major Sturgeon in The Mayor of Garratt (140). This
is now the property of the Earl of Carlisle. Walpole thought exceedingly
well of it. He drew attention to the fact that Baddeley also comes into
it, that it did not represent Foote alone, and that this fact should have
been mentioned in the catalogue; and then he proceeds to call it “ A
very fine likeness, a picture of great humour.”

Angelo, also, alludes to it in the following interesting passage from
his Reminiscences —

2 “ Captain William Baillie, who knew all the distinguished artists,
for more than half a century, as I have heard him say, used to pass
his mornings for a considerable time in going from one apartment to
another over the Piazza, to the respective artists who resided there.
It appears from the memoranda before me, that in the year 1764 no
less than ten painters occupied houses or apartments on this side of
Co vent Garden.

“ It was here that Zoffany painted Foote in the character of Major
Sturgeon in the Mayor of Garrat : and Moody in the character of
Foigard. He also took his first studies from Garrick, for the drunken
scene in the Provoked Wife here : and my father accompanied him
thither from his house in Southampton Street, adjacent, and Fosbrook

1 Where, in later years, Robins, the celebrated auctioneer, dwelt.

2 Reminiscences of Henry Angelo, I. 112.

Coll, of the Duke of Atholl

FAMILY GROUP REPRESENTING JOHN, THIRD DUKE, WITH HIS WIFE AND SEVEN ELDER CHILDREN ON THE

BANKS OF THE TAY AT DUNKELD
Painted for Blair Castle in 1767

Coll, of the l),,ke of Atholl

'llll ORIGINAL KIT LIFT FROM ZOFFANY I'OR II 1 E PICTURE HE PAINTED FOR HIE DUKE OF" \TIIOLL

EARLY DAYS

brought the dress from the theatre, for Garrick to put on, to be
painted in. This picture was not finished, however, until Zoffany
had removed to Lincoln’s Inn Fields.”

It would be interesting to identify the persons depicted in another
important group for which Zoffany was responsible at this time. Walpole
evidently did not know them, as he merely describes the work thus :
“ A boy flying a kite, the father sitting, and a younger boy standing by
him and looking at the other.” Zoffany called it only “ A Family,” and
sent it to the Society of Artists in 1764, and at their Exhibition it was
hung and will be found in the catalogue under item 141. It now belongs
to the Hon. Mrs. Goldman, who lives in Zoffany’s own neighbourhood,
Chiswick, and it came to her by bequest from a Mr. Friedlander.

It is an exceedingly good picture, as delightful as any group Zoffany
ever painted, but it is annoying that we are not able to find out who are
the persons there represented.

Unfortunately we have not been able to illustrate this fine work in
these pages.

His other pictures belonging to this period were a portrait of the
actor Moody, in the character of Foigard, which at one time belonged
to Lord Charlemont, and then to Sir Henry Irving, who regarded it as
a very precious work ; three anonymous portraits 1 and a picture described
in the catalogue as that of “ A Lady playing on the Glasses.”

In 1765 the artist moved into Lincoln’s Inn Fields, as the quotation
from Angelo’s Reminiscences has already informed us.

His residence was in what was then known as Portugal Row, and later
on as Portugal Street — so-called from the presence in it of the home of
the Portuguese Ambassador — and Zoffany, who, like Nollekens, was (at
least in his early life) a devout Catholic, is said to have moved there in
order to save shoe-leather in attending the Sardinian Chapel, his usual
place of worship, as it was far nearer to his new residence than when
he was in Co vent Garden.

Here he remained for nearly five years, busily engaged the whole
time, and produced some admirable pictures.

Upon one of the most important of them he was engaged for a con-
siderable period. It was a group representing John, third Duke of
Atholl, with his wife and seven elder children, and hangs now at Blair
Atholl, a large painting (63 x 36) having been executed specially to fit
over the mantelpiece of the room.

1 Perhaps one of them represented Lord Charlemont, for on October 29, 1764, he
drew a bill on Arnold Nesbitt & Co., in the favour of Zoffany for £20 for work “ done
for him.”

JOHN ZOFFANY, R.A.

Zoffany began it in July 1765, as the original entries from the Duke’s
account-book, still in existence, set forth. They read thus —

1765. June. Mr. Zophany in part payment for a family

picture ...... £100

1767. Feb. To Mr. Zoffany, Painter, for a family pic-
ture of nine figures at 20 guineys each,
but £100 being paid formerly, I only
pay him now £89 .... 89

£189

and Zoffany’s receipt — which, by the late Duke of Atholl’s permission,
we reproduce in these pages — runs thus —

London. 16th Jan, 1767.

Received from the Duke of Atholl 1 Eighty-Nine Pounds which
with One Hundred Pounds formerly Receivd Makes in All One
Hundred and Eighty Guineys being in full for, a Family Picture of
nine Figures at twenty Guineys Each.

Sgd. Johan Zoffany.

The picture was not exhibited till 1769, and then at the rooms of the
Society of Artists, and it will be found in the catalogue under 215.

It possesses a special feature of interest, for, referring to our
previous allusion to joint work on the part of various artists, we believe
the background for this painting, which certainly represents the Tay
and the Hill of Craigvenian, with the Atholl cairn on it, to be the work
of Charles Stewart (brother to Anthony Stewart (1773-1846) the miniature
painter), who was on Tayside and painted for the Duke various land-
scapes which now form five panels in the dining-room, and are signed and
dated 1766, 1767, 1768, 1777 and 1778. It would appear as though the
canvas, having been prepared for the exact place in the room, Stewart
first painted upon it the landscape, the view of the River Tay at Dunkeld;
and then the canvas was brought up to town by coach so that Zoffany
could carry out his work from sittings when the family were in town.

It does not seem at all likely that Zoffany painted the picture in Scot-
land. It probably was worked upon from time to time, as various mem-
bers of the family came to London, for the Duke of Atholl was at that
time doing up and refurnishing Blair Atholl and brought nearly everything

1 The same Duke paid Zoffany £ 8 , in 1772, for a picture of the Royal family, but
this we have been unable to trace. It does not appear to be at Blair Atholl.

SCENE FROM “ LOVE IN A VILLAGE ”

REPRESENTING EDWARD SHUTER, JOHN BEARD AND DUNSTALL.

From the engraving. The original painting belongs to the Earl of Yarborough

EARLY DAYS

for that purpose from London, as so much of the furniture and pictures
from the Castle had been looted or sold during the ’45.

This procedure of slow completion was not an unusual circumstance
with Zoffany, because many of his groups represented entire families,
and it was seldom possible for them all to sit together, or, indeed, for
more than one at a time to be in the studio. Such groups, in conse-
quence, were not executed in a hurry. In one notable case, as we shall
see in the next chapter, these delays were responsible for a serious state
of affairs.

In what way Zoffany first attracted the attention of George III is not
known. It is said to have been due to the intervention of Lord Barring-
ton, or to Lord Bute. Zoffany is known to have painted the portrait of
the former nobleman (the second Lord), and the family tradition is that
Lord Barrington brought Lord Bute, whose children Zoffany painted,
and Lord Bute then interested the King in the painter.

Certainly during Zoffany’s residence in Portugal Row he received his
first Royal commission, which was, as we shall see, to be followed by
others.

The work was executed in 1765, and represented “ Their Royal
Highnesses, the Prince of Wales and Prince Frederick as cupids,” and it
was exhibited at the Free Society’s Exhibition in 1766, Zoffany’s only
exhibit in the gallery of that Society.

It does not appear to be now in the Royal collection, and we have at
present been unable to find it.

The catalogue states that it was painted “ on copper.”

Of the other pictures which belong to this period six were theatrical
groups. “ Mr. Garrick, as Lord Chalkstone ” (198), now to be seen in the
Garrick Club; “ The Miser, in the same Entertainment ” (199), a picture
we have not been successful in finding. “ A scene in Love in a Village ”
(194), which now belongs to Mr. Acton Garle, and was bought by his
grandfather ( circa 1830) for a thousand pounds, and another scene from
the same play (138), which is, we believe, the one now in the possession
of the Earl of Yarborough.

In these groups we have representations of that clever comedian,
Edward Shuter (1728-1776), who often acted under Garrick and distin-
guished himself in minor comic parts.

Of him Angelo has a good deal to say in his Reminiscences , and he
refers to this actual picture also.

“ ‘ Shuter,’ says he, ‘ was so genuine a humourist, that he was
noticed by many persons of the highest rank. Some of these were
permitted behind the scenes at the theatre, by a special privilege of
c

JOHN ZOFFANY, R.A.

the management ; though, until a certain period of the last century,
this was pretty general; so much so, indeed, that these amateur
visitors were occasionally sufficiently numerous to impede the actors
in their lawful occupation.

“ ‘Two illustrious personages, members of the Royal family, one
evening, being behind the scenes at Covent Garden Theatre, dis-
posed for a little humour, went to have a chat with Shuter in his
dressing-room. He, having an arduous part to perform, was anxious
to be left alone, for in their gay mood they were following him about.
He had to dress for two characters; so having a ready wit, and
knowing their princely condescension, he said to one, “ By Jupiter,
the prompter has got my book, I must fetch it; will you be so
obliging as to hold my skull-cap to the fire, your Royal Highness ? ”
And to the other prince, “ Perhaps you will condescend to air my
breeches ? ” Yielding to his humour, they good-naturedly did as
they were required. Away he flew, shut the door, and, relating in
the green-room what he had done, several of the performers and
others following upstairs they peeped through the keyhole, and to
their astonishment beheld the Royal brothers thus employed.

“ ‘ I have heard Zoffany say that this lively actor, however, was a
very dull fellow off the stage, unless half tipsy, but in that state he
was the most amusing of all the dramatic fraternity. Zoffany’s por-
trait of him in the character of “ Justice Woodcock ” was pronounced
an incomparable likeness; indeed my own recollection of him is
sufficiently strong to vouch for this; for, having repeatedly seen
him in that character, in the favourite piece of Love in a Village ,
though I was then but a boy, a recent view of the print brought this
old favourite, to my imagination, at once to life again.’ ”

Mr. Garrick’s drunken scene in the Provoked Wife (167) is another of
Zoffany’s theatrical groups painted at this time. It passed to George
Garrick, and still belongs to one of his descendants ; and the last of the
six is a scene in The Devil Upon Two Sticks (214), now in the gallery of
the Earl of Carlisle.

Of these, four were engraved, a compliment proving how popular
Zoffany’s theatrical pictures had already become.

All of them were seen at the Exhibition of the Society of Artists, and
they will be found recorded in our List of Exhibited Works in the
Appendix.

Walpole praised two of them, and in the scene from The Devil Upon
Two Sticks noted from memory the words of the conversation in which
the actors are engaged, upon the margin of his catalogue.

Coll, of Sir E. C. Nugent , Bart.

GROUP OF PERSONS IN A ROOM FROM WHICH CAN BE SEEN THE HORSE GUARDS PARADE

1 hey include Robert, Viscount Clare, his son and daughter, afterwards Mr rchioness of Buckingham and Ccuntess Nugent ; and Miss Mary Nugent

usually known in the family as Aunt Peggy

Coll, of Col. Bradney, C.B.

PORTRAIT GROUP REPRESENTING SIR JOHN HOPKINS, GREAT-GRANDFATHER OF
THE OWNER, HIS WIFE, TWO SONS AND THREE DAUGHTERS

Coll of Major Savill

GROUP OF FIVE FIGURES I N I I I l.l I> “THE: MINUF'I

Coll . of I Mr (l Glcnconncr

PORTRAIT OF MISS STFVENS

EARLY DAYS

In addition to all these there were exhibited some six portraits, which,
being anonymous, it is not possible to identify. One of them, repre-
senting a child with a dog, has also, says Walpole, “ a cradle,” but whether
the child is in it or not he does not state.

Finally, in addition to the Atholl group already mentioned, Zoffany
exhibited at the Society of Artists three other groups of figures.

Of one we have no information whatever. It is simply called “ A
Family,” and appears as item 195 in the Exhibition of 1767.

Another, however, in the 1765 Exhibition (168) Walpole enables us
to identify. He notes against it the significant words “ Dr. Nugent’s,”
and we find the original picture still at West Harting Hall in the possession
of Dr. Nugent’s descendant, Sir E. C. Nugent. It was painted in London,
perhaps in the family town-house and from the room in which the scene
is set the Horse Guards Parade may be viewed.

Lord Clare (afterwards Earl Nugent) is the principal figure, and with
him are his son and daughter with his half-sister, usually known in the
family as Aunt Peggy. It is a brilliant conception well carried out in
the neat, careful, painstaking manner so characteristic of Zoffany’s
work.

The third group was probably that now belonging to Colonel Bradney,
and represents Sir John Hopkins with his wife, two sons and three
daughters. Here, again, the room in which the group is represented is
a typical London drawing-room of the period, well-lit from a large
window, having the tea equipage in full view and a harpsichord near at
hand. On it one of the ladies is performing, while another assists her
in turning over the music.

It would be interesting to know whose were the portraits that Zoffany
painted in Portugal Row, but about them, alas ! we can only surmise.

Perchance one was a clever portrait of Miss Fenton (now belonging
to Sir Wilmot Fawkes) and which seems to belong to this period, and
very probably others were those of Charles Banister, Miss Stevens,
Thomas Doggett and Thomas Jackson, but this is all mere surmise, as we
have no certain evidence that will enable us to identify any of the anony-
mous portraits he painted while residing in Lincoln’s Inn Fields.

One other painting does, however, deserve attention, that entitled
“ The Porter and the Hare.”

It is said that Zoffany from his window witnessed the scene, and at
once committed it to canvas. A porter is carrying a hare as a gift to some
person and is uncertain of the position of the house. A boy is reading
the direction on the label, another near by is looking up and is busily
eating bread-and-butter. It is just an episode but of a pleasing nature,
and it met with Walpole’s approval when he saw it in the Exhibition of

JOHN ZOFFANY, R.A.

1769 (213), and noted down his comments upon it on his catalogue. With
the general public also, it gained instant approval, and the excellent
mezzotint which Earlom made of it and published in 1774 sold exceedingly
well.

It even seems possible that Zoffany painted a replica of the picture
for some client, for there are two versions of it, both of which appear to
be the work of the artist himself. The better of the two seems to be the
one in New York, which originally belonged to the Ehrich Gallery and
which, for a wonder, has a signature upon it, 1 but there is another version
in the possession of Colonel Baskerville which exactly resembles the
mezzotint, and has also good claims to be considered the original work
from which it was taken.

Possibly the very reason why there is a name on the New York version,
to wit “ Mr. Zoffany pictor,” an unusual form for a signature to take, is
the fact that there are two versions and that one owner got Zoffany to
put his name to his or himself added the signature. It certainly appears
to be contemporary with the picture and a genuine part of it.

The important group from Swaylands representing the Drummond
family must have been painted somewhere about this time, as Andrew
Drummond, the old man in the picture, died in 1769, at the age of eighty-
one, and he was clearly a very old man when he sat for this portrait. It
is a very happy composition, one of Zoffany’s best out-of-doors conver-
sation pieces, and as it gives the portraits of three generations of the
Drummonds, is of peculiar interest. It was painted at Stanmore, and in
the extreme distance in the centre of the picture the town of Harrow-on-
the-Hill is lightly indicated. The picture is fully described in the
Appendix. To the same period belongs the large oval portrait of Mr.
Drummond, now in the same house. In Mr. Drummond’s hand can
be seen a gold-topped crutch-handle walking-stick, used by its owner in
his famous walk from Glasgow to London when he came up to found the
agency which grew with great rapidity into the famous Bank which now
belongs to his descendant.

This actual walking-stick, carefully preserved as a valued treasure,
can be seen in a glass-case in the Bank parlour.

The similar portrait at Cadland and the one representing the group
of Mendicants also belonging to Mr. Maldwin Drummond, and another

1 Zoffany seldom signed his pictures. We have only seen one work, the portrait of
Maddison, belonging to Mr. John Lane in which we are convinced the signature and date
are genuine. In two other cases we are sure that the signature has been painted on
at a later date, and on several works reputed to be signed we have failed to discover
the signature at all. Of several of his works, however, there exist undeniable proofs
of authenticity, such as entries in diaries, allusions in letters, or even receipted bills.

Coll, of Messrs. Ehrich Brothers Ehrich Gallery photo

THE PORTER AND THE HARE
This picture is the subject of an engraving

PORTRAIT GROUP OF THE DRUMMOND FAMILY

EARLY DAYS

group of mendicants somewhat similar belonging to Mrs. Jervis were
all probably painted in the very same year.

Another notable person whose portrait, however, we have not yet
succeeded in tracing, was painted by Zoffany at this period. This was
Francis Grose the antiquary (1731-1791), a man of unusual corpulence
whose portrait was known as that of “ Zoffany’s fat man.”

Angelo relates the story of the sketch from which the portrait grew,
and it is so well told and of such an amusing character, that it is well
worth repetition in extenso. It is not certain whether the sketch to which
Angelo alludes did not grow up into a double portrait; in fact, there is
a family tradition that it did, and that both the two men, with whom
Zoffany was very intimate, figure in one of his groups side by side. It
would, in the circumstances, be of interest if this picture could be
found.

Angelo’s story is given in these words —

“ The bare mention of Captain Grose brings many an instance
of his facetice to mind. I never remember a more amusing day than
that which, of all others, happened to be one of those entitled a
Fast , or annual day of humiliation by Act of Parliament, for the
manifold sins of the people, pending the years of war : a custom, by
the way, which, during the days of peace (a period for general thanks-
giving) is left alone, which neglect, perhaps, gave occasion to the
old distich —

“ * In time of war, and not before,

God and the soldier we adore ;

When peace is come, and war is not,

Soldiers may starve — God is forgot.’

“ However this may be, the elder Angelo at Acton, being a cele-
brated Cake-house for all his numerous and very multifarious friends
and acquaintances, on this particular Fast - day walked hither two
worthies, who, for bulk, might have been weighed against any two
aldermen in our renowned old metropolitan city. These were
Captain Grose and Alexander Gresse : the first the celebrated anti-
quary, the latter an artist of celebrity in his day, teacher of drawing
to her late Majesty and the Princesses, and a great favourite of his
late Majesty King George the Third. 1

“ It is a curious fact, that these two corpulent gentlemen were
great walkers, and, although they did not get over the ground very

1 On account of his corpulency John A. Gresse was known amongst his comrades as
“ Jack Grease.”

JOHN ZOFFANY, R.A.

rapidly, yet, by ‘ taking time by the forelock,’ that is, by rising early,
they contrived to be in time to many a good dinner, within a circuit
of eight or even ten miles of town.

“ Sebastian Bach, and his friend Abel, who had been invited,
were already there, when my father, looking out from the window,
beheld these ponderous pedestrians approaching the house. Bach
and Abel, being called to the window, on viewing them, laughed so
lustily, that my father, catching their fit of risibility, could not go
down to receive them, as he was accustomed to do; for Bach ex-
claimed, patting Abel’s corporation, which was very protuberant,

‘ Mine Gote, mine teer friend Angelo, vot, is two more such pellies
as this gome down to keep the fast ? Diable ! If we feast to-day,
we must fast to-morrow, and so tromper the act of barliament.’ . . .

“ Gresse and Grose at length arrived : and after each taking a
glass of liqueur before dinner was announced, we walked into the
grounds, where Calze, an Italian painter, who had practised here,
had painted a large piece on a blank wall, at least eighteen feet high,
being the gable of our coach-house, the subject of a Roman structure
with an arch, through which he has represented a wide gravelled
path, between a long vista of trees. This having become dingy,
Zoffany was restoring it, and having seen our two fat friends through
the hedge, as they turned the road to my father’s front gate, he filled
his painting brushes, and from this slight glance rubbed their por-
traits in with vast rapidity, and with marvellous resemblance. My
father and others, who accompanied them down the avenue that
faced this artificial ruin, were actuallv startled, thinking these figures
the wraiths of Gresse and Grose. On nearing them, however, they
appeared mere daubs. This frolic of Zoffany’s caused the fat,
facetious Grose, great merriment, at the expense of Gresse, who
could not, or would not, see the joke. Though a good-natured and
friendly-hearted man, Gresse was very irritable, and could not
patiently endure the least observations upon the stupendosity of
his figure. This, indeed, is verified in a story of his late Majesty,
and the too-sensitive painter, which happened whilst my father
was in attendance upon the Royal family.

“ Gresse, on his first introduction as a teacher at the Royal palaces,
had been told by Muller, page to the then young Prince Edward, that
the etiquette was, if by accident he met the King or any member of
the Royal family within the palace, to stand respectfully still — let
them pass, and take no notice, unless those great personages con-
descended to notice him.

“ It happened that during his many professional visits at Bucking-

EARLY DAYS

ham House, at Kew, and at Windsor, during the first two years’
attendance, he had never by any chance met the King.

“ One day, however, whilst waiting to attend the Queen, and
amusing himself in looking at the painted ceiling in the great audience
chamber, a door suddenly opened, and by a side glance he perceived
himself in the Royal presence. It was no less a personage than His
Majesty, King George the Third, who entered alone.

“ Struck, no doubt, with the extraordinary bulk and general
contour of the figure of the artist, for he stood with his hands behind
him, grasping his cocked hat, and his legs straddled wide, with his
head thrown back, the King advanced to the middle of the room, and
eyed him with apparent surprise. Gresse, remembering the point
of etiquette, dropped his head to its natural position and stood
stock-still.

“ After his Majesty had taken this survey, he walked round, whilst
Gresse, wishing a trap-door to open under his feet, remained, nothing
short of a waxed figure, beneath a tropical sun. At length the King,
unconscious, we may reasonably suppose, of the misery of the sen-
sitive artist, walked to some distance, and, turning round, took a
view of him right in front. Gresse, determined to show the King
that he really was not a statue, regardless of further etiquette, made
to the sovereign a most profound bow, which the King, understanding,
as it is supposed, he immediately retired.

“ To Calze, and his painting of the Roman ruin also, a tale is
attached, which may not be entirely unworthy of relating. . , . He was
capricious and litigious, though, by fits, as generous as the most liberal
of his compeers. Like most Italians, however, being no economist,
he got into pecuniary difficulties, and to get out of them again would
sometimes fix the consequences upon an employer, or even a friend.

“ Zoffany, who ever had his wits about him, had known Signor
Calze well, and advised my father, before he left England, to beware
of his tricks : saying, ‘ Mine friend Angelo, I would advise you to
obtain in writing, that this fine temple, at the bottom of the garden —
this ruin — is not to be rebuilt up at your expense; for ’ (putting his
finger on his nose) ‘ if the Signor should happen to want some monies,
though this is painted con amove , it may chance to end al contrario :
Gourde lo chi e— take care he not send a you se long bill.’

“ My father smiled at the precaution, and was incredulous, saying — •

‘ No — no — my dear Mister Zoffany — he can never treat me so.’

“ My mother, however, who had more penetration, by a little
playful management, procured a written testimony from him, of the
work being done as a tribute in kind.”

CHAPTER II

ZOFFANY AS A ROYAL ACADEMICIAN

We have already alluded to the fact that Zoffany’s skill in portraiture
was brought under the notice of the King, who honoured the artist with
his approval, and, when the Royal Academy was founded, nominated
him as one of its original members.

Not only did His Majesty do this, but his interest in the painter went
further, for he sat himself for a portrait, commissioned one of the Royal
family, another of the Queen and yet other works to which we refer
presently.

George III also purchased from time to time several examples of
Zoffany’s work, showing altogether an unusual interest in the artist.

The first picture of the Royal family exhibited by Zoffany at the
Royal Academy (21 1), is that of the King, the Queen and six of their
children. It still hangs at Windsor Castle.

Walpole commented upon it in sneering fashion. “ In Vandyke
dresses,” says he, “ ridiculous — a print of it,” 1 and to the one of the
King exhibited in the following year (230) he is no more complimentary.
“ Very like,” says he, “ but most disagreeable and unmeaning figure.”

In fact Walpole, while commenting on most of the pictures sent in
by Zoffany to the Exhibitions of the Royal Academy and supplying us
with many of the missing names, does not seem to have held a very
favourable opinion of the artist, as a portrait painter , reserving his praise,
and that is generally full and definite, for the theatrical compositions in
which he considered Zoffany excelled.

We must not, however, dismiss the Royal group in Walpole’s airy
fashion, as the painting, although weak in composition and wholly un-
satisfactory in its grouping, has a special interest of its own. It was
engraved in mezzotint by Earlom, and then from the figure of the King
and from those of the Queen and the children there were modelled Derby-
Chelsea groups in porcelain biscuit. These are now rare. Of the one
of the King there appears to have been two models, differing slightly

1 The Windsor Castle one was engraved by Earlom.

GEORGE III AND QUEEN CHARLOTTE

DERBY PORCELAIN STATUETTES COPIED FROM THE PAINTING BY ZOFFANY IN THE COLLECTION
OF HIS MAJESTY THE KING

By permission from Blacker’s “ Old English China ’

Coll, nj II.M . The Kiuf* Lord ClKWibftlflin's Di'ptirlmrnt phoio

HIS MAJESTY KING GEORGE III, WITH QUEEN CHAKI-O'J'I E AND III I ROYAL EAM11.Y
Exhibited at Royal Academy in 1770 and engraved

ZOFFANY AS A ROYAL ACADEMICIAN 25

one from the other. George III is represented standing by a pedestal,
upon which he rests his left arm, his right hand resting on his hip. The
head is turned towards the right. On the pedestal, in one of the models,
is the crown with the sceptre on a cushion. In the other model there
is a different crown with the orb, and there are other minor distinctions
between the two. One example is in the British Museum, and is illus-
trated in R. L. Hobson’s Catalogue of the Old English Porcelain (Plate XX).
The British Museum example, according to Mr. Hobson’s catalogue, is
mentioned in a catalogue of the principal additions made to the stock
of the Bedford Street warehouse in 1773 or 1774, thus : “ Their present
Majesties, the King and Queen and Royal family, in three grouped pieces
in biscuit, the centrepiece represents the King in a Vandyck dress ”
(see p. 61).

In the example in the British Museum the figure is set upon a pillar
and base, “ glazed and coloured lapis lazuli blue, veined in gold.” The
mark is a combined anchor and D in gold.

Lord Lincolnshire has in his possession the two groups belonging to
the set of which the British Museum possesses the figure of George III. 1
It is believed that this particular figure was sold away from the other
to the Museum, by one of his ancestors. The two groups 2 which he still
possesses are, first, one of Queen Charlotte with the two young Princesses,
and second, one of the four younger Princes, one of whom is playing with
a dog, another should be holding a cockatoo, and the two elder stand at
the back. Both these groups are extremely fine in their execution, and
the treatment of the lace collars and draperies is of unusual delicacy.
The cockatoo which Prince William should be holding in his hand is,
however, missing in Lord Lincolnshire’s group. Mr. Amor, of King
Street, St. James’s, also possesses two of the groups, the one representing
Queen Charlotte and the Princesses, and the figure of George III. From
these two our illustration is taken. The third group, of the four children,
is of extreme rarity. We have only been able to hear of Lord Lincoln-
shire’s example, but we have been told that there is in a private collection
yet another, and that in it the cockatoo, which is missing from Lord
Lincolnshire’s group, can be seen.

It will be noticed on comparing our illustration with the one taken
by the King’s permission from the original painting, that the workers in
porcelain have not followed the painting in all its details, but while aiming
at a general resemblance have varied the composition, probably for
technical reasons, at their own will. Thus the vase at the back of the
group of the Queen does not appear in Zoffany’s picture, nor does the

1 An example of the figure of the King was sold at Christies, in 1875, for £47.

2 Lord Lincolnshire’s groups were exhibited at the Bethnal Green Museum in 1875.

JOHN ZOFFANY, R.A.

ornamental pedestal on which the King rests his arm. Again, the crown,
orb and cushion are quite differently placed in the painting, and the
draperies, especially those of Princess Charlotte, fall in different fashion.
On the whole, however, the arrangement made by Zoffany has been
followed, and the existence of the groups is proof of the admiration with
which the original painting was greeted by the general public. 1

Zoffany did, however, create a sensation at the first Exhibition of the
Academy by his picture of “ Abel Drugger ” (212).

He called it “ The last scene of the 2nd Act in the Alchymist,” and
Walpole’s long and interesting note upon it reads thus —

“ This most excellent picture of Burton, J. Palmer and Garrick f as
Abel Drugger is one of the best pictures ever done by this Genius.
Sir Joshua Reynolds gave him £100 for it. Ld. Carlisle offered the
latter 20 guineas more for it. Sir Joshua said he should have it for
the £100 if his Lordship would give the ^20 to Zoffani which he did.”

The story, so alluded to by Walpole, and which does great honour to
Reynolds, is told also by Mary Moser, 2 and again in somewhat different
fashion by an anonymous contemporary writer who gives, moreover, a
larger sum (50 guineas) as the premium paid.

This is borne out by the tradition at Castle Howard which is to the
effect that one hundred and fifty guineas was paid for the painting.

The other narrative reads thus 3 —

“ The late Earl of Carlisle, at this period, conversing with Sir
Joshua, again expressed a wish that he had been the possessor of this
said picture of Garrick in the character of ‘ Abel Drugger.’ He had
often endeavoured to persuade his friend, Sir Joshua, to part with
it. ‘ Well, my Lord,’ said he, ‘ what premium will you pay upon my
purchase ? ’ ‘ Any sum you will name,’ replied the Earl. ‘ Then

1 See Haslam’s work on the Old Derby Porcelain Factory, 1876, p. 248 ; and Blacker’ s
work on Old English China.

2 Mary Moser, R.A., so Smith tells us, wrote to Fuseli concerning the Royal Academy
Exhibitions, and thus refers to the picture : “ I suppose there has been a million of
letters sent to Italy with an account of our Exhibition, so it will be only telling you
what you know already to say that Reynolds was like himself in pictures which you
have seen ; Gainsborough beyond himself in a portrait of a gentleman in a Vandyke
habit, and Zoffany superior to everybody in a portrait of Garrick in the character
of Abel Drugger with two other figures, Subtile and Fall. Sir Joshua agreed to give an
hundred guineas for the picture; Lord Carlisle half-an-hour after offered Reynolds
twenty to part with it, which the Knight generously refused; resigned his intended
purchase to the Lord and the emolument to his brother artist. (He is a gentleman !) ”

3 Literary Gazette, July 8, 1826.

A SCENE FROM “THE ALCHYMIST ”

GARRICK AS ABEL DRUGGER, BURTON AND PALMER AS SUBTILE AND FACE. (Ad 2 , SCCHS 6)

From the engraving. The original painting belongs to the Earl of Carlisle

Coll, oj Lady Saycr Campbell Cray photo

PORTRAIT OF JAMFS SAYER, AGED 13, THE SON OF ROBERT SAYER, THE PRINT DEALER
Engraved in mezzotint by R. Houston and published by Robert Saycr the boy’s father in 1772

ZOFFANY AS A ROYAL ACADEMICIAN 27

it is yours, my Lord, if you will pay me one hundred guineas and add
fifty as a gratuity to Mr. Zoffany.’ His lordship consented, and so,
to the credit as well as satisfaction of all parties, it was settled. The
picture is now in the gallery at his lordship’s late seat at Castle
Howard.

“ Sir Joshua 1 not infrequently added to the means of contemporary
artists of merit, by this delicate method of transferring what he
himself had purchased in the first instance as a compliment to the
talent which he thus brought into notice. Indeed, it could not fail
to serve a rising artist to receive so marked a compliment as to have
one of his works placed in the private collection of the most illustrious
living painter in the world; one, too, whose opinion almost gave
universal law to the taste of his age.”

The painting is certainly one of the best that Zoffany ever produced
and has always been a popular one. It has often been exhibited, was
twice at the British Institution (1814 and 1840), twice at Whitechapel
(1906 and 1910), once at the Grafton Gallery (1897), and once at the
New Gallery (1891). Its dimensions are 41 2 ; 39, and in it Burton
and Palmer are playing the parts of Subtile and Fall.

Lord Carlisle greatly admired Zoffany’s work and was the purchaser
of two more of his pictures, one representing Foote as Major Sturgeon
in the Mayor of Garrett , and the other depicting Foote and Weston in The
Devil Upon Two Sticks (Act II, Scene ii.).

Both of these also have frequently been exhibited, and the latter, as
well as the Abel Drugger group, were engraved.

The only other picture Zoffany sent in that first year of the Academy
was a small whole-length portrait of a young gentleman.

It is suggested that either this picture, or one exhibited in the following
year under an almost identical description, is the portrait of James Sayer
at the age of thirteen, represented fishing, which now belongs to Lady
Sayer, inasmuch as the portrait in question was engraved by Houston
in mezzotint and published by Robert Sayer, the boy’s father, in 1772.
It was probably, therefore, exhibited in 1770 or in 1771.

One of the two portraits is almost certainly that representing Ralph
Izard, as a boy, seated under a tree, holding an open book and with a dog
at his feet, because that work is dated 1771, and, moreover, is stated to
have Zoffany’s signature upon it, both very rare occurrences in works
by this painter (see p. 20).

1 Sir Joshua commissioned Mr. Garrard, then a young and promising artist, to
paint a picture of a brewery, in compliment to the great talent exhibited by him in a
similar painting of the brewery of Messrs. Calvert.

JOHN ZOFFANY, R.A.

Izard eventually became a notable man in the United States, and
was one of the delegation from South Carolina to the first Congress.

The portrait still belongs to his descendants and is now in the posses-
sion of Mr. Louis Maingault of Charleston, South Carolina, the great
grandson of the boy represented in the painting.

Two of the pictures exhibited in 1771 it is possible still to trace.

One is that of the King, to which we have already alluded, Walpole’s
“ disagreeable and unmeaning figure,” and represents George III in scarlet
uniform with a white waistcoat and wearing the ribbon and star of the
Garter.

The other, called “ A Beggar’s Family ” (232), belongs to Mr. Maldwin
Drummond, and is a spirited representation of a group of mendicants set
in a landscape.

Then, in 1772, we come upon one of Zoffany’s most notable works,
and again he was honoured by a lengthy comment from Walpole.

The picture (290) was styled “ The Portraits of the Academicians of
the Royal Academy,” and it was a high compliment to Zoffany that he
should have been selected to paint this, the first group in which the
members of the newly-founded society were represented. It was at
once bought by George III, and is now in the Royal collection at
Buckingham Palace.

Walpole said of it —

“ This excellent picture was done by candle light; he made no
design for it, but clapped in the artists as they came to him, and yet
all the attitudes are easy and natural, most of the likenesses strong.
There is a print from it.”

Anthony Pasquin (John Williams) in his Authentic History , is not
so complimentary, but his efforts to be sardonic in his criticism 1 are not
quite so successful when he refers to this picture as when, later on, he
alluded to other works by Zoffany. Of this he says —

“ His combined portraits of the Royal Academicians is a picture
so similar to all his best efforts, that it may be offered as an instance
of his manner and ability. The characters are well preserved,
but the outline is too coarse, and the colouring wants harmony ; I
shall consolidate any farther critique in this declaration, that I believe
he cannot paint with common estimation, in the absence of a model.”

On the other hand, the Literary Gazette of July 8, 1826, commenting
on the picture when it was exhibited at the British Institution, gives us

1 Authentic History of . . . the Royal Academicians, by Anthony Pasquin.

Cell, of His Majesty the King

THE LIFE SCHOOL IN THE ROYAL ACADEMY

Lord Chamberlain's Department photo

FINISHED AND ENGRAVED KEY TO THE PAINTING OF THE LIFE SCHOOL IN THE ROYAL ACADEMY

ZOFFANY AS A ROYAL ACADEMICIAN 29

several pieces of interesting information concerning the work and some
good-natured criticism. It thus speaks of the painting, and we give the
extract in extenso with its own footnotes—

“ It was well observed by Jeremiah Meyers 1 that ‘ some men
become ancients even in their own age.’ Meyers said many good
things, and this was said upon the picture of the Royal Academicians,
now chronicled as part and parcel of that Royal collection, which,
by the liberality of our King, is at present exhibiting as the chief
lion of this great sight-seeing epoch. Little did Frank Hayman 2
think, who rarely thought for to-morrow, when he sat to his friend,
Johan Zoffany 3 that he should be so soon handed down to fame,
in such company too, as one of the old English masters. His portrait,
which is a very strong resemblance, was not entirely finished from
the life ; for Master Frank was of too volatile a temper to afford even
a brother Academician a fair number of sittings.

“ Zoffany, however, managed to stamp the canvas with this, his
faithful portrait, partly, we may suppose, from the strength of his
memory. There is a head of Hayman, by Sir Joshua Reynolds,
which was copied by his pupil, Mr. Taylor, on whose authority we
venture to vouch for the fidelity of Frank’s face and figure in the
picture of the R.A.’s.

“ It is said, and on good authority we believe, that Zoffany, at
the period of painting this artistic group, having a pique against
Richard Wilson, the landscape-painter, erst his bottle-companion,
determined to let off a graphic squib at his new propensity, that of
preferring a pipe and a pot to the drawing of a cork. In the sequence,
he introduced on the chimney-piece immediately over Wilson’s
head 4 a quart tankard of stout, with its foaming top, and two crossed
tobacco-pipes, carefully covering the sottish symbols with gold-
beater’s skin, on which he painted a plaster case of a Gorgon’s head.
It was so sent for public exhibition, under the suspicion of Zoffany’s

1 Jeremiah Meyers, a native of Tubingen, miniature painter to the Queen of
England, and one of the earliest Royal Academicians. His portrait is in this picture.

2 Francis Hayman is seated near him, whose portrait describes to the life his bold,
athletic person. In this we behold the renowned painter who had the pugilistic set-to
with the great Marquis of Granby, whose magnificent portrait by Reynolds is on the
opposite side of the gallery.

3 Zoffany has introduced his own portrait in the group. He is seated in the front,
with his palette and pencils.

4 Wilson is represented at the back of the group. His nose herein is of moderate
dimensions, not having attained to that remarkable prominence subsequently repre-
sented in the sketch by Sir George B . . . t [Beaumont], and other no less faithful
resemblances, alike done con amove .

3 °

JOHN ZOFFANY, R.A.

intending to remove the skin secretly, and thus expose the falling of
his former convive. But whether his splenetic humour subsided, or
he more prudently thought the disclosure of the trick would offend
the gravity of the magisterial committee of the R.A.’s, he kept his
secret till the exhibition closed ; and after bantering Wilson, through
the whisperings of a select few, to whom he showed this sport of his
pencil, he painted out the Gorgon, the pipes and the 'pot, and com-
pleted the composition as it now appears.

“ The Royal Academy of Painters, Architects and Sculptors, like the
theatres, under whose roofs have flourished the actors, singers and
others, will serve from age to age as a memento mori ; for new genera-
tions of painters and dramatic performers, rapidly succeeding those
whom we, by way of contradistinction, call old, in the course of a
very few years, in the ‘ Mind’s eye,’ really convert them into ancients.
Thus the very picture before view, which records the portraits of the
Royal Academicians of the last reign, all, with their honoured founder,
gone to the tomb, presents to the mind a band of worthies already
endeared to their posterity by the tender associations of the past,
wrapping their memory with that sacred mantle which imagination
draws between the living and the illustrious dead.

“It is doubtless from this general respect for men of genius in
the arts, who have done honour to their age, that the next age delights
to preserve their memory, by dwelling on all the minor operations
of their ingenious career; hence every trait of their habits, private as
well as professional, is sought with avidity, related with pleasure, and
listened to with delight.

“ It seems that all the members of the Royal Academy sat to
Zoffany for the occasion, excepting one, Sir Nathaniel Holland.” 1

In a later issue of the same Gazette, the writer comments still further
upon some of those who are represented in the picture.

“ ‘ Francis Hayman,’ he says, ‘ who makes so important a figure
in his coat, waistcoat and breeches of drab broadcloth and his Sunday
wig (to use the words of his favourite pupil, now in his eighty-
seventh year, and sitting at my elbow), looking as large as life.’
This Francis Hayman was the ingenious author of those graphic
decorations at Vauxhall, the painted walls.

“ Frank, another nightingale . . . kept his summer nights in the
bowers of Vauxhall, and returned to his dormitory with the uprising
of the lark.

1 Nathaniel Dance when an R.A. He assumed the name of Holland when he
retired and obtained his title ten years later still. — Author.

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KEY TO THE PAINTING OF THE LIFE SCHOOL IN THE ROYAL ACADEMY

ZOFFANY AS A ROYAL ACADEMICIAN 31

“ He lived in the early days with old Jonathan Tyers, in Craven
Buildings, and was a useful man in the parish of St. Mary-le-Strand.
The respectable inhabitants of his silent street, situated, to be sure,
in the murky bosom of a vile neighbourhood, the far-famed Drury
Lane — these were wont to open their windows past midnight, to look
for the watchman, who, even while going his limited rounds, was by
certain timid matrons, unreasonably expected to be in his box.
Complaints were preferred at the vestry, and the guardian of the
night, though as trusty an old officer as any upon the staff, would
have been cashiered had he not summoned ‘ a worthy gemman, one
Mr. Hayman, who could speak to his character.’ Frank, who was
every man’s friend, cheerfully obeyed the summons. ‘ Now,
gemmen,’ said old Time, 1 now I shall be supported. There is
Muster Hayman, who comes home at all hours. Did you, sir, ever
find me off my post ? ’ ‘ Never,’ replied Hayman. ‘ Your testi-

mony is sufficient, sir,’ unanimously exclaimed the Board. . . .

“ Several members of this first list of R.A.’s . . . used to meet
after the Vauxhall season at the Turk’s Head in Greek Street, Soho;
Hayman, Zoffany, Wale, Moser, Carlini, Meyer, Peter Toms, Richard
Wilson and others. . . . Zoffany and Hayman, familiarly Johann
and Frank, were inseparable. Zoffany, who had a liberal supply of
game, presents from his patrons, used to take a pheasant, a brace of
partridges or woodcocks, to the bar and whisper mine hostess —
‘ Dress these for Mr. Hayman and me.’ Frank used to entertain
his friend with the frolics of London and Johan made him laugh in
return, with the comicalities and na'iveU of his former friends in
Yharmany. They were everlasting smokers.

“ John Gwynn, who was considered of sufficient talent to be
incorporated in this band of artists, on the royal foundation, is now
scarcely recognised even by name. Yet he was an ingenious
designer, drew architectural subjects correctly, understood, the
contour of the human figure and was principally employed by the
publishers. He drew all the figures for that capital folio work on
the science of Fencing, published at a great expense by the elder
Angelo, the plates to which were beautifully engraved by that able
artist, the unhappy William Wynne Ryland, and his clever co-
adjutators Grignion and Hall.”

Walpole’s statement concerning the painting of this picture of the
Royal Academicians must not be taken quite literally, as there are in
existence at least two studies for it, one of them being in the possession
of the Royal Academy itself.

JOHN ZOFFANY, R.A.

The group is really one of amazing interest and extremely cleverly
lighted from the chandelier with its heavy shade in the centre of the room.

The portraits of the two lady Academicians, Angelica Kauffmann and
Mary Moser are depicted upon the wall, the former in a rectangular,
the latter in an oval frame, as it was not considered seemly that the ladies
should be seen in the “ Life School.” Leslie and Taylor, in their Life
of Reynolds , thus allude to the painting — 1

“ ‘ The canvas which drew the densest crowd about it this year,
and had almost as much success as West’s “ Death of Wolfe ” the year
before,’ they state, ‘ was Zoffany’s picture of the Academicians
gathered about the model in the “ Life School ” at Somerset House.
The picture is in the Royal collection, and is invaluable as a collection
of characteristic figures and faces. Moser is setting the figure, which
Zuccarelli and Yeo study the pose of, of the model, and Dr. William
Hunter, a little behind them, with his hand on his chin, scans the
action of the muscles on which he has lately been lecturing. Nathaniel
Hone, with an expression and attitude of swaggering self-importance,
leans on the screen which backs the model. Cosway, the Maccaroni
miniaturist, displays his clouded cane and gold lace at full length
in the left-hand corner. He is the only one present, besides Sir
Joshua, who wears a sword. Zoffany, himself sitting, palette on
thumb, in the right-hand corner of the composition, is the pendant
to Cosway. Behind him, West leans on the rail, with more abandon-
ment of action than we should expect in the formal and ceremonious
young Quaker, in conversation with Cipriani and Gwynne, the
architect, on his left. Seated on a drawing box, his figure set square,
his legs apart, and his hands firmly planted on his knees, is the burly
Hogarthian figure of Frank Hayman, looking like an incarnation of
British sturdiness and straightforward manhood. Just before him,
Sir Joshua, the centre figure of the composition, directs his ear-
trumpet to the talk of Wilton and Chambers. The less conspicuous
members of the Academy are ranged in a second line, even Tan
Chet Qua, the ingenious Chinese modeller, is not forgotten. Wilson
leans moodily in a corner, his hand thrust into his waistcoat, looking
gloomy and unsuccessful. Hoare is seen in profile behind Cosway,
but Gainsborough is absent. He lived in Bath, and never troubled
himself with the meetings or business of the Academy, which had,
in fact, taken him into its bosom, in spite of the most manifest
evidences of indifference to that honour on his part.’ ”

1 Leslie and Tom Taylor’s Life of Reynolds, I. v. 446-7.

Coll, of the Royal Academy of Arts Photo by tile courtesy of the “ Illustrated London News ”

THE ANTIQUE SCHOOL OF THE ROYAL ACADEMY

“ THE FIRST OCCUPANTS OF THE NEW SOMERSET HOUSE IN 1780"

ZOFFANY AS A ROYAL ACADEMICIAN 33

As regards the portrait of Richard Wilson, just alluded to, it may be
well to mention that he stands in the recess of the room, hard up to the
mantelshelf on which there certainly is the appearance of some slight
alterations in the paint-work, as though something had been removed from
the picture and the spot re-painted. Of several of the Academicians
of 1770 this group gives us practically the only portraits extant, so that
its interest is of a special character in that respect.

It was, as we have said, engraved in mezzotint by Earlom in 1773, and
a key also was prepared. The print is a rare one, as after a few impressions
had been made from it, the plate was accidentally destroyed by fire, in
Sayer’s warehouse in Fleet Street.

We reproduce an illustration from the original picture by gracious
permission of the King, and also give the mezzotint by Earlom and his
key to the figures in it.

This, although the best known, is, however, by no means the chief
work which Zoffany executed respecting the Royal Academy. Such an
epithet belongs most certainly to his picture which now hangs at Burling-
ton House in the Saloon, and which is entitled “ The Antique School of
the Royal Academy.” It depicts the first occupants of the stately room
at Somerset House, which in 1780 was used as the Antique School, and
from the point of view of skilful composition and careful lighting, it
was never excelled by any work the artist carried out. The room is a
large one, with a panelled ceiling, richly decorated, it is said, by Angelica
Kauffmann, West, and other Academicians. A meeting of the School
is taking place by night. The casts from the antique are illuminated by
oil-lamps with large triple reflectors, set up on high standards, and each
student’s easel is likewise illuminated by its own oil-lamp and reflector.
Furthermore, there is a special lamp and reflector of more than ordinary
power in front of the desk of the Keeper, which places his features in
strong vivid light, and finally, the door of the apartment stands partly
open, and some light from the staircase steals through the aperture,
revealing the figure of a man in a wig, who is about to go out of the room.
It will be seen, therefore, that Zoffany had set before him a very complex
problem of lighting, and splendidly has he risen to the occasion. The
painting is also a remarkably skilful composition. The casts, which
include the Farnese Hercules, the Quoit Thrower, and other well-known
antiques, are well set up, and the glow is reflected from them over that
corner of the room, and spreads partly upon its ceiling and walls. Each
student is seen busy with his sketch-book, and the separate groups
scattered about the room produce a pleasing and satisfactory result,
while the face of the Keeper (George M. Moser) is admirably painted,
and gleams out from a shadowy wall of pictures with excellent effect.

JOHN ZOFFANY, R.A.

There is a visiting Academician or Professor, who is possibly Westmacott,
to be seen just below the Keeper’s desk, overlooking a student’s work,
and the painting on the whole may be regarded as one of the most successful
that Zoffany ever executed, an absolute tour de force in dealing with a
very complicated system of artificial lighting.

The Literary Gazette states, however, that the famous “ Life School ”
picture was not the first Zoffany had painted of a group of artists.

Its allusion runs thus —

“ This picture of an assembly of artists is not the first which Zoffany
composed; he painted a group of the members of the St. Martin’s
Lane Academy, and made the studies from the individuals on the
spot. Moser, who is represented as the foreground principal figure,
was looking over the drawing of a student, Mr. Taylor, then a young
man; and several are therein introduced who afterwards became
distinguished members of the Royal Academy.

“ This picture, which was small, 1 was purchased by Nicholas
Thomas Dali, scene-painter to Covent Garden Theatre, at whose
death, in 1777, it became the property of Mr. Richards, Keeper of
the Royal Academy, scene-painter, and Dali’s successor. It was
disposed of again by public auction, after Richard’s decease, but to
whom we know not. It would be worth inquiring, however, into
whose hands this curiosity may have gotten; for such an interesting
record should be preserved, as it would help to complete the portrait
history of the artists of the English school, from its foundation in
the last century. Such a picture, indeed, if equal in fidelity to the
other early works of this master, might be entitled to the honour of
a place in the Royal collection.”

This reference is one of considerable interest, but despite our most
diligent inquiries we have been unable to learn anything of the missing
small picture, which had evidently gone astray before 1826 and was even
then being sought for.

If only it could be found, this group would possess an interest quite
equal to that of the “ Life School ” or the “ Antique School,” and in
certain respects would surpass them in importance. Perchance the
allusion to it here may lead to its discovery.

At the same Exhibition in 1772, where the “ Life School ” appeared,
there hung next to it (291) another group by Zoffany which was probably
a commission from the King, and is still to be found at Windsor Castle,
a prominent object on the Visitor’s Landing.

1 It cannot, therefore, be the picture at Burlington House just alluded to, although
Moser is prominent in that one, as the Burlington House painting is a large one.

Coll, of His Majesty the King L °r d Chamberlain's Department photo

PORTRAIT OF PETER DOLLOND, THE OPTICIAN, WITH HIS ASSISTANT

KNOWN AS “ THE LAPIDARIES*

ZOFFANY AS A ROYAL ACADEMICIAN 35

It was only called “ An Optician with his Attendant,” but it represents
Peter Dolland, the King’s official instrument-maker, who just prior to
1772 had supplied His Majesty with some new spectacles which had
given great satisfaction.

Dolland is depicted at work seated at a bench beneath a window and
holding in his hand a lens. His assistant stands behind him. Walpole’s
praise of the picture is sincere, but critical. He wrote beside the entry
in his catalogue, “ Extremely natural, but the characters too common
nature and the chiaroscuro destroyed by his servility in imitating the
reflexions of the glasses.”

The group is not one that would appeal to the aristocratic Walpole.
The figures are depicted in their ordinary working clothes, and the
treatment is realistic to the last degree, partaking almost of the manner of
Chardin and as true to life and character as in a picture by Velazquez.
Zoffany, in this painting, shows himself thoroughly modern. For once
he was done with the fripperies of fine clothes, court life or theatrical
make-believe. He never painted a picture more honestly life-like and
true than was this. It had no meretricious aid in the way of colour or
effect, but was admirably lit, and the effect of the light was perfectly
portrayed. It could be hung at the New English Art Club of to-day
and might almost have been called an early work by Orpen in the catalogue
or attributed to Wilson Steer.

It stands alone in Zoffany’s ceuwe, and was the finest piece of direct
lighting he had yet attempted, and the most truthful he had created.
Unfortunately, it was not generally approved, and Zoffany seems never
again to have attempted a plain, simple group composed close to a
window in a strong light, and to have relinquished for ever any attempt
to paint in what we may now term the Chardin manner.

It was in this year that Zoffany was naturalised, so the report on the
lawsuit of Zoffany versus Tremando, referred to on p. 3 informs us,
and his parish was declared in the deed of naturalisation as that of
St. Anne’s, Soho.

The only other notable group which this period produced is presumably
that depicting Queen Charlotte with her two brothers, Ernst and Georg,
her sister Christiana, and three of her children. It is in the corridor at
Windsor Castle, and is a very satisfactory and attractive picture. 1

Zoffany describes it (1773, 320) as a “Portrait of Her Majesty in

1 Of this picture Tom Taylor, in his Life of Reynolds, speaks thus : “ Mr. Zoffany
had the honour of exhibiting a portrait of Her Majesty in conversation with her two
brothers and part of the Royal family, a commission from the King. The King liked
Zoffany because he worked neatly, and painted the players in whom the King took a
great interest.” — (Vol. II. p. 24).

36 JOHN ZOFFANY, R.A.

conversation with her two brothers and part of the Royal family,” and
there is no other work which corresponds to this description. Walpole,
however, has unaccountably added to his catalogue the pencilled words,
“ And Lady Charlotte Finch,” but the lady behind the Queen, who holds
Princess Elizabeth as a baby in her arms, has always been styled Princess
Christiana, the elder sister of the Queen, and Dr. Lionel Cust is convinced
that this attribution is correct.

It will be remembered that the lady was engaged to the Duke of
Roxburgh prior to Queen Charlotte becoming affianced to the King,
but as it was considered that it would be improper for her to marry a
man who would be the subject, so to speak, of her younger sister as Queen
of England, the match was abruptly broken off by the Prime Minister of
the day, and owing to this interference by Lord Bute neither the Duke
nor the Princess ever married.

Walpole was usually so well informed and so accurate that to detect
him in a slip, where the Royal family or his own personal friends are
concerned, seems incredible, and yet there is no other picture to which
he can have referred, and we can but conjecture that in his haste he did
not recognise who the lady was or else that succeeding generations have
been wrong in the attribution to this figure.

On close examination it will surely be considered that the family
likeness between the two sisters is of a marked order, and further that in
so intimate a group Lady Charlotte would hardly have been represented,
and even in such a case would not have been put into such close proximity
to the Queen and Royal children.

The Prince of Wales is represented standing on a seat by the side of
his mother, while at her knee stands the Princess Royal, who is holding
a doll. The mise en scene is in Windsor Park, and the group is depicted
resting by a rustic bench under the trees.

It is well conceived and cleverly grouped, and the technique is excellent,
the portraits well drawn and finely delineated, the painting solid, crisp
and pleasing, and the colour-scheme, albeit somewhat brilliant and a
trifle over-showy in its strange mingling of colour, is not unpleasant, while
the fabrics, always strong points with Zoffany, are exceedingly well
represented and painted with accuracy and skill.

As a companion to the group there hangs near to it in the same corridor
another painting by Zoffany, probably executed at much the same time,
in which Queen Charlotte is shown with her two elder children, but this
time the scene is in Old Buckingham House, and the Queen, who is in
white satin, sits near to her dressing-table and her profile reflection is
cleverly depicted in the mirror upon it.

Zoffany delighted in painting glass, and whether it was a mirror or

Coll, of His Majesty the King Lord Chamberlain's Department photo

GROUP REPRESENTING QUEEN CHARLOTTE AND HER TWO ELDER CHILDREN IN THE QUEEN’S
DRESSING ROOM IN OLD BUCKINGHAM HOUSE

ZOFFANY AS A ROYAL ACADEMICIAN 37

a wine-glass, a window or a decanter, it was always painted with con-
summate skill and with complete control of his materials.

In this picture the Prince of Wales is represented in Roman military
costume and the Princess Royal in Oriental costume, as though, perchance,
they w'ere to appear at some children’s party or masque in fancy dress.

It is of interest to notice in it, the representation of a large and tall
French clock, which now happens to stand in the corridor at Windsor
Castle in close juxtaposition, with the painting in which it is actually
depicted.

Of the other paintings sent in by Zoffany to the Royal Academy,
prior to his journey to Italy, we have not been able to trace either of them.
The “ Portrait of an Officer, small whole length ” (292), has no name or
other adjunct attached to it by which it can be identified ; the figure of
“ St. Cecilia ” (1773, 368) and that of “ A Sybil ” (369), both three-
quarters, have so far eluded our search, and “ The Repose in the Flight
into Egypt ” (352), which is the only work he sent home for exhibition
while he was in Italy, is probably to be found in some gallery or private
home under quite another artist’s name, as the work of Zoffany in religious
pictures is not characteristic nor very acceptable. Walpole did not approve
of either of these pictures.

Of the “ Sybil ” he said : “ Style of the good painters, but affected,”
while “ The Repose ” he dismisses with the one word, “ wretched.” There
is no special interest, therefore, in tracing any of these works.

The only other painting, a portrait (1773, 321), Walpole says, repre-
sented Prince Ernst of Mecklenburg, and there is a portrait answering
to this description in Queen Charlotte’s old home in Germany, but as
we have not seen it and are not likely to do so, it is impossible to say
whether or not it is the picture which Zoffany sent to the Academy in
that year.

It seems almost certain that two other groups belonging to Lord
Durham were painted at the time we are just now considering, especially
as they appear to have been commissions to the artist from Garrick and
represent him and his wife in their country home. To these we refer
in detail later on.

Yet other groups, closely resembling those at Windsor, merit some
attention before we turn to two which are in some respects quite different
in composition to them.

If we are correct in our identification {see p. 27) of the portrait of
Master Sayer fishing, as one of the pictures painted at this time, it is
pretty certain that two other groups which belong to Lady Sayer were
executed at the same time. In one of these Sayer, the print-seller, with
his wife and son, are represented, in the other the same persons with a

38 JOHN ZOFFANY, R.A.

great-grandchild and a Madame de Pougens, who was Sayer’s sister. In
the former the family home is represented in the background and near
by the river are some trees painted in similar fashion to those we have
described in Lord Durham’s pictures, but in somewhat broader fashion
corresponding to the increased size of the picture.

In both of them the painting of the fabrics betokens Zoffany’s hand,
and the tradition has been steady and persistent regarding their history,
while what is very important is that neither of the three pictures has ever
left the family and one of them certainly was engraved.

Amongst single portraits painted at this time we must certainly place
those of Benjamin Stillingfleet and Lord Sandwich. The former died
in 1771, the portrait of the latter was engraved in 1774. Engravings of
both were the work of Valentine Green.

Stillingfleet, the naturalist (1702-1771) is alluded to by Nichols in
his Literary Anecdotes , where we are told that the portrait of him by
Zoffany was engraved with the following inscription : “To revive in
their memory the image of so worthy a man, many of these prints have
been distributed amongst his friends. Multis ille bonis flebilis occidit .”
The plate was engraved by Valentine Green, but purposely destroyed
after the prints were made, and in consequence the prints are very rare.
It was republished by Basire. “ The picture then,” says Nichols, “ be-
longed to Mr. E. H. Locker.” It now belongs to Mr. Godfrey Locker-
Lampson, M.P.

The one of Lord Sandwich (John Montagu, fourth Earl, 1718-1792),
hangs in the Trinity House, another version of it is in the possession of
his descendants, and there is a copy of it in the National Gallery.

Zoffany’s acquaintance at this time with Lord Sandwich led to some
interesting developments and became responsible for several pictures of
an unusual character.

Sandwich, then First Lord of the Admiralty and a Secretary of State,
was much interested in Captain Cook ; and to acknowledge the confidence
and assistance he had rendered him, Cook had given his patron’s name
to a group of islands he had discovered, and the Sandwich Islands they
are to the present day. He interested Zoffany in the question of circum-
navigation and in general exploration and introduced him to some of the
seamen of the day who were eagerly discussing such questions.

Cook, who was about to set out on one of his voyages, desired to have
an artist with him who could picture the places that the explorer visited,
and make sketches of people and scenery and animals which might be
brought back to England as evidence of what had been seen.

It was, it would appear, Lord Sandwich who suggested to Sir Joseph
Banks that he should face all the perils and trials of another long journey

Coll, of the Trinity House, London

JOHN MONTAGUE, EARL OF SANDWICH
V. Green engraved this picture

Coll, of Lady Saver Campbell Gray photo

GROUP REPRESENTING THE GREAT-GRANDFATHER OF THE OWNER, WITH HIS MOTHER AND FA I HER,

AND THE FAMILY RESIDENCE IN THE DISTANCE

Coll, of Lady Sayer

THE GREAT-GREAT-GRANDFATHER, THE GREAT GRANDFATHER AND GRANDMOTHER, AND THE GRANDFATHER OF
THE OWNER AS A CHILD, WITH MADAME DE POUGENS, WHO WAS A MISS SAYER — IN A GROUP

ZOFFANY AS A ROYAL ACADEMICIAN 39

round the world, and he, with his accustomed energy, was ready not only
to take the journey, but also to bear the enormous expense of it.

Everything was this time to be carried out in princely fashion. Books
and instruments were purchased with lavish expenditure, and Zoffany,
who was offered the position of principal artist on board, was to have
three draughtsmen under him.

He, having always the restless spirit of adventure within him, and
tempted by the emoluments he was likely to receive, agreed to accept
the post, and set about making preparations for so long and momentous
a voyage.

Presently, however, it was found that the Navy Board was unable to
provide accommodation for all the party, and so Banks had to retire from
any personal share in the expedition.

Then a more serious difficulty arose. The report upon the chief
ship that had been provided, the Resolution , was exceedingly unsatisfactory.
Even the pilot declined “ to take charge of her further than the Nore
without a fair wind,” and she was condemned as quite unequal to the
work that was proposed, nay, more, as “ unseaworthy ” and “ unsafe.”

Mr. Edward Smith, who wrote the Life of Sir Joseph Banks} dis-
covered an important paper which relates the whole story and this he
published.

The ship, it reported, “ had a small cabin and was remarkably low
between decks.”

This was altered and the cabin was raised eight inches in height,
but then a round-house was built over it and this made the vessel top-
heavy; “ so cranky,” says the paper, “ that she could not go to sea.”

There were other objections to the vessel, and it was found also that
a great deal of jealousy and bitter feeling had been aroused by the expedi-
tion, so much so that the Navy Board not only took no trouble to give
proper accommodation for the astronomers, botanists, naturalists and
draughtsmen who were to have gone out at Banks’ own expense, but put
every obstacle in the way of their going.

At length, all the scientific men withdrew from the expedition and
carried with them the artists, “ convinced,” says the document, “ of the
impossibility of our going out in the state the ship was now reduced to,”
but the Navy Board ordered the vessels to start, and Hodges, who was at
that time only a student in architecture, joined as Landscape and Figure
Painter, and so the Resolution and Adventure set sail from Plymouth on
July 12, 1772, and were safely back in England in 1775.

Meantime, some of those persons whom he had met at Lord Sandwich’s
house gave Zoffany commissions and he started to paint some broad
1 Life of Banks by Smith (1911), p. 25.

4 o JOHN ZOFFANY, R.A.

simple groups of portraits of men in naval uniform and amid naval
surroundings.

To this period belong two delightful groups.

One represents the cabin of H.M.S. Norfolk , in which are depicted
Admiral Sir Samuel Cornish, Richard Kempenfelt, his flag-captain,
memorable for his death in the Royal George ; and Thomas Parry, Secre-
tary of the Expedition to Manila and ancestor of the late Thomas Gambier
Parry and Sir Hubert Parry who now owns the picture.

The portraits were, it is stated, begun prior to 1762, the date of the
expedition, or at least one of them was, but the picture does not seem
to have been completed till somewhere about 1772, having perhaps been
laid aside in view of other and more pressing work, or, perhaps, to obtain
the portrait of one of the three personages represented in it.

Another similar composition belongs to Colonel Prideaux-Brune
and represents John Wilkes and Sergeant Glynn in conversation.

To this we refer later on when allusion is made to another portrait
of Wilkes.

Attributed to this same period is a painting of Commander Phipps,
afterwards Lord Mulgrave, who was in charge of the Racehorse in its
expedition to the Arctic regions and whom Zoffany has accordingly
represented in the midst of Arctic snows and holding a long harpoon.
This is now in the National Portrait Gallery.

There are yet other portraits of men connected with the Navy or
Mercantile Marine which Zoffany seems to have executed at this time, but
the portrait of Captain Cook himself, 1 which hangs at Greenwich, although
closely resembling the work of Zoffany, is given to Nathaniel Dance
(afterwards Sir N. Holland), and in all probability the attribution is
correct. The picture is not at the present time shown to the public, so
we have been unable to inspect it.

Of Captain Cook, however, Zoffany did paint a picture, but it was
later on, and represented his death in 1779. Perhaps he painted it just
after he returned home from Italy.

The scene is derived from a drawing by Hodges and sets forth the
foul murder of Cook by some savages at Hawaii, when he was claiming
restitution of a boat which these islanders had seized and which they
refused to return. The explorer, Lieut. Phillips, who was with him and
the sailors of the party, are skilfully painted, and two at least of the figures
are worthy of Zoffany at his best, especially in the fine painting of fabrics
and uniform and in the admirable draughtsmanship, but the savages,
whom he had never seen, are disproportionate and absurd, while some of

1 Mr. John Lane, the publisher of this book, has in his possession the bracket clock
which stood in Captain Cook’s cabin when he went round the world.

Coll, of Sir Hubert Parry, Hart. Photo by the courtesy of the Arundel Society

GROUP REPRESENTING RICHARD KEMPENI'ELT, SIR SAMUKL CORNISH AND MR. THOMAS PARR\ IN
THE CABIN OF H.M.S. NORFOLK AT THE TIME OF THE EXPEDITION TO MANILLA IN 17 62

Coll, of Messrs. Leggatt

PORTRAIT OF ADMIRAL LORD GEORGE AUSON

Coll, of Mr. Wm. Haffety

GROUP OF PERSONS SUPPOSED TO REPRESENT CAPT. COOK AND
HIS FAMILY

Attributed to Zoffany

ZOFFANY AS A ROYAL ACADEMICIAN 41

them are gigantic in figure far beyond ordinary possibilities, and they
are arrayed in all sorts of strange and imaginary costumes. Zoffany has,
in a romantic vein, exaggerated the details of Hodges’ sketch, and produced
a picture of small importance as an historical document and of comparatively
slight interest as a work of art.

There is a very odd picture in the Rotherham Museum which is
attributed on an old tradition to Zoffany, and is declared to represent
Captain Cook and his family. They are all seated on a flight of steps
and hold various objects relative to circumnavigation, a log, a square, a
map, sealed papers, etc., but the painting does not offer much resemblance
to the work of our painter.

After all, however, Zoffany never went with Cook. He is said to have
spent over ^1000 making elaborate preparations for the voyage, buying
sketch-books and paper, canvasses and colours with his usual extravagance
and impetuosity, and then found that the accommodation to be provided
for him was so inadequate that all his preparations had been in vain.

Banks, also, was exasperated at the arrangements contemplated by the
Navy Board, and did not at all approve of the additions that were being
made to the ships for accommodation of artists, naturalists and botanists
with all their paraphernalia.

He considered that the safety of the ships was being endangered and
that the persons whom he had selected would not have suitable places for
their accommodation and comfort, therefore he withdrew his support,
and with his withdrawal came that of Zoffany also. Hodges, as we have
seen, went instead and brought back with him a vast number of drawings
and sketches.

Zoffany’s enterprise came to a premature end, and the artist, who had
set his mind on travel, was grievously disappointed and much annoyed.

The offer, however, for him to go to Italy, to which we refer in the
next chapter, came just at the opportune moment.

CHAPTER III

ZOFFANY IN ITALY

Having been sorely disappointed in respect of the voyage to the
South Seas, Zoffany became even more restless and seemed unable to
settle down quietly in England.

He was also, it is said, in some financial difficulties arising partly from
the preparations he had made for the voyage with Cook, and partly from
the expensive way in which he had been living. His success had turned
his head. He had become persona gratissima at Court and had found
many acquaintances amongst the rich and influential persons in Society,
with the result that he strove to vie with them in fine clothes and sumptuous
entertainments, and soon found that his earnings, large as they were, were
not commensurate to such an expenditure.

He was to have had a considerable fee for his journey with Cook, so we
are informed in the Press of the day, and this with the right of disposal of
the pictures afterwards, would have put his affairs straight.

The newspapers of March 26, 1771, thus speak of the projected
journey —

“ We hear that Mr. Zoffany, the painter, who has engaged to go
with Mr. Bankes on his voyage to the South Seas, is to have one
thousand pounds, a third share of all curiosities, and other profits
that may arise from the voyage, with the right of disposal of such
pictures as he may make of the different people, countries, etc., he is
also to forfeit the penalty of one thousand pounds should he not go.”

As all this had come to naught Zoffany bethought himself of a journey
to Italy, and thence of a visit to his own native parts, where he expected
to be able to acquire new commissions and greater dignity. He appears
to have suggested this idea to the King who was quite ready to encourage
and assist him, and a contemporary writer 1 speaks thus of the King’s
generosity —

“ Having expressed a wish to visit Italy, his late majesty generously
assisted Zoffany in providing the means for his journey. It was

1 Good Old Days of Hon. John Company, II. 191.

ZOFFANY IN ITALY

owing to a desire hinted by the Queen, on his departure, that Zoffany
produced the picture of the Florence Gallery which is now exhibiting
in this magnificent collection. The Queen requested Zoffany, if
he visited Florence, and could find convenient opportunity, to make
a sketch of the celebrated gallery there. Exceeding his commission
he produced the elaborate and highly meritorious picture in question,
which, after his return to England, finishing with the utmost care,
he submitted to their Majesties at Buckingham House.”

According to this statement it was Queen Charlotte’s suggestion that
a picture should be made of the Tribuna, and this was exactly what
Zoffany desired. It gave a reason for his journey and enabled him to
travel as the possessor of Royal commands and to draw his pay from the
King for a definite object and purpose. Mrs. Papendiek tells us, however,
that in her opinion, “ when the proposal was made to him to go abroad,
he was in the receipt of a good income, and was classed as one of the
first, if not the first, in his line. He was,” she adds, “ to be paid for his
journey to Florence and back, and was to be allowed £300 a year while
painting the Tribune of the Gallery.” 1

Such an arrangement was eminently satisfactory and Zoffany prepared
to leave England.

First of all he had to resign from the Society of Artists, 2 a step which
he ought to have taken when nominated a member of the Royal Academy,
but which he had neglected to do, and accordingly he wrote the following
letter to the Secretary which is still preserved in his archives in the Library
of the Royal Academy and for a copy of which we are indebted to the
kindly aid of Mr. W. T. Whitley. Thus he writes —

“ Sir,

“ Sensible of the regard shown me by you and the Directors
and Fellows of the Incorporated Society of Artists, by their unanimity
in re-electing me a Director of the Society for the present year, as
well as in their choice of me into the Committee for the Government
of the Academy : it is with great regret that I am constrained to
acquaint you that my business requires me, very soon, to leave
England for some time and consequently must deprive me of all
opportunities of attending to the affairs of the Society, and being also
sensible that there are many ingenious gentlemen amongst us who are
equally desirous to give all possible attention for the promoting of
so useful an institution, and that my continuance in the direction and
in the Committee during my absence will be attended with much

1 Mrs. Papendiek, I. 82. 2 The Society continued to exist until 1791.

JOHN ZOFFANY, R.A.

inconvenience to the body by keeping such other gentlemen from
giving the necessary assistance, I must beg leave of you and the
Society to resign my opportunities. Assuring that I am with the
greatest respect for you and the Society in general,

“ Sir,

“ November 22, 1769.”

“ Your most obedient servant,

“ Johan Zoffany.”

Then in an extravagant mood he had purchased the lease of a country
villa near Brentford, called London Style , had furnished it with some
taste, and had spent a considerable sum of money upon it.

This had to be sold prior to his departure, and the sale was thus
advertised in the public press for 1772 —

“ To be sold by auction by Mr. Christie on the premises on Monday
next at one o’clock. The improved lease of a pleasant villa with
Coach House, Stabling and convenient offices. Pleasure-grounds
beautifully laid out and Lawns refreshed with Canals. The whole
between seven and eight acres, the property of John Zoffany, Esq.
The above premises are situate near the six-mile-stone on the road
leading to Brentford. At the same time will be sold by auction the
neat household furniture and other effects.”

A curious anecdote, signed by an unknown writer, E., concerning this
house 1 appeared in the Examiner for Jan. 27, 1828. Part of it con-
cerns Zoffany’s return from India, but the story may well be introduced
at this stage as we make no other allusion to the residence in question.

It would appear that the property was not sold prior to Zoffany’s
departure but after he had left, and that then the villa was entirely rebuilt.

E. writes thus —

“ At the time this artist was disposing of his property pre-
paratory to going to India, he had several dozens of favourite port,
of which, in the event of his living to return to this country he wished
to resume the possession; and accordingly, none but his old gardener
being in the secret, a deep pit was dug in the garden of his country
house {London Style ; near the six-mile-stone on the Brentford
Road). Into this pit a butt was lowered, and at night the wine
was closely packed in it, the pit filled up, and the gardener left to

1 We are indebted to Mr. Stephen Wheeler for drawing our attention to this
reference. See also a painting of the Wetton family in appendix under Kennedy.

By kind permission of Messrs. M. Knoedler & Co. from their Exhibition of the works of Thomas Rowlandson, March, 1915

ZOFFANY’S HOUSE AT CHISWICK

A WATER COLOUR DRAWING BY THOMAS ROWLANDSON

ZOFFANY IN ITALY

take care of the premises until they were sold. This being settled,
Zoffani sailed for India in search of wealth, and was successful.
Returning with a comfortable independence, and three hundred and
sixty-five shirts (fine Indian manufacture, with a supernumerary
one for leap-year), this ample stock of body linen was seized by the
Custom-house officers as contraband goods ; the shirtless artist
memorialised the Board; the Board gravely discussed what was a
reasonable number of shirts to supply a gentleman with a change,
decided it to be about six dozen, and confiscated the remainder.
He now turned his thoughts to London Style, found it belonged to
Mr. Wetton, a retired confectioner, whom he saw, and made over-
tures for the re-purchase of it; but as this could not be arranged,
he communicated to Mr. W. the secret of the hidden wine, and
offered to point out the spot, and give him half, if he would allow
it to be dug up. The offer was as freely accepted as given. On
the appointed day labourers were in attendance ; the Brentford stage
set down Zoffani early at the door of the ex-confectioner’s new-built
house, where he was cordially received ; and with as little delay as
possible they proceeded to the garden. But now a difficulty arose
that Zoffani had not anticipated ; the new house had not been built
on the site of the old one, the grounds had been enlarged, new
walks had been made, the old trees had been removed, new ones
had been planted ; the whole scene had been so changed that none
of the land-marks in the artist’s mind could be traced. The old
gardener could probably have told where the wine was buried, had
he not been buried, too. Many borings and diggings were made on
that and on a succeeding day, but almost at random, and quite
without success. After half-spoiling the garden and grounds, the
search was abandoned ; and it remains in doubt whether the wine
is still interred, or whether the old gardener . . .

“E.”

We have alluded in an earlier chapter to Zoffany’s first wife, who had
returned to her own people and her own land, and who is declared to have
died at Coblenz.

Of his second wife, who accompanied him to Italy, Mrs. Papendiek,
who knew her well, gives a long account in her Court and Private Life
in the Time of Queen Charlotte , a work which is now somewhat scarce.
The story is not one which is to Zoffany’s credit, and as Mrs. Papendiek
was a garrulous old lady, upon whose memory complete reliance cannot
be placed, it may be an inaccurate one, but it is well to give it in Mrs.
Papendiek ’s own words. Thus she writes —

4 6

JOHN ZOFFANY, R.A.

“ Dear Mrs. Zoffany was the friend of my youthful days; it was
always a holiday to go to see her. She was a perfect beauty, good-
natured, kind, and very charitable. She was not of equal rank with
her husband, and when she married him, at fourteen years of age,
having had no education, her mind was not formed. During the
seven years they spent in Italy, however, she did receive some
instruction, and spoke the language perfectly. Their eldest child
was a boy, who died from an accident at sixteen months old. This
calamity nearly lost poor Zoffany his life ; indeed, he never thoroughly
overcame it.

“ At the time of which I am writing, I was too young to understand
the position in life of Mrs. Zoffany, which was not wholly respected,
but I subsequently learnt all the particulars of the story, which,
though it began sadly, ended in perfect happiness as far as her husband
was concerned. As it is full of interest and incident, I will here
briefly relate what in later years I heard from her own lips.

“ Mr. Zoffany, talented as he was, and always in the best society,
yet in his leisure hours prowled around for victims of self-gratifica-
tion. Fie found out the humble dwelling of Mrs. Zoffany’s parents,
and the beauty of their daughter he determined to possess. Very
soon after he made her acquaintance came the order for him to pro-
ceed to Italy, to copy the Florentine Gallery, and as this poor child,
who was at that time only fourteen years old, already bore the mark
of criminality, she hastened to the vessel in which he was to sail,
and got on board before Mr. Zoffany and the other passengers
arrived. During the voyage she discovered herself to him, and he
resolved, on landing, to place her where she would be educated, and
taken care of during her confinement. A boy was the child
born.

“ Immediately after this event, Mr. Zoffany made inquiries about
his wife, to whom he had been married some time, and who had
returned to her native place in Germany on account of the unhappy
manner in which she dragged on her existence in England, for he
was far from kind to her ; and finding that she had died a few months
before, he married the object of his admiration, who had become a
mother at fifteen.

“ Her heart was devoted to doing the best she could to render
herself worthy of her husband. She made rapid progress in learning
Italian, and also in reading and writing her own language, and in
that polish of manner so essential to the position of a lady. She was
a good mother to her boy, though still so young, and her beauty,
good dressing, and a natural elegance of appearance, combined with

Coll, of Mrs. Everard Hesketh Photo by Mr. Hesketh

PORTRAIT OF MARIA THERESA ELIZABETH, ELDEST DAUGHTER OF
JOHANN ZOFFANY. R.A. AND AFTERWARDS WIFE OF SIR JOHN
DORATT, Knt.

ZOFFANY IN ITALY

the feeling of happiness which shone in her countenance, soon fitted
her for any society, and she and her husband were taken up in the
most hospitable and flattering manner by the Tuscan family, the
Duke being related to Joseph II, Emperor of Germany.

“ The boy, being now more than a year old, it was advised that he
should be weaned, and the governess or head-nurse of the Royal
family w T as to have him, with his maid, under her care. Poor little
fellow, all was going on well, when on one sad day he was in his go-
cart, and running to the door, where this lady was speaking to some
one, he fell down a whole flight of stairs. No bones were broken, but
the head much bruised. Those who remember Mrs. Zoffany will
suppose that she ran frantic to the spot, but fortunately so conducted
herself as not to offend. The baby sucked again, and knew his
mother, which augured favourably, but at the end of three weeks
he died of abscess at the back of the head.

“ Mr. Zoffany was not to be comforted, and, as I before observed,
he never wholly got over this terrible calamity. However, he was
encouraged to go on with his work in the Gallery, and though this
interest, in a measure, distracted him from his own private sorrow,
it had an evil effect in another way— for it was at this time that, in
order to drown his thoughts, he overworked himself, which brought
on the first attack of paralysis, when he lost the use of his limbs,
and for some time his senses.

“ Their eldest daughter, Theresa, late Lady Dorat, was born some
little time after, and before they quitted Florence, Cecilia, late Mrs.
Horne, was also born.

“ On their return to England we made their acquaintance. I
was then fourteen, and the impression she made upon me caused me
to think all she did and said perfection. Before she was introduced
to his friends, Zoffany should have married her according to the
Protestant religion and our law . 1 The neglect of this laid the founda-
tion for the supposition that she was not his wife. She could not be
expected to know much about these ceremonies, and never thought
about them from a religious point of view. He was aware of the
good conduct of his spouse, and took care that his friends held her
in respect, but it was cruel to leave her fair fame under a cloud that
could have been so easily removed.

“ Mrs. Zoffany’s father died soon after the flight of his poor child;
but the widowed mother was settled comfortably by Zoffany in a

1 According to the family records it is clear that this did take place and in London,
and that proper deeds in connection with the marriage of persons of different religions,
were duly sealed. The Zoffanys had, however, already been married in Italy.

48 JOHN ZOFFANY, R.A.

little home of her own, not very far from his house at Strand-of-the-
Green.

“ Greatly were my parents blamed for allowing the affectionate
intercourse between Mrs. Zoffany and myself. I can only say that
industry, care, and a spirit to do right were the examples I met with,
and a kind and warm heart ready and anxious to return every senti-
ment of friendship.

“ Notwithstanding the doubt about her marriage in the minds of
a few, she was very generally admired and beloved, and was able to
introduce her two daughters after a time into good society.”

So much for Mrs. Papendiek’s story, true or not !

Where actually Zoffany married his second wife has not transpired,
but it was certainly in Italy, and according to the rites of the Catholic
Church. Genoa is said to have been the city where the wedding took
place, and prior to the ceremony, Zoffany, it is declared, obtained legal
proof of the death of his first wife in Coblenz. Even so, there were
officious persons who were ready to throw doubt on the legality of the
second marriage, and the idle rumours started by these people were a
cause of much disturbance and some distress to the Zoffanys while they
were in Italy. Accordingly, on their return home, a further ceremony
took place, this time according to Protestant rites, and in a church in
Wood Street, Cheapside, which is not now standing. Zoffany’s four
daughters, to whom we allude later on, were all born after this second
ceremony had taken place.

Walpole wrote to his friend, Sir Horace Mann, on September 20,
1772, 1 announcing the fact that Zoffany was coming out to Italv and
alluding to the projected voyage under the auspices of Sir Joseph Banks.
Thus he wrote in his inimitable fashion —

“ Zoffany is delightful in his real way, and introduced the furniture
of a room with great propriety : but his talent is neither for rooms
simply, nor portraits.

“ He makes wretched pictures when he is serious. His talent is
to draw scenes in comedy, and there he beats the Flemish painters
in their own way of detail. Butler, the author of Hudibras , might
as well be employed to describe a solemn funeral, in which there was
nothing ridiculous. This [his journey to Florence to paint the
Tribuna] is better than his going to draw naked savages, and be
scalped, with that wild man Banks, who is poaching in every ocean
for the fry and little islands that escaped the drag-net of Spain.”

1 Walpole’s Letters, Toynbee edit., Vol. VIII (not VII, as in Index Vol.) p. 207.

ZOFFANY IN ITALY

Sir Horace interested himself in the new arrivals, and soon realising
that Mrs. Zoffany was an attractive and charming personage, gave them
various introductions and did his best to admit them into the social
festivities of Florence. The fact that the artist had come out under Royal
auspices furnished him with a position in the place, and the English
minister arranged for his presentation at Court and for various other
social advantages.

Luckily Zoffany admired the work of Thomas Patch, who was at
that time in Florence engraving and publishing many valuable reproduc-
tions of early frescoes, and as Patch was a special protege of Mann’s, this
was all in his favour.

Dr. Doran, in his Man and Manners } at the Court of Florence, 1740-
1786, tells us that Sir Horace loved and admired Patch and that Zoffany
was charmed with his genius.

This admiration did not, however, prevent him later on from playing
a practical joke on Patch, as we shall see, when we come to consider
Zoffany’s finished picture of the Tribuna.

Doran, in a further passage, alludes to Zoffany, and, says he —

“ Zoffany has been sent here by a Great Personage (George III)
to make a perspective view of the Tribuna, with small figures
(portraits) as spectators. This, it seems, is his stile, and, it is said,
he is excellent in it. From hence he is to go to Rome to do something
of the same kind.”

The actual painting of the picture seems to have caused quite a sensa-
tion in Florence. Zoffany, styling himself the Queen’s Painter, gave
himself great airs, insisting upon special privileges in the gallery, and
especially in the room known as the Tribuna, in which for a time he
seems to have claimed almost the entire rights. He gave instructions
that many of the pictures it contained should be re-hung according to
his own ideas, persuaded the Duke to place several of his own servants
at his disposal, and had such pieces of statuary and bronze placed in the
room as he thought fit, requisitioning also rugs, carpets, busts, ivories,
armour, cups, jewels, coins and furniture from other rooms in the gallery
(for example, the bronze animal which was in quite another part of the
Palace, and is now to be seen in the Bargello) until he had the place
strewn with such objects as he desired to represent, and it presented
more the form of a studio or even of an auction-room than that of the
choicest room in a public picture-gallery.

Zoffany revelled in sumptuous effects of colour and fabric, and when

1 Pp. 220, 236.

JOHN ZOFFANY, R.A.

he had completed the arrangement of the room in this fashion, and
crowded it up with beautiful things, he let it be understood in Florence
in an indirect fashion, that he was prepared to receive the elite of the place
in the room and to paint into his picture the portraits of all the best -known
of the connoisseurs who were at that time visiting Florence, or who
resided in the city.

His great desire was to get himself well-known and to make his standing
in the place secure, and he spared no pains to make himself popular and
to obtain the important position that he so coveted.

Mann writes thus about him —

“ You will laugh when I tell you that Mr. Zoffany is now waiting
for me in the next room, to put my portrait into the picture which
the King sent him hither to make of the Tribuna of the gallery.
It is a most curious and laborious undertaking.”

Further on, the same author says that all the English personages
then in Florence were eager to appear in this picture, that Zoffany painted
them in, and when they left Florence, rubbed them out, for the picture
became too crowded and he had more than once thus to dismiss many of
his minor spectators. Some of the English who cared for the distinction
of standing in the picture were careful not to offend the artist, because
on small provocation he avenged himself by the obliteration of the offender
from his canvas.

All this behaviour on the part of the artist, and especially the exhibi-
tions of quick temper, to which the visitors to the Tribuna were often
treated, gave rise to a great deal of concern, and many persons resented
the airs which Zoffany adopted.

Sir Horace himself did not agree with the idea of depicting so many
persons in the picture, and expressed his opinion in very clear fashion,
although without any result.

Says he, speaking of the general effect of the work —

“ I told him of the impropriety of sticking so many figures in it
and pointed out to him the Grand Duke and Duchess, one or two
of their children, if he thought the variety was picturesk, and Lord
Cowper. He told me that the King had expressly ordered my
portrait to be there, which I did not believe, but did not object to it,
but he made the same merit with all the young travellers then at
Florence, some of whom he afterwards rubbed out, such as old
Felton Harvey, and one of the Queen’s chaplains, with a broad,
black ribbon across his forehead, and filled up their places elsewhere.

ZOFFANY IN ITALY

If what he said is true, that the Queen sent him to Florence to do
that picture, and gave him a large sum for his journey, the impropriety
of crowding in so many unknown figures was still greater, but it is
true that it is for the Queen’s Closet, and that she is to give him three
thousand pounds for it. This he asserted, and it got him the name
of Her Majesty’s Painter, and in that quality he had leave to have
any picture in the gallery or palace taken down, for you may have
observed that he has transported some from the latter place into
his ‘ Tribuna.’ I should think, too, the naked Venus, which is the
principal figure, will not please Her Majesty as much as it did the
young men to whom it was shown. As to the question you make me
of my own personage, I can only say that everybody thought it like
me, but I suppose Zoffany took pains to lessen my pot-belly and the
clumsiness of my figure and to make me stand in a posture which I
never kept to, but then I remember that I was sadly tired when I
was tortured by him to appear before their Majesties in my best shape
and looks.”

Zoffany had, however, important friends in Florence.

The Grand Duke was charmed with him, and when his cousin, the
Emperor Joseph II, came on a state visit to Florence, presented “ the
Queen of England’s State Painter ” to the Emperor, who commissioned
him to paint his portrait, and this he did with great success as we shall
narrate presently.

Another very important friend was Earl Cowper, to whom Dr. Doran
refers in the following terms. He calls him “ one of the most eccentric
of the English residents in Florence.” He states that he was sent when
young by his father on the Grand Tour, visited Florence and never again
left it. “ Lord Cowper there fell in love with a Florentine lady, and
kept household with her. In 1764, his dying father entreated him to
return to England, but he paid no attention to the entreaty. When his
passion for the Florentine lady died out he married a Miss Gore. Their
children were in due time sent to England to be educated, but the Earl
and Countess lived and died in Florence.”

To this brief summary of his career we must add further details,
because Lord Cowper is intimately concerned with the career of Zoffany,
and his portrait occupies a prominent position in the picture Zoffany
painted.

The nobleman in question was the third Earl and was a godson of
George II ; the King, Princess Amelia, and the Duke of Grafton attending
at St. George’s, Hanover Square, on September 17, 1738, when he was
baptised.

JOHN ZOFFANY, R.A.

He inherited in 1754 the large fortune and estates of his grandfather,
the last Earl of Grantham. He then entered the Army, and for two
years, from 1759 to 1761, he, as Lord Fordwich, sat in Parliament in the
Whig interest for Hertford.

Later on in due course he made the Grand Tour of Europe, as did
most young men of his position and means, and in Florence fell in love
with one of its most beautiful citizens, the Princess Corsi, to whom it
may be supposed Dr. Doran makes allusion.

The lady was, however, married “ or the young lord would doubtless
have carried her to England as his wife and thus escaped the blame cast
upon him by Horace Walpole of disobeying the summons of his dying
father in 1764.”

It was in December of that year that the second Earl Cowper died,
and his only son succeeded to his title and estates, but he refused to
return home to take up his inheritance or carry out its obligations, much
preferring his life in Italy to what he termed “ the dull melancholy ” of
England.

In 1775 he married Hannah Anne, youngest daughter and co-heir of
Charles Gore, of Horkstowe, Lincoln, who was at that time residing in
Florence with his family, and who is said to have been the original of
Goethe’s travelled Englishman in Wilhelm Meister.

Lord Cowper made himself very popular in the Grand Ducal Court
of Tuscany, by reason of his vast revenue and of the state and magnificence
he kept up.

He was an ambitious man and the Grand Duke interceded on his
behalf with the Emperor, Joseph II, with the result that Lord Cowper,
after entertaining the Emperor in superb fashion, was created a Prince
of the Holy Roman Empire, “ Sacri Romani Imperii Princeps de Cowper,”
and later on given permission to add the royal surname of Nassau to his
own patronymic as one of the representatives of the Earl of Grantham.
These honours cost Lord Cowper a considerable sum in fees, and Walpole
rather unmercifully poked fun at the recipient of them.

Zoffany painted a fine portrait of the noble Lord, which for some
time hung at Wrest Park and has lately come into the market.

In it he is represented as a man of portly and imposing appearance,
lifting his hat in smiling recognition of some acquaintance. He is
depicted in a blue velvet coat and yellow vest with lace at the neck and
wrists. He is holding a cane and wears a sword on his left side.

Moreover, Zoffany painted a delightful group representing Lord
and Lady Cowper and Lady Cowper ’s father, mother and sisters.

This was painted either at the Villa Palmieri or at the Villa Del
Cipresso, it is not certain which.

Coll, of Miss Boothby

GROUP OF SEVEN GENTLEMEN

WITH H R H. THE DUKE OF YORK, HARRY ST. JOHN AND SIR WM. BOOTHBY ON THE LEFT, LORD PALMERSTON, MURRAY, TOPHAM BEAUCLERK

AND LORD LUCAN ON THE RIGHT

ZOFFANY IN ITALY

Lord Cowper is in the centre of the group in a green coat, white vest
and breeches, and Lady Cowper is in a pale pink gown. Her sister Emily,
in blue, is represented playing on the harpsichord, accompanying Mr.
Gore, who plays the violincello, while near by are Mrs. Gore in grey,
and another sister in white brocade. On the wall hangs a famous picture
and from the window can be seen the Arno and a hilly landscape.

The group is one of Zoffany’s successes, the figures well composed
and exceedingly well painted, the fabrics represented with extraordinary
skill and all the furniture with the utmost facility.

Curiously enough the picture passed out of the family possession
until 1845, when it was purchased in Florence by the brother of the
sixth Earl for £20.

It was probably stolen from the Villa Del Cipresso with other objects
of value when Lady Cowper died there in 1826 at an advanced age.

The most notable portrait of Lord Cowper, however, appears in the
scene of the “ Tribuna ” picture to which we refer shortly.

It may be well to mention, before we leave the subject, that Dr. Doran
was right in stating that all three of Lord Cowper ’s children were born
in Florence, but were sent over to England to be educated, although,
says Walpole, “it is astonishing that neither parent nor child can bring
your principal Earl from that specific spot — but we are a lunatic nation.”

Lord Cowper did, however, come over once to London, although for
a very short time. It was in 1786, and Walpole owns to going to a concert
at Mrs. Cosways, “ out of curiosity, not to hear an Italian singer sing one
song at the extravagant sum of £10 . . . but to see an English Earl
who has passed thirty years at Florence and thought so much of his silly
title and his order from Wirtemberg. You know,” he goes on to say,
“ he really imagined he was to take precedence of all the English dukes
and now he has tumbled down into a tinsel titularity. I only meant to
amuse my eyes, but Mr. Dutens ( ?) brought the personage up and
presented us to each other. He answered very well to my idea, for I
should have taken his Highness for a Doge of Genoa. He has the awkward
dignity of a temporary representative of a nominal power. Peace be
with him and his leaf-gold.” “ I wonder,” he concludes in another
letter, “ his Highness does not desire the Pope to make one of his sons a
bishop in partibus infidelium .” 1 Lord Cowper soon returned to Florence
and died there in 1789.

While Zoffany was in Florence the Duke of York 1 2 visited the city,

1 Walpole’s Letters, Toynbee edit., XIII. 382.

2 Zoffany painted a group which included the Duke of York, Colonel St. John, and Sir
Wm. Boothby. It now belongs to Miss Boothby. Perhaps it was painted on this very
occasion.

54 JOHN ZOFFANY, R.A.

attended by Sir William Boothby and Colonel St. John. Zoffany was
presented to them and craved the favour of a visit to his studio, in the
Tribuna, where he did the honours of the palace as though it had been
his own house and excited the ridicule of the members of the Duke’s
suite by the elaborate adulation he paid to his Royal Highness and by
the claim he set forth of special attention consequent on his being the
Queen of England’s State Painter in Ordinary, a title to which he had
not the slightest right.

We learn of him in Florence once or twice from Ozias Humphrey’s
correspondence, and in every way he seems to have aimed at creating a
sensation and to have succeeded in doing so. One letter especially
alludes to his grand clothes, notably to a coat of pale pink velvet, which
he wore in the street on state occasions and which apparently did not
please Lord Cowper who complained that it made “ an artist look like an
Earl.”

Of his return home we hear in a letter he wrote from Florence on
January 15, 1774, one of the few of his letters that has survived.

It is in the Anderdon collection and the owner considered that it was
addressed either to Cosway or to Fuseli and that the Mr. Bruce mentioned
in it was the well-known Abyssinian traveller. It has been suggested,
however, that it was more probably addressed to a traveller than to a
painter and certainly to some friend of Dr. Hunter and Dr. Solander. It
alludes to Captain Phipps, afterwards Lord Mulgrave, whose portrait
we have already mentioned. It reads thus —

“ Florence,

“ January 15, 1774.

“ Dear Sir,

“ It was with sincere pleasure that I received your kind letter,
and it added much to it to find that I was not quite forgotten by you
in London, you will wonder much perhaps at the trouble I give you
in sending so great a Pacquet, but by opening it you will find it comes
from a same-sized great man, the wonder of the age, the terror of
married men and a constant lover, Mr. Bruce, who, having great
number of drawings of architecture and natural history and divers
others of his works should be glad if you could find ways to get an
order to prevent an inspection at the Custom House, as by the enclosed
you will be better informed of. My works, I hope, will be finished
by the latter end of March when I shall immediately set out on my
return to Old England. I am very sorry to hear of the impossibility
of succeeding in the attempt of passing the North Pole. The per-
severance of Captain Phipps merited a much better success. We

Parma Gallery

CONCERT OF WANDERING MINSTRELS
The picture is stated to have been painted for Duke Ferdinand de Bourbon

A linari photo

ZOFFANY IN ITALY

had the other day passing here Lord Clive, who was very much enter-
tained here, and is now set off for Rome and Naples. He should
have liked a picture similar to what I am now painting of the Tribuna,
but, poor man, he could not go to the expense. I saw a print of the
Academy which very little pleased me, as there is no likeness in the
heads, and I very much wonder at the success of it. Your books of
the last voyage go off here amazingly, and I hear it is to be translated.
How is Mr. Hunter ? I don’t hear anything of him.

“ I beg my best respects to him, to Dr. Solander, and all the rest
of the gentlemen of the Club, and remain, with the sincerest respect,
Dear Sir,

“ Your most obedient humble servant,

“ Johann Zoffany.

“ P.S. — Lord Cowper sends his compliments to you and is sorry
he cannot have the pleasure of seeing you in Italy.”

From Florence Zoffany, after sending home his great picture, moved
on to Rome in 1773, then to Parma, and thence to Bologna, being
everywhere received with great distinction and admitted into the
Academies of each city. He was especially pleased with his membership
of the Academy of St. Luke, the oldest artistic society in Europe, and with
his admission into the Academy of Parma, in the latter place being greeted
with the cry of “ Greater than our Correggio.”

To Parma, in consequence of this flattery, he presented a picture,
and a clever one it is, as can be seen by a visit to the picture-gallery of
the place.

It represents a band of strolling mendicant musicians whom he had
encountered on his way and persuaded to sit to him. They are nine in
number, cleverly arranged in a group, three of them seated and the rest
standing. Their faces all betoken great amusement, probably at the fact
that the notable English painter cared to make a picture of them, and
although there is some hasty and careless drawing in the group, the figures
are well represented on the canvas and the features painted with un-
common care and skill, while, as usual, to the cloth and velvet of the
costumes, to the instruments, the conductor’s staff and money-bowl,
and to the various accessories, Zoffany gives just the right measure of
attention.

Anthony Pasquin, in his amusing but scurrilous account of Zoffany
in alluding to his visit to Italy, says that —

“ Zoffany’s ‘ knowledge of theology was so perfect that he under-
took to write annotations upon the chronicle of Father Jerome ;

JOHN ZOFFANY, R.A.

in a public disputation at Padua, he upheld the honour of St. Luke
above the other evangelists, and challenged an Empiric at Leipsig
for calling the worthy apostle a house-painter.’ At Loretto ‘ He
touched the cheeks of the Lady of Loretto with his best carmine
gratis .’ ”

From Florence Zoffany had sent home to the Academy the “ Holy
Family,” to which we have already referred {see p. 37), and to it Walpole,
in a letter to Horace Mann, April 17, 1775, with reference to the Royal
Academy thus alludes : 1 “ Zoffany has sent over a wretched ‘ Holy
Family.’ What is he doing ? Does he return or go to Russia as they
say ? He is the Hogarth of Dutch painting, but no more than Hogarth
can shine out of his own way. He might have drawn the Holy Family
well if he had seen them in statu quo .”

The Parma picture, just mentioned, can be considered as in Zoffany’s
Hogarthian manner, and the faces in it would do no discredit to that
great master.

From Florence Zoffany made his way to Vienna and there appears
to have completed the picture of the Emperor for which he had taken the
first few studies in Florence, and which he desired to present to the
Empress Maria Theresa. It gave unbounded satisfaction, so much so
that three other groups were at once commissioned and were still to be
seen ten years ago with the portrait in the Imperial Gallery. One repre-
sents the Archduchess Maria Christina, seated and holding a dog on her
lap, another, four of the grandchildren of the Empress Maria Theresa,
and the third shows the Archduke Leopold of Tuscany and his wife
and family of eight children.

It is also stated that he painted a fine Court picture of the Empress
Maria Theresa herself, and two more Royal groups are attributed to his
hand, but the pictures w T ere not available when this book was being written
and cannot, therefore, be described. In those, however, that we have seen,
Zoffany was not quite so successful as in his less formal and more intimate
groups. He has overstated the dignity of the royal personages and has
made their portraits stiff and formal, only relaxing this severity of treat-
ment in the case of two young children in the Archduke’s family group,
who are presented with something approaching vivacity.

Even with them, however, he has been afraid to let himself go, and
seems to have been overawed by the grandeur and importance of his
sitters.

In depicting their costumes he has been, as usual, successful. The
gown of the Archduchess Maria Christina is a marvel of exquisite delinea-

1 Walpole’s Letters, Toynbee edit., IX. 186.

Vienna Gallery

PORTRAIT

OF THE ARCHDUCHESS MARIA CHRISTINA (1742-1798), MARRIED TO THE
ARCHDUKE ALBERT OF SAXONY

GRANT OF ARMS MADE TO ZOFFANY BY THE EMPRESS MARIA THERESA
From the original Patent of Nobility and Grant of Arms by permission of its owner, Mrs. Evcrard Hesketh

GREAT SEAL OF THE EMPRESS MARIA THERESA, FROM THE PATENT OF NOBILITY GIVEN TO ZOFFANY
From the original Patent by permission of its owner, Mrs. Everard Hesketh

ZOFFANY IN ITALY

tion, and yet is not so overdone as to take a wrong position in the picture,
the main attention of which is concentrated on the face of the Princess
and on a wonderful marble figure by her side, which is painted with
meticulous attention. Another of these Austrian Royal portraits is in
England. It is a group and belongs to Mrs. Mainwaring Kynaston. It
represents one of the Grand Dukes and another member of the Imperial
family, with a dog.

Zoffany was, moreover, highly successful in pleasing his Imperial
patrons, for not only was he handsomely paid for his paintings, but was
rewarded by the gift of a patent as a Baron of the Holy Roman Empire,
and as Edler von Zoffany he swaggered about in the Court.

The patent was granted on December 4, 1776, and is still in the
possession of the artist’s descendants. It is an imposing document
bearing the Empress’s signature, richly illuminated and with a magnificent
seal attached. By kind permission of its present owners we are enabled
to illustrate the page with the Imperial signature and those of the various
officials, the illuminated grant of arms and the seal, while in the appendix
we give a full translation of the document from the original German.
It sets forth in fitting and grandiloquent language the “ moral goodness
and noble virtues, the skill and other praiseworthy attributes,” with
which “ our dear and faithful Johann Zoffany has been represented to us
to be possessed,” and it there alludes to “ his indefatigable zeal and pre-
eminently happy results to the art of painting,” and to the fact that not
only from his youth upwards had he worked to “ the approbation of all
competent judges,” but that he intended to do so “ unto his death.” In
accordance, therefore, with “ Our Royal and Arch-Ducal Sovereign
Power ” it goes on to say it raises him and “ his legitimate issue and the
heirs of their heirs of either sex in direct line for ever to the dignity of
nobility” and to be equal to all the persons of noble birth in the Empire.
It grants a coat-of-arms to Zoffany and it calls upon all the nobility of
the Empire to receive him as their equal, and to give him their proper
precedence amongst them under pain of Imperial displeasure, and in its
magnificence and stateliness is a document worthy of the Court from
which it emanated, and one w r ell-calculated to fill the heart of the painter
with great joy and satisfaction. “ His unfailing faithfulness, services and
good conduct,” as the patent expresses it, had indeed received an exalted
reward. As a piece of Court phraseology the patent merits perusal and
its execution marks it as a beautiful piece of illumination.

Its value at the time in the Imperial Court must have been remarkable,
and we suppose from its wording all those who descend from the painter
would have been entitled to important precedence in Vienna and be
still regarded as belonging to that very select body the high aristocracy

58 JOHN ZOFFANY, R.A.

of the Austrian Empire. Johann, Edler von Zoffany had yet, however, to
learn in what way this High foreign distinction, well and ably won although
it was, would be regarded in England.

From Vienna Zoffany journeyed into Germany to revisit the home of
his first wife, and there he was received, under his new honours, with
much distinction. He is said to have painted an important panel picture
for the Court Chapel, at Coblenz, but we have been unable to verify this
statement. He certainly was in the city in the summer of 1779, but soon
afterwards left for England. Whether his picture of the Tribuna
arrived in London before the artist came or whether they arrived simul-
taneously we cannot tell, but certainly by November 12, 1779, 1 the picture
was in England in the artist’s studio, and Walpole had been to see it, for
thus he wrote to his old friend, Sir Horace Mann, on that very day in
chaffing mood, concerning it.

“ I went this morning to Zoffani’s, to see his picture or portrait
of the Tribune at Florence, and though my letter will not put on
its boots these three days, I must write while the subject is fresh
in my head. The first thing I looked for was you — and I could not
find you. At last I said, ‘ Pray, who is that Knight of the Bath ? ’
‘ Sir Horace Mann.’ ‘ Impossible,’ said I. ‘ My dear sir, how you
have left me in the lurch ! You have grown fat, jolly young; while
I am become the skeleton of Met’nusalen.’

“ The idea I always thought an absurd one. It is rendered more
so by being crowded with a flock of travelling boys, and one does
not know or care whom. You and Sir John Dick, as Envoy and Con-
sul, are very proper. The Grand Ducal Family would have been
so too. Most of the rest are as impertinent as the names of church-
wardens stuck up in parishes whenever a country church is repaired
and whitewashed.

“ The execution is good; most of the styles of painters happily
imitated ; the labour and finishing infinite ; and no confusion, though
such a multiplicity of objects and colours. The Titian’s Venus, as
the principal object, is the worst finished ; the absence of the Venus
of Medici is surprising; 2 but the greatest fault is in the statues. To
distinguish them, he has made them all of a colour, not imitating the
different hues of their marbles, and thus they all look alike, like casts
in plaster of Paris. However, it is a great and curious work, though
Zoffani might have been better employed. His talent is representing
natural humour; I look upon him as a Dutch painter, polished or

1 Walpole's Letters, Toynbee edit., XI. 48.

2 This was Walpole’s oversight, the Venus is in the picture.

ZOFFANY IN ITALY

civilised. He finishes as highly, renders nature as justly, and does
not degrade it, as the Flemish school did, who thought a man vomiting
a good joke, and would not have grudged a week on finishing a belch,
if the mere labour and patience would have compassed it. . . .
‘ Well, but are you really so portly a personage as Zoffani has repre-
sented you ? I envy you. Every one can grow younger and plump
but I .’” 1

Further down in the same letter he adds a postscript : —

“I do allow Earl Cowper a place in the ‘ Tribune; ’ an English
Earl who has never seen his earldom, and takes root and bears fruit at
Florence, and is proud of a pinchbeck principality in a third country,
is as great a curiosity as any in the Tuscan collection.” 2

In reply to this letter, Mann writes thus to Walpole, and alludes to
the reports in Florence concerning Zoffany’s second marriage 3 —

“ I am glad that you have seen Zoffany and his portrait of the
Tribuna. So, then, it is not true that he was hanged for bigamy,
as was reported amongst the Italians in spite of all I could say to
convince them that with us, though he has two wives , 4 it is not a
hanging matter. Your opinion of his laborious performance in all
the parts you mention agrees with that of our best judges here, but
they find great fault with the perspective, which they say is all wrong.
I know that Zoffany was sensible of it himself, and used to get
assistance to correct it, but it was found impossible, and he carried
it away as it was. How or whether it has been done elsewhere, I
know not.”

From the artist’s studio, where we suppose it was given a sort of
private view, the painting was carried down to Kew, and, says Mrs.
Papendiek, it

“ was placed in a room at Kew House, when the Royal Academicians
were desired by the King to come down and make their report
upon it. They were unanimous in their opinion of its super-
lative excellence. The beauties of every master were so well
preserved in the copy of the pictures, that the ignorant many could
almost point out the name of each artist. In the foreground is the
beautiful Titian Venus, held by the man who is supposed to be fixing

1 Walpole s Letters, Toynbee edit., XI. 48. 2 Ibid. 50.

3 Doran’s Man and Manners at the Court of Florence, 1876, p. 358.

4 This was not true ( see p. 48).

JOHN ZOFFANY, R.A.

it for Zoffany to copy, while he himself is seen in the Gallery listening,
as it were, to the observations of the spectators. Every countenance
is lighted up with animation ; but the number that he has so wonder-
fully grouped, I am ashamed to own, I have forgotten. Sir Horace
Mann, our Ambassador at Florence at the time, is conspicuous, as
well as many other Englishmen who were there, and were well known
among their countrymen. The cognoscenti , in addition to the pro-
fessors, were agreed that an allowance of £1000 a year for life would
not more than pay him for his vast labour, and that less than £700
could not be offered. Alas, poor Zoffany ! The moment the
question of money was raised, all sorts of objections were made to
the work; as to the different persons introduced, that could not
interest the King, and might even be unpleasant to His Majesty to
look at; that he had deviated from the order given him, simply to
copy the Tribuna; that he had painted portraits of the Imperial
Family of Vienna, and others, thereby having lengthened his stay,
and retarded the business upon which he left England, and so forth.
To these charges he answered — first, the impossibility of daily
attendance at the Gallery, as the public could only be kept from it
at certain times, and that by favour ; that its being built of stone, and
very cold, rendered a too-close application dangerous, and as it was,
Mr. Zoffany had once been brought home with loss of power from
intense study, that state of inanition being afterwards considered
as the first seizure of paralysis, which some years later carried him
to his grave. To the objection made to his having painted certain
portraits, he answered that the Emperor of Germany, Joseph II,
was accidentally passing through Florence at the time, on his way
to the family of Tuscany, his relations, and being delighted with
Zoffany’s performances, he himself sat for his portrait, and ordered
all the members of his family to do the same. These pictures,
however, were done in the intervals of his great work, with which
they did not in any degree interfere. Zoffany was well rewarded by
the Emperor Joseph and was made a Baron of the Holy Roman
Empire. The Emperor, moreover, strongly urged his coming to
Vienna, but Zoffany refused on the ground of his commission for
the King of England. 1 On account of his having accepted these
rewards from the Emperor, Zoffany proposed dropping the £300
a year that was promised to him, but requested payment of his
expenses to Florence and back.

1 Mrs. Papendiek is not quite correct here. Zoffany did at first certainly refuse,
but afterwards consented and went, and two of his pictures were painted in Vienna
and have a statement upon them to that effect.

SIGNATURE OF THE EMPRESS MARIA THERESA TO THE PATENT OF NOBILITY GIVEN TO ZOFFANY

From the original Patent by permission of its owner, Mrs. Everard Hesketh

ZOFFANY IN ITALY

“ On this point another difficulty was started, namely, that the
agreement had been made with him as a single man; that he had
since married, and that, therefore, his expenses had been increased.

“ What in the end Zoffany received, I cannot assert, but I am
certain that it was under £1000. The picture was put out of sight,
and it was not till it was exhibited in the collection of George IV that
it was again even recollected. His old friends stuck by him, and he
was made a Royal Academician and Visitor immediately.

“ He took a house in Strand-of-the-Green, and one in town at
the corner of Albemarle and Stafford Streets.” 1

In another allusion to the same picture, Mrs. Papendiek tells us that
Zoffany expected to receive two thousand guineas for the work,
in fact, at one time he hinted that he considered its value at three
thousand guineas, but all his hopes were frustrated, and although the
painting was exhibited at the Royal Academy in 1780 (68) and attracted
considerable attention, 2 the Royal purse was not opened to the extent
Zoffany had expected, and in consequence the picture came back after the
Exhibition to Zoffany’s studio. 3 Walpole, however, refers again and
again to it and had a high opinion of its merits.

In a letter to Sir Horace Mann dated April 23, 1781, he says :
“ Zoffany’s picture, however, will rise in value as a portrait of what that
room (the Tribune) was, yet its becoming more precious will not, I doubt,
expedite the sale of it.” 4 While, in one to the Countess of Upper Ossory,
November 14, 1779, he writes—

“ Now I have tapped the chapter of pictures you must go and
see Zoffani’s ‘ Tribune ’ at Florence, which is an astonishing piece of
work with a vast deal of merit.

Some years subsequent to the painter’s return from Italy, this picture
of the Florence Gallery, however, was purchased by the Queen, and it is
stated at the instance of the late President of the Royal Academy, for six
hundred guineas, “ a sum,” says a contemporary writer, “ perhaps com-

1 Mrs. Papendiek, I. 83.

2 Leslie and Taylor say it was “ the subject of much curiosity.”

3 Says the Literary Gazette of July 8, 1826 : “ It is true that the munificent founder
of the Royal Academy had bestowed his patronage to the extent of one thousand
guineas for one picture painted by a living artist ; but that was given in the shape of a
royal bounty to a distinguished individual, to encourage his zeal in pursuit of the epic
style of composition. The late Mr. West received that sum of His Majesty for his
picture of ‘ Regulus.’ ”

4 Walpole’ s Letters, Toynbee edit., XII. 40.

JOHN ZOFFANY, R.A.

mensurate with the value of the picture in those days, though not an
entire remuneration for the labour bestowed upon it.”

Another statement is to the effect that Zoffany, by dint of great
pressure, eventually obtained £1500 from the Crown for his time and
expenses in Italy, and £800 for the picture itself, and this latter statement
is in accordance with a definite family tradition.

There is a lengthy notice concerning the picture in the Literary Gazette
for July 15, 1826, which is worth quoting in full. With regard to Zoffany’s
time in Italy it states again that the story was told in Florence to the
effect that Zoffany

“ took sittings of certain gentlemen who were desirous of being
transmitted to future times, thus surrounded by objects of virtue
at twenty guineas per head : but that, after their departure from this
illustrious city, the said heads vanished, and their places were supplied
by others, who paid the same price for the same privilege. Hence,”
it adds, “ on the appearance of the Florence Gallery in England, many
a disappointed tourist, who looked for a duplicate of his own veritable
phiz in this picture, having boasted that it was therein, w T as suspected
by certain good-natured friends of using that travellers' privilege so
unjustly ascribed to the late Mr. Bruce, whose very faithful portrait
is the last depicted on the left side of the composition. The afore-
mentioned Lord B. . . . asserted that he himself had paid his
twenty guineas, but certainly his lordship’s head is not there.

“ The painter in this piece, too,” it goes on to say, “ has not
neglected to introduce his own portrait, however, and there he stands
— another Jew, doing a little business in the Temple. He is ex-
hibiting to a group of virtuosos, a Madonna by Raffael, which is intro-
duced by way of episode, and a profitable one it turned out to the
artist. The picture did not belong to the gallery — it was picked up
by accident by Zoffany and for a small sum. He was wont to ask all
English comers to Florence, ‘ Have you seen my Raffael ? — Ah ! den
you must see it.’ He is herein submitting it to the admiring group,
Sir John Dick, the Earl of Plymouth, Mr. Stevenson, the Earl Dart-
mouth, and last, though the first, par eminence , the late Earl Cowper,
who, charmed with its gusto, purchased it; and brought it to England.
It is now in the collection of the present worthy Earl.

“ The picture is considered an original Raffael and a treasure of
art. His lordship paid down a certain liberal sum, and granted, by
way of residue, an annuity of a hundred pounds, which the fortunate
painter (who lived, as is said and pretty generally believed, to be
between ninety and a hundred) enjoyed to the last. Hence this

J. Earl Copper

6 Earl of DattrnoiUh'

11 AC Bin rich i

16 S,rI7o roc* Money

2 Su John Dic/c

7 AT 'Lora&w Smith*

17 JlonJdtrn 71 cry p

1J Tori of MuCJh li ra

3 Kart ol Ftytruntth

6 Lord MouncKdgccombe

1.1 AK Gordo n

10 Sl r Marts

4 AT Zoffani

() Lord Lu/sh or p icq h

14 ArEacvh,

K) AT Doughty

5 ST Stevenson,

JO M r Valeiiti/ie Knight Ip

1.5 Sir John Tap lor

70 Af T WiLbrahairu j

21 AE Rn^ce. Af~ A/ r Wiltfraharrc

KEY TO THE PAINTING OF THE TRIBUNA
(Collection of H.M. the King)

By permission of the Royal Academy of Arts

ZOFFANY IN ITALY

‘ Madonna,’ perhaps, whatever may be its merits, is the dearest
Raffael that ever was purchased, even by a travelling English
lord !

“ When the gallery picture was placed in the Royal collection it
was the source of many a jeu cT esprit, and his late Majesty laughed
heartily at an observation of Lord M y, a favourite courtier, who,
commenting upon the vrai ressemblance of certain portraits, turning
to that of one who is eyeing the Titian Venus , 1 ‘ I see, my lord, you
leave the chaste Madonnas to the sprigs of virtu, and group with the
more recherche in the carnations of a Venetian Venus.’ This cele-
brated Venus has been copied by many artists, from age to age, and
of every country, the last which we have seen is by the pencil of a
living member of our own school, one whose works have already
added splendour to the British art. We need not name the inde-
fatigable Etty. . .

It remains to describe the picture, which is now happily regarded as
one of the gems of the Royal collection, and which, as the repre-
sentation of an historic room with its varied treasures, and as a portrait-
gallery of the connoisseurs who at that time frequented the city, has no
equal in importance.

It will be seen from the key to the engraving of the picture that the
persons who were eventually depicted were Earl Cowper, Sir John Dick,
the Earl of Plymouth, the Earl of Dartmouth, the Earl of Winchelsea,
Lord Mount Edgcumbe and Lord Russborough, Mr. Felton Hervey, Sir
John Taylor and Sir Horace Mann, and Messrs. Stevenson, Lorain-Smith,
Valentine Knightley, Bianchi, Gordon, Bruce, Patch, Watts, Doughty,
Wilbraham and the artist himself.

“ Zoffany, who was a humorist,” says a writer of his period, “ is
said,” in this picture, “ to have paid off a grudge against one whose
portrait is in the foreground of the group, namely, Mr. Patch, who,
it seems, had obliged the painter, rather unhandsomely, to pay a sum
of money on a mere verbal responsibility, for another. Hence he
put a black patch on the seat of honour, upon one of the sculptured
fighting gladiators, and made the figure of Mr. Patch, which had
been previously introduced, pointing at this pun upon his name.
This story is transmitted on the authority of Zoffany himself. He,
however, was known to be a waggish narrator.”

1 The painter has skilfully introduced this Titian Venus, which hangs in that angle
of the gallery, behind the spectator. He has herein made it an episode to his general
design, as it is taken down from the wall to be thus examined.

6 4

JOHN ZOFFANY, R.A.

The evidence for the truth of this story cannot now be detected in
the painting, and perhaps Zoffany, repenting him of the practical joke,
removed the offending black patch before the picture came into the Royal
collection. Certainly it is not now to be seen.

The main interest in the whole composition centres about the little
group on the left in which the painter is himself exhibiting to Lord Cowper,
Sir John Dick, Lord Plymouth, Mr. Stevenson, and Lord Dartmouth the
painting of a “ Holy Family ” by Raphael 1 to which allusion was made in
the Literary Gazette and which eventually passed into the hands of Lord
Cowper. It can still be seen, in the Gallery at Panshanger, and is for-
tunately not the painting by Raphael, from that same Gallery, which passed
into the hands of the late Mr. Peter Widener of Philadelphia.

Walpole rightly calls the “ Tribuna ” picture “ a great and curious
work.” It is, of course, overloaded and over-full, as a composition, but
as will be seen from the reproduction we have been permitted by the
King to obtain, it is a consummate piece of work in its own special genre.

The faces of the spectators are admirable and exceedingly well varied.
The arrangement is, on the whole, clever, and does not give the
appearance of a made-up composition, while the details kept in due
subordination, are exceedingly well painted. All the paintings on the
wall can be recognised and identified, and so, too, can most of the marbles
and bronzes, and as a pictorial representation of a remarkable scene the
painting has high merits.

Its brush-work is good; it is still in brilliant condition, and all the
colours have stood well. Zoffany must have taken infinite pains with it
and it stands pre-eminently as his greatest work. He had never equalled,
and he never excelled it, in certain respects, the draughtsmanship, on the
whole, being excellent and the colouring warm, rich, even brilliant, and
yet subdued to a suitable key throughout, while in respect to the painting
of such details as costumes, silk, velvet and drapery, it stands as the finest
example in existence of our painter’s special facility.

In the possession of Mr. R. Logan is a fine portrait of Gabriel Mathias,
Keeper of the Privy Purse (1719-1804). By his side is represented a
bust by Nollekens, dated 1779, representing his brother, James T.
Mathias, the author of the Pursuits of Literature.

It has been suggested that the 1779 might also refer to the date of
the painting, but in that year Zoffany was in Florence. It does not,
however, follow that the picture was not executed at that time. Mr.

1 The clever couplet that Gilbert puts into the Major-General’s song deserves to be
quoted in this connection : —

“ I can tell a genuine Raphael from Gerard Dow’s or Zoffany’s,

I know the Croaking Chorus from the Frogs of Aristophanes.”

Coll, of Sir Reginald H . Graham, Dart.

THE GRAHAM FAMILY GROUP

Including Sir Bellingham Graham, his son, afterwards sixth Baronet, and his two daughters, Mrs. Smith and Mrs. Fulke Greville, all

under the “ Zoffany ” tree

ZOFFANY IN ITALY

Mathias may have been in Italy then and have sat for his portrait. It is
not a very early work and yet almost certainly one executed before the
artist went off to India.

In 1780 we know that Zoffany was in Yorkshire by reason of the
fact that a group belonging to Sir Reginald Graham and two sketches,
one of Sir Bellingham Graham and the other of his housekeeper, Mistress
Ellis, are attributed to that year, it being stated in the family that the
sketches were actually drawn at that very time.

The group is an important one. It depicts the fifth Baronet, Sir
Bellingham Graham, with his son and two daughters, afterwards Mrs.
Smith and Mrs. Fulke Greville, all grouped around a tree in the Park at
Norton Conyers, which was selected as the mise en scene by the artist him-
self and which has ever afterwards been spoken of as the Zoffany tree.

This method of grouping under a tree was a favourite scheme of
Zoffany. We shall meet with it many times in his pictures.

CHAPTER IV
zoffany’s later work

Such information as we possess concerning Zoffany’s life in London
after his return from Italy and prior to his departure for India, we owe
almost exclusively to the gossipy pages of Mrs. Papendiek’s diary, but in
quoting rather extensively from them we should again premise that when
dates are of importance, too much reliance must not be placed upon that
good lady’s memory.

For example, in one of her entries she alludes to Mr. Zoffany’s absence
in India having been away for “ fourteen years,” whereas he was not
absent from England more than seven, as he was certainly painting in this
country in 1782, and back again at work in 1790.

She says he was in Italy for seven years, and this statement also, it
seems probable, is a little in excess of the truth, as there is no evidence in
favour of his having left England before 1773, and he was certainly back
here again in the autumn of 1779.

Where exactly the artist resided in Albemarle Street after his return
from Italy has been doubtful, as the Royal Academy catalogues give
no number to the house, but it is clear that Zoffany was a successful man
and able to take an important residence.

Mrs. Oldfield, his grand-daughter, a lady of very advanced age, who
was good enough to favour us with such memories as she could recall,
stated that the house was, as Mrs. Papendiek implies, at the corner of
Stafford Street and Albemarle Street, and so would correspond to the
block now rebuilt and forming Shelley’s Hotel and restaurant.

Northcote 1 expressly states that “ Zoffany made a fortune in England
by his pictures, which he soon got rid of, and another in India, which
went the same way.”

According to various accounts, it would appear that one of the artist’s
chief extravagancies was in connection with his love for music, and that
he delighted in giving concerts at his house in which the notable artists of
the day took part, and which were attended by the elite of society, much

1 See Waller and Glover’s edition of Hazlitt’s Works, VI. 386.

ZOFFANY’S LATER WORK 67

as similar concerts were given in Pall Mall and in Berkeley Square by
Mrs. Cosway.

Mrs. Papendiek was also very fond of music, and her diaries abound
in allusions to the singers and players who were famous in her time.

She it is who tells us that Zoffany “ had recourse to Opera performers
for subjects to exhibit,” 1 and hence these concerts were of service to him
from a professional point of view.

For example, we hear of various musical people in the following extract
from Mrs. Papendiek’s pages —

“ On leaving Kew for St. James in November, the Zoffanys, who
lived in Albemarle Street, became more intimate with us, and we
soon assembled round us an agreeable and artistic society. Bach
had married the famous singer, Calli, who assisted him with her
savings of £ 2000 . She was of good character and well-regulated
conduct, rather passde for a prima donna, and singing, therefore,
now only at concerts, public and private. Miss Cantilo was their
articled pupil, and, being quick and clever, very soon became useful.
I had been, as it were, brought up with the party, and as I wished
to catch at every opportunity to improve, Miss Cantilo and I became
very intimate. These ladies sang at the Queen’s concerts in London,
and upon the marriage of Miss Linley with Mr. Sheridan, which
prevented her coming any longer as a singer to the ‘ Queen’s House,’
Madame Bach’s and Miss Cantilo ’s attendance was established.” 2

In another she says —

“ We were present at the King’s Theatre with the Zoffanys and
the Bachs. Bach gave his benefit in the season as usual, and there
introduced Miss Cantilo, after two years’ instruction. She always
sang scientifically, and had a lively and engaging manner, with a
natural talent for music; but nature had given a huskiness to her
voice which never could be overcome, and which rather increased
with age. She was at this time about seventeen, rather pretty than
otherwise, with fine expressive eyes, and an interesting little figure.

“ As Mr. Zoffany’s occupation of portrait painting was much
diminished by his absence of seven years, he had recourse to the
Opera performers for subjects to exhibit. This opened the way to
gratis admissions, and often did Mrs. Zoffany fetch me to accompany
her. We were constantly in the dressing-rooms of those she was
acquainted with, Simonet, Bacelli, Theodore, etc., and happy am

1 Mrs. Papendiek, I. 136. 2 Ibid. log.

JOHN ZOFFANY, R.A.

I here to affirm that we never saw anything reprehensible. When
the dressing and undressing were over, acquaintances came in to
chat as we did, but all was decorum, with the leading characters at
all events. Miss Farren was one of our intimate friends.” 1

Not content, however, with the expense of a town house, Zoffany
at this time launched out still further, and took also a riverside residence.

Whether this was the house at Chiswick now known as Zoffany House,
or whether it was the house bearing the same name at Strand-on-the-
Green, facing the river, and in which he afterwards resided, is not clear,
but the evidence is in favour of the latter.

Wherever it was, he certainly made considerable use of it, and, as
was the fashion of the day, had his own sailing-yacht and used to give
concerts on board.

Mrs. Oldfield called the boat “ a shallop,” and tells us that it was
painted green, pink and drab, while the servants were put into a magnifi-
cent livery of scarlet and gold with blue facings, the heraldic colours
of the coat-of-arms that had been granted to him by the Empress Maria
Theresa, while on the shoulder-knots appeared the Zoffany crest of a
sprig of clover in silver between buffalo’s horns rising out of a baron’s
coronet.

She has a vivid remembrance of her grandfather’s chief waterman,
Humphreys, clad in this resplendent array.

In order to gain access to his vessel, Mrs. Oldfield tells us that
Zoffany had a summer-house built opposite to the house, fastened on
to a tree and projecting partly over the river, and that there was an
overhead passage made from the house right across the road in order to
reach it.

She says it was used for music parties, could accommodate many
people, and contained a harpsichord, several harps, and various other
musical instruments.

These recollections confirm us in the opinion that the riverside
residence was at Strand-on-the-Green, as there are traditions in the
former place, on the part of old inhabitants, of such a summer-house having
existed, and, moreover, there are facing the house the remains of some
woodwork and of a tree that might well have been used to sustain it,
and the road is so narrow at the spot that the idea of an overhead passage-
way crossing the road is not a preposterous one.

Mrs. Oldfield’s memory is to the effect that this overhead passage-
way, composed of rough timbers, was wholly erected in the course of one
night in consequence of a promise made by the Prince of Wales that he

1 Mrs. Papendiek, 136 .

Wakefield photo

VIEW OF STRAND-ON-THE-GREEN SHOWING THE HOUSE IN WHICH ZOFFANY LIVED

ZOFFANY’S LATER WORK 69

would attend one of the concerts on Zoffany’s shallop and afterwards drink
tea at his house with Mrs. Zoffany.

This is not at all unlikely, as Mrs. Papendiek also refers to the sailing-
vessel and to the concert in the following passage —

“ This spring, 1781, the whole of the Royal family returned to
Kew, to stay till after the prorogation of Parliament, which brought
back for a time our former pleasures with increased gaieties. The
nobility, on fine afternoons, came up in boats, other boats being
filled with bands of music, to take the Prince to the promenade at
Richmond. His Royal Highness was always accompanied by his
governor and sub-governor, and returned for the Queen’s party in
the evening. Mr. Zoffany had a decked sailing-vessel, elegantly
and conveniently fitted up, on board of which we frequently went,
the Bachs being of the party. He used to take his pupil, as he wished
to give her every opportunity of being heard. She sang with Madame
Bach, whose voice was beautiful on the water.” 1

To the Bachs whom she mentions here, she again refers in the following
year, mentioning Zoffany as one of the chief mourners at Bach’s funeral.

Thus she writes —

“ Dear, amiable Bach, after being for several months in a declining
state, was now removed to Paddington for change of air. Some
kind friends never forsook him, and I believe few days passed without
one or other of our family seeing him. The Zoffanys, poor Abel,
and others supplied him entirely with provisions sent ready prepared.
Mr. Papendiek saw him every day, and assisted him by many kind
acts, which are all the more comforting when done by the hand of
one we love. Here I urged him to close the eyes of his beloved friend
in happiness, by offering marriage to his prot£g£e, Miss Cantilo,
but on that subject Mr. Papendiek was deaf to entreaty. The last
visit we paid was together with my father and mother. Bach, on
taking a final leave, joined our hands — I think now I see his enchant-
ing smile. Not a word was said : we were motionless. . . .
This great patron was carried to the grave and buried with the
attendance only of four friends, my father, Mr. Papendiek, Zoffany
and Bautebart, but they were indeed sincere mourners. They
deposited their charge, who was a Roman Catholic, in St. Pancras’
churchyard. The Queen, finding how things were, could not
undertake the debts, but the funeral expenses she discharged, and
gave the coachman £100, which he had lent to his master.” 2

1 Mrs. Papendiek, I. 138. 2 Ibid. 150.

JOHN ZOFFANY, R.A.

We learn something of the nature of these concerts on the river
from the notable picture which Zoffany painted in 1779-81 (R.A., 85) for
his friend William Sharp, representing him and his family on board their
yacht in the Thames, Fulham Church being visible in the background.

This fine picture, for which the artist was paid eight hundred guineas,
we are enabled, by the courtesy of its present owner, Mr. Granville Lloyd
Baker, to reproduce in these pages, and it is of interest to notice on the
right of the Church a house with balconies which belonged to William
Sharp, but which was usually inhabited by Granville Sharp the Philan-
thropist, and from which the family were wont to emerge when they went
on board the yacht for their afternoon concert.

Of this picture Walpole w r rites on his catalogue : “ The Sharps in
their barge, a musical family who went every summer on the river in a
large vessel in which were.” [wc.] “ The figures are most natural and

highly finished, but a great want of keeping on the whole.”

Zoffany’s house, which is still standing in the little hamlet of Strand-
on-the-Green, on the Middlesex side of Kew Bridge, a very few minutes’
walk from the end of the bridge, somewhat resembled it. It appears to
be an early Queen Anne house, with a central porch, and windows on either
side. Zoffany’s studio is a later erection, and is built out from the back
of the house overlooking the garden. The bay window of it rests on
columns. There are three windows forming the bay. It is possible that
this room was added to and improved as a studio by the addition of this
triple bay. There is an interesting old staircase in the house with a
fine carved newel-post. Many of the rooms are panelled, and attached
to two of the bedrooms are the original powder-closets.

There is a small walled-in garden in the rear of the house. It over-
looks the river, and there is still only a narrow path between it and the
Thames.

At one time the windows of one storey had balconies, which were
later on removed, as they were found to be unsafe. According to some
of the older inhabitants of the hamlet, the windows on both of the upper
storeys possessed balconies, and from the centre of the upper one there
opened a doorway. This, no doubt, was the door to the overhead passage
already named.

The house that Zoffany occupied in Chiswick called “ London Style ”
(see p. 44) we have not been able to identify, but its appearance is
shown us in a water-colour drawing by Thomas Rowlandson, one of our
illustrations.

This shows a pretty countrified residence with sloping lawns and high
trees. The drawing 1 is inscribed “ Mr. Zoffany’s House in Chiswick,”
1 We have to thank Messrs. Knoedler for supplying us with a photograph of it.

ZOFFANY’S LATER WORK

7 1

and was exhibited at Messrs. Knoedler’s Exhibition of Rowlandson’s Work
in New York in 1915.

The Sharp’s cottage communicated by an underground passage with
Fulham House, where William Sharp and his family lived, so that it was
easy for all the members of this talented family to come together when a
concert was in view.

The whole family was well-known for its musical talent, and George III
and Queen Charlotte often drank tea in the yacht and listened to the
music.

The picture of the Sharp family in question is, of course, over-
crowded, but Sharp desired that the entire family should be represented
in it, and so there are, including the boatman and his boy, no less than
fifteen people depicted, together with their instruments, the very names
of which appear strange and curious in our ears.

Mrs. Prowse (Elizabeth Sharp) is at the harpsichord, 1 Mr. James
Sharp holds a serpent, Miss Judith a lute, while other mysterious-looking
wind-instruments, the hautboy and theorbo are resting on the top of the
harpsichord, and in the hand of Granville Sharp is a double flageolet.

The present owner of the painting, to whom it came from his grand-
mother, who is the baby in the picture, remembers the boatman’s boy,
who in his childhood in 1848 was still living in Fulham, and who
recalled sitting for his portrait.

He stated that the picture was a long time in course of execution,
as it was not easy to get sittings from all the family nor from the boatman,
who had a strong dislike to sitting at all.

The dog in the picture belonged to Zoffany, and was called Poma.
It was much attached to the Sharps, and when its master was painting
the picture, left him and settled down at the feet of Mrs. Francis Sharp,
and accordingly so appeared in the picture.

As a representation of expression the painting is one of remarkable
ability, there is a vivacity about many of the persons depicted which is
exactly what is desired, but this criticism cannot be applied without
reserve, for some of those in the group are quite the reverse, dull, apathetic
and formal, while the grouping is so artificial and so insecure, especially
considering that the scene is a sailing-boat, that the general effect of
the composition is marred. 2 The lady at the harpsichord, the philan-
thropist who leans towards her, the child near, the older man with the
serpent, the boatman behind, are all admirable, and as a document
representing a phase of Georgian life that has wholly passed away, nothing

1 See details concerning the picture in the Appendix.

2 A criticism on the picture from the Earwig has already been quoted, see

p. 9.

JOHN ZOFFANY, R.A.

can be more delightful, while in colouring and in technique it is one of
Zoffany’s best works, but as a composition it leaves a great deal to be
desired.

Zoffany is also stated to have painted a separate portrait of Mrs.
Prowse, the lady at the harpsichord, and to have carried out this work
at her country residence, Wicken Park, Northamptonshire, an estate which
at her death went to her husband’s nephew, Sir Charles Mordaunt, whose
descendant, the late Sir Charles Mordaunt, sold it to Lord Penrhyn.
While waiting for an opportunity to carry out this portrait (which cannot
at present be traced), the artist caught hold of the door of an old
travelling-chaise, and on it painted the portrait of Jonathan, Mrs. Prowse ’s
gardener at Clare Hall, and this clever work belongs to the Rev. C. C.
Murray Browne, whose wife was great-grand-niece to Mrs. Prowse,
Granville Sharp’s sister.

On his return home Zoffany, it should be stated, had at once taken up
his old position in the Royal Academy, and, by reason of his success in
India, received more attention at the hands of his colleagues than before.
Thus it was he who took the leading part in the difficulty, which ensued
in 1789, concerning the election of Bonomi as an Associate, and the desire
of Reynolds that the position of Professor of Perspective, vacant since the
death of Samuel Wale in 1786, should be given to this man.

Joseph Bonomi was a native of Rome, who had come to England at
the request of the Brothers Adam to help in their architectural and
decorative work. He had settled down in England, and adopted it as
his permanent home, but many of the Academicians were opposed to
him because he was a foreigner, and also because, up to that time, he
had not become a member of the Academy. Reynolds had taken up his
cause somewhat strongly, and had been injudicious in supporting Bonomi
as a candidate for the Chair, prior to his election into the Academy as
an Associate. If he had waited till after the election, he would have
deprived Bonomi ’s adversaries of their strongest argument ; that he was
being elected for the purpose of becoming Professor. Bonomi was put
up for election in 1789. The voting was equal. Reynolds as President
gave it in favour of his protege. A year later there was a vacancy in the
ranks of the Academicians, in consequence of the death of Jeremiah
Meyer, and Bonomi offered himself for election. His opponents were
supporting the claim of Edward Edwards, who temporarily had filled
the position of Professor of Perspective. They, however, abandoned him
and decided to support Fuseli, another foreigner, but then ensued a
controversy respecting the rule which stated that the candidate for the
Professorship must submit a drawing. Edwards declined to submit any
drawings, but Bonomi ’s drawings were produced, and Reynolds himself

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ZOFFANY’S LATER WORK

placed them upon the table. Some of the Academicians objected to
their introduction as premature. Reynolds desired to explain and was
refused a hearing, and then Fuseli was elected Academician by an over-
whelming majority. Thereupon Reynolds left the chair, and the follow-
ing day resigned his position as President of the Academy. His opponents
made matters much worse by preparing the notice of a General Assembly,
which was to be held on March 3, 1790, “ to consider a resolution thanking
Sir Joshua for his able and efficient Presidency,” and sending it to him
signed only by the Secretary and by the hands of the Academy errand-
boy, in the form of a note closed with a wafer, which Miss Earlana, who
describes the whole difficulty, 1 says was “ an informality which Sir Joshua
took as a studied insult.” The resolution accepting the President’s
resignation was, however, carried at the meeting, and a further resolution
also passed, summoning another General Assembly to elect a new Presi-
dent. Then Zoffany appears to have stepped into the breach, and he
drew up an address, which was signed by Barry, Opie, Northgate,
Nollekens, Rigaud, Sandby and himself, expressing approval of the
President’s action in exhibiting Bonomi’s drawings. It was presented to
Reynolds, copies appeared in the paper, public attention was drawn to the
quarrel, and various pamphlets were issued. A reconciliation speedily took
place, the idea of electing a new President was abandoned, and a deputa-
tion was appointed to wait upon Reynolds, and ask him to withdraw his
resignation. He consented to do so, and invited the deputation to dine
with him. The King then requested Reynolds to resume the President-
ship; he did so, and the whole squabble was quickly smoothed over,
and the council of March 18 was presided over by Sir Joshua.

Of the paintings which the artist exhibited at this time, special mention
must be given to one which he called “ A Conversation,” and sent to the
Royal Academy in 1782 (No. 53). As we learn from Walpole’s notes,
this represented none other than the notorious John Wilkes and his
celebrated daughter Polly. Walpole’s comments are thus : “ Mr. and
Miss Wilkes — horridly like.”

The painting belongs to Sir George Sherston Baker, to whom it has
come in direct succession from his great-grandmother, Mary Wilkes, the
sister of the celebrated old politician. “ The Merry, Cock-eyed, Curious-
looking Sprite,” as Byron called him, was at that time Chamberlain of the
City of London, and had recently done valiant service in connection with
the Gordon riots. He had, greatly to the indignation of some of his
opponents, also retained his Alderman’s gown, which he had worn since
1771, and he was still Member for Middlesex, a seat he was to hold for
another eight years.

1 See John Opie and His Circle, by Miss Earland, p. 80.

JOHN ZOFFANY, R.A.

Fie was just commencing bis estrangement from Charles James Fox,
whose loyal supporter he had been, but in the very year in which this
amazing portrait was painted Fox had not only “ tried to prevent,” says
Mr. Bleackley, “ the resolution concerning the Middlesex election from
being expunged from the journals of the House,” but had “ retired from
office because he disapproved of Shelburne as Rockingham’s successor,”
and, furthermore, “ had rent the party in twain by a coalition with Lord
North, the late Tory Premier.” All this completely upset the old Whig,
who became more independent than ever, came out in violent opposition
to the Coalition Government under North, but mirabile dictu “ began to
be a regular attender at the King’s levee.” 1

Here in the painting Zoffany had cleverly set the head of Wilkes on
one side, turned towards his daughter, whom he is regarding in a some-
what leering fashion, with that strange and intense affection which he
poured forth upon her alone, and by this clever stratagem the cross-eyed
appearance of the old demagogue is less noticeable than it would other-
wise have been. “ Polly ” stands erect by his side, holding his hand,
“ a fine figure of a woman,” and Poma the dog, whose portrait we have
just seen in the Sharp picture (see p. 71), lies at her feet. The con-
ception is excellent, the portraits both of them admirable, and the
costumes painted with exceeding skill and ability, the details of the
ribbons, gloves, buttons, etc., marvellous in their truth and finish.

As a group Zoffany seldom surpassed this delightful portrait, it is so
natural and so well-composed.

Walpole, of course, poked clever fun at it ; writing to the Countess of
Upper Ossory on November 14, he thus speaks of it —

“ There, too, you will see a delightful piece of Wilkes looking —
no, squinting — tenderly at his daughter. It is a caricature of the
Devil acknowledging Miss Sin in Milton, and I do not know why,
but they are under a palm-tree which has not grown in a free country
for some centuries.” 2

Walpole is unfair in one part of his criticism, if not in all. The tree
does not bear the least resemblance to a palm. The picture was executed,
so far as is known, in the garden of the Balcony House, Elysium Row,
Fulham, Wilkes’ country residence, and the view in the background is of
the Thames, and painted with some dexterity in the Wilson manner.

This was not the only portrait Zoffany painted of Wilkes. He was
also responsible for the group which belongs to Colonel Prideaux Brune,

1 Life of Wilkes, by Horace Bleackley, 1917, p. 373-

2 Walpole’s Letters, Toynbee edit., XI. 53.

Coll, of Col. Prideaux Brune

JOHN WILKES AND SERGEANT GLYNN

Coll, of the Rev. R. Holden Middleton photo

PORTRAIT OF THE RIGHT HONOURABLE CHARLES JAMES FOX (1749-1806)

ZOFFANY’S LATER WORK 75

to which we have already made brief allusion, as it belongs to an earlier
period {circa 1768).

In it Wilkes and Sergeant Glynn are represented in conversation.
Wilkes holds in his hand a paper endorsed “ Wilkes, Esq., v. The Earl of
Halifax ” alluding to the celebrated warrant of arrest, and signed by his
pugilistic legal-adviser John Reynolds.

Glynn is carefully considering the knotty question Wilkes is submit-
ting to him, while on the table rests a copy of Magna Charta, and near
by is a medallion of the patriot Hampden. The composition is clever,
well-fitted to commemorate the most striking episode in the career of
the old Whig leader, and with the exception of one hand, is admirably
painted. The various adjuncts are ably combined to form parts of the
picture, and not to detract from the general effect of it.

Another group, even more attractive, belongs to the same year as the
portrait of Wilkes and Polly. This is the painting belonging to Mr. Harry
Verney, and representing an old gentleman and his two sisters seated.
The man is Charles Hope Vere, youngest son of the first Earl of Hope-
toun and great-grandfather of the present owner of the picture, while
the two ladies are Lady Christian Graham and Lady Charlotte Erskine,
who afterwards became Lady Mar. With his customary aptitude for
introducing accessories that bear upon the subject of the painting, Zoffany
has put into the hands of Lady Christian Graham the Gazette Extraordinary ,
dated London 1782, which contained an account of the battle of Gibraltar,
the first naval engagement in which Mr. Hope Vere’s son (afterwards
Admiral Sir George Hope) took part, and then to add to the family
interest in the painting, he has placed between the two ladies a pole
firescreen on which is represented their own home, Blackwood.

This screen is still in the possession of one branch of the family, while
the little round table on which Lady Charlotte has placed her book
and spectacles, belongs to the owner of the picture, and stands in the
room in which it hangs— near at hand. Mr. Hope Vere, of serious
countenance, is dressed in the scarlet costume of the Archers, with his
bow and arrows beside him. He holds between his fingers a book that he
has been reading, on which Zoffany has marked 1782, the date of the
painting, and he wears round his neck the badge of the famous Corps
to which he belonged. The two ladies are delightfully posed, and Lady
Charlotte especially, looking out from the room, in arch expression, is
evidently quite enjoying the opportunity of having her portrait painted.
The group is delightful, simple, restrained, dignified, a striking example
of Zoffany at his very best.

Of the other pictures exhibited at this time we have been able to find
one of the theatrical groups, and that is a portrait, so Walpole tells us, of

76 JOHN ZOFFANY, R.A.

Baddeley the actor. Zoffany called it “ A Character in the School for
Scandal .” It was Baddeley represented as Moses, and it now belongs to
Mrs. Flutchinson, and was exhibited in the Whitechapel Gallery in 1910
(No. 122).

The other theatrical group, also styled by Zoffany “ A Character,”
but which Walpole says was Morigi in Viaggiatori Felici — in comic opera,
we have not been able to find, 1 2 nor could we trace with certainty three
portraits which Zoffany exhibited and which W 7 alpole tells us represented —

Mr. Sympson, Musician (1782, No. 1).

Mr. Ma . . . [name undecipherable] (1783, No. 44).

2 Mr. Maddison (1784, No. 2).

nor two other anonymous portraits to which Walpole does not allude
at all —

A Young Lady (1781, No. 175).

A Gentleman (1781, No. 223). 3

The Mr. Chase, whose portrait Zoffany exhibited in 1784 (No. 98),
was a well-known raconteur of the day, and his portrait is at Burderop
Park and belongs to General Calley. 4 * *

The only other group of the exhibited works remaining for notice
is that which Zoffany styled “ Girl with W r ater Cresses,” and which he
sent in to the Royal Academy in 1780, No. 204. This was the subject
of an engraving in mezzotint by Young, dated 1785, and the original
picture, together with the companion portrait called The Flower Girl,”
belongs to Lord Revelstoke.

It was at one time a cherished possession belonging to Mr. Moberley
Bell, the Editor of The Times , and eventually came into the hands of

1 It is possible that the picture belonging to Mrs. Asquith may be the work in
question, or the scene depicted in the painting now in Berlin which once belonged
to Mr. T. Humphry Ward.

2 This is, we certainly believe, the portrait of Mr. Maddison, now belonging to Mr.
Lane. It is dated 1783 and came to light while these pages were in the press. See p. 79.

3 One portrait which he sent in before he left for India (1780, No. 163) and which
Walpole says represented John Burke, we believe we have identified, but unfortunately
the owner of it declines to give us permission to mention it, or to give the slightest
clue which would enable his name or his residence to transpire. Mr. Perce’v al’s group
depicts a Mr. Burke and his family.

4 Of this picture exhibited at the Academy after Zoffany had left for India, the

critic in the Morning Post thus spoke —

“ This artist (Zoffany) is gone to the East Indies and we should have had no
additional cause for regret had he taken his picture along with him.” This particular

critic seems to have had a spite against Zoffany, his criticisms were generally unfavourable.

ZOFFANY’S LATER WORK

Messrs. Colnaghi, from whom Mr. Thomas Baring acquired it and the
companion work. He has lately passed them over to their present owner.

Such other information as we know of Zoffany at this period, comes
to us from Walpole or from Mrs. Papendiek.

Walpole says that in 1781 Zoffany was robbed, and he thus alludes
to the story : In a letter to the Countess of Upper Ossory, dated October
17, 1781, he says that “ Zoffany, the painter, was robbed, and his footman
was ready to take his bible to the person of a haberdasher intimate of the
corn-factor, but Mr. Smallwares proved an alibi , and the corn-factor gave
a ball — and none but the dancers acquit him — and so much for an idle
story.” In the same letter he has already referred to the corn-factor in
relation to his own robbery, when Lady Browne and he were going to
the Duchess of Montrose’s at Twickenham Park, when “ she lost a trifle
and he nine guineas,” and says that the “ great corn-factor, who is in bad
odour here on the highway, arrived at the ‘ George ’ a moment after or
before our robbery and was suspected, and my footman thought he could
swear to the horse.” Walpole, on this occasion, says he slipped his
watch up his sleeve, and Lady Browne, it is stated, had the presence of
mind to hand the thief a purse of bad money, which she had been in the
habit of carrying in case of such an attack. 1

Mrs. Papendiek ’s notes then refer to her own and her sister’s portraits
which Zoffany painted, but despite the most careful inquiries we have not
been able to find either of these interesting works. In 1782, she writes —

“ On this eventful day, my mother and I were taking a quiet dinner
at Zoffany’s when Mr. Papendiek came to conduct us home imme-
diately. It was then about four o’clock. Every shop was shut, and
only a few stragglers were to be seen in the streets, hurrying home
like ourselves, while at the House multitudes had collected. All
was dismay, discontent, and want of confidence, and so it continued
for some time — until the change, in fact, was settled, when Pitt’s
long administration began.

“ Nothing of private interest marked our stjour at St. James’s,
and we moved to Kew as usual ; but before our return thither
Mr. Zoffany began my sister’s portrait, which, when finished, was
an excellent likeness, and was a great solace to my mother when some
years later she died.” 2

Again in the same year she thus writes —

“ On Christmas Day ... I now sat for the first time to Zoffany
for my portrait. I passed the day with them, the Farrens met us

1 Walpole s Lelters, Toynbee edit., XII., 64 and 66. 2 Mrs. Papendiek, I. 156.

JOHN ZOFFANY, R.A.

at dinner, and in the evening we all repaired to Drury Lane to see
Miss Farren act. I am ashamed to say I have forgotten in what.” 1

Her second sitting for the portrait took place in the following January,
and was speedily followed by the third and final sitting, and it is in the
notes concerning these that we learn of the permission given to Zoffany
by George III, that in his forthcoming journey to the East he might
assume the name and style of a knight rather than that of a baron, which
was singularly inappropriate for him. Mrs. Papendiek thus writes —

“ A few days after this, I went to Zoffany’s for the second sitting
of my picture. A dreary morning in winter, and the fidget of not
being at home to receive Mr. Papendiek added to the cramped attitude
for many hours, no doubt caused the expression of countenance so
distasteful to my family. I reached home in time for dinner, which
seemed to please, and the smiles returned. The arrangements in
the house I had made were highly approved of, particularly that of
Mr. Papendiek’s own room, where he could, and did, have his friends
to practise their duets, etc., with him.”

And again 2 —

“ After this party, my third and last sitting to Zoffany took place , 3
and then he sailed for India. He was permitted to assume the title
of Sir John Zoffany, by the King, as he thought it more appropriate
than that of Baron, which had been conferred upon him by the
Emperor Joseph II (really by the Empress Maria Theresa) at Vienna.
Poor Mrs. Zoffany, with her little girls, Theresa and Cecilia, went
down to Strand-of-the-Green after depositing her jewels, plate
and other valuables with her banker ; disposing of the superfluous
furniture, and letting the house in Albemarle Street. We just saw
her, but she was too wretched to be amongst her friends. Her
loss was indeed great to me. Zoffany stayed in India fourteen years , 4
and then returned to England, where he remained till his death in
1810.” 5

Two more pieces of information are all we have to record concerning
Zoffany before he left for India.

1 Mrs. Papendiek, I. 173. 2 Ibid. 182.

3 We have tried, hard, to find these portraits of Mrs. Papendiek and her sister

(nee Albert). Our five letters xo the Delves-Broughton family have all remained

unanswered !

This was not correct, see p. 66. 5 Mrs. Papendiek, 184.

• ’OkTHAIT ()!•' MR. JOHN M ADD I SON
’HI .MK U'AKDI. \ ()|- tub (iOM)SMITI is’ COMPANY
1 ' ZOI-’l-'AN'i K.A., SIONBI) \NI) DATHI) I7N3
tin <n lU'ctiim of Mr. John l.trnc

Coll, of Sir Cosmo G. Antrobus, Bart.

PORTRAIT OF BOSWELL

PORTRAIT OF JAMES BOSWELL
From the collections of Sir W. J. Alexander and George Hibbert

ZOFFANY’S LATER WORK

From a note in The Morning Herald of January 6, 1783, we learn that
he wrote to Dr. Johnson before he left, praying for the honour of painting
his portrait, and that Johnson sat twice to him. Unfortunately the only
portrait of Johnson by Zoffany that we have been able to identify, is the
very small representation of him in the group depicting Mrs. Garrick’s
tea-party, in the possession of the Earl of Durham.

Probably the more important work executed in 1783 still exists, but
the painter of it has not been recognised.

The extract reads thus — -

“ Mr. Zoffany, the celebrated painter, within these few days paid
a compliment to merit which will greatly redound to his honour.
He sent a card to Dr. Johnson, informing him that he was about
to leave the kingdom but could not depart without having the
pleasure to take the portrait of a man whom all the world admired
and esteemed ; he hoped, therefore, the Doctor would please sit
for his picture that he might have the honour to present it to him
when finished. The Doctor was much pleased with the attention
and respect paid to him by Zoffani, and has already sat twice to him.”

It may be well to mention here in connection with Johnson’s name
that Zoffany painted a small portrait of Boswell, which is now in the posses-
sion of Sir Cosmo Antrobus. Another belongs to Messrs. Cradock & Co.

Finally we learn that Mr. Maddison of the Goldsmith’s Company,
whose portrait Zoffany exhibited at the Royal Academy in 1784, was his
stockbroker, and he was, so Mr. Tennyson has discovered, one of the
artist’s securities with the East India Company in connection with his
journey to India, and, says Mrs. Papendiek, had much to do “ with
the preparations for his departure, managing all his affairs for him.”

She adds, that the portrait of Maddison was engraved, but in this we
fancy she must have been in error. 1

At this time Zoffany was styling himself Baron von Zoffany, greatly
to the displeasure of many of his friends and to the indignation of persons
in Court circles, as George III had never given him permission to assume
his title in England, and had, indeed, viewed the patent and the pre-
tentions of the artist to noble rank with some scorn.

Later on, however, when Zoffany was actually starting for India, he
was permitted, so he gave out, to style himself Sir John Zoffany, and it
was under this form, it has been stated, he took, or tried to take, a passage
in the sailing-vessel.

1 Mrs. Papendiek, I. 281. The picture has recently been discovered and now
belongs to Mr. John Lane. It is illustrated here and described in the appendix
( see p. 76).

CHAPTER V

ZOFFANY IN INDIA — 1783-1789

We have already mentioned that William Hodges, with whom Zoffany
was on friendly terms, had taken his place in Captain Cook’s expedition,
and had returned laden with sketches and studies.

Since then Hodges had gone on to India, where we are told he secured
the patronage of Warren Hastings, and speedily obtained many com-
missions.

He appears to have written home to Zoffany, telling him of his success,
and from other artists who were working in the same country, Zoffany
heard so many tales of rich fees and generous commissions that he
determined, he, also, would try his luck in the East.

His fortune, owing to reckless extravagance, was fast melting away,
and as he hated to reduce his expenditure, more money was urgently
needed, so, as we mentioned in our last chapter, he let his studio in
Albemarle Street, packed off his wife and family to the riverside villa at
Strand-on-the-Green, and set sail for India in 1783 (not in 1780, as has
been stated in error), buoyed up by great expectations of success.

He was bound for Lucknow, where Paul Sandby said he expected
“ to roll in gold dust,” and where eventually he was certainly to make a
definite success, but even he, with ample commissions, even more than
he could carry out, was not wholly satisfied with the result of his journey,
so boundless were his visions of “ limitless gold and lacs of rupees.”

That he actually left London as “ Sir John ” Zoffany cannot be
stated. The records of the India Office give us no information on that
point, and as to his obtaining Royal permission to adopt the title, we have
the gravest of doubts, but he certainly used it while in India, and there are
allusions to him as “ Sir John ” in connection with the pictures he was
to paint for Colonel Martin and in the correspondence concerning the
altar-piece at St. John’s Church, Calcutta.

Mr. William Foster of the India Office has been good enough to make
an exhaustive search in the records for information concerning Zoffany’s
voyages to and from India, and to place the results at our disposal. Our
very hearty thanks are tendered to him, and with special gratitude, because

Coll, of the Lord Tcignmouth

Hazcll photo

PORTRAIT OF THE NAWAB WAZIR OF OUDH
Presented to Sir John Shore by the Nawfib, in 1798

ZOFFANY IN I N D I A— 1783-1789

our own search, not merely casual, but one which extended over a
prolonged period, was not rewarded, as we had hoped it would have
been ; although we were able to discover some new information concerning
the painter’s works and his acquaintance with Colonel Martin.

Mr. Foster has found in the Court Minutes, under date November 20,
1782, that a petition was read from “ Mr. John Zoffani for leave to proceed
to India, and to provide for himself there in his profession of a Painter.”

It was referred to a Committee for consideration, and on November
27, 1782, the Court Minutes state that “ leave was given to proceed, but
not in any of the Company’s ships.”

The Petition is recorded in the Miscellaneous Letters Received and it
shows that the request was endorsed by Mr. Jacob Wilkinson, one of the
Directors of the Company.

The matter came again before the Court on January 22, 1783, when
Zoffany’s securities were approved. They were John Maddison of
Charing Cross, to whom we have already alluded (see p. 79), and Robert
Preston of Lime Street.

Notwithstanding the prohibition against Zoffany going out in any
of the East India Company’s ships, he did actually sail, Mr. Foster has
ascertained, in the East Indiaman Lord Macartney , but under a subterfuge
as a midshipman ! In a list of officers and seamen prefixed to the log
of that vessel, 2 we find John Zoffany as one of the midshipmen, with the
added item of “ Run ( i.e . deserted) at Calcutta, September 15, 1783.”
Probably, Mr. Foster suggests, this entry was but a further piece of
deception to cover Zoffany’s quitting the ship.

The Lord Macartney sailed from the Downs on January 17, 1783,
reached Madras July 22, and Kedgeree for Calcutta on September 13.

For what reason he was prohibited from using an East Indiaman we
do not know, but it is clear that he carried out his original determination
despite the prohibition.

The Commander of the Lord Macartney was one Captain Pierce, a
man of some cultivation, of whom a chronicler says, “ He had a great
taste for the polite arts, and was the means of making the fortune of
Mr. Zoffany the painter, by taking him to India, and recommending him
there.” This Captain Pierce made his last voyage in charge of the East
Indiaman The Halswelle, which, on its outward voyage, was wrecked
near St. Alban’s Head, on the Dorsetshire coast, on January 6, 1786, the
tragic story, says Mr. Whitley, 3 causing “ a sensation in England, some-
thing akin to that occasioned by the sinking of the Titanic in our own
times.” The wreck was suggested as a subject suitable for pictorial

1 Vol. 7 1, No. hi. 2 India Office Marine Logs, 415a.

3 Gainsborough, by W. T. Whitley, p. 254.

JOHN ZOFFANY, R.A.

representation, and Northcote took it up, and exhibited a picture at the
Royal Academy in the same year, entitled “ The Loss of the Halswelle,
East Indiaman.”

We know, moreover, that a friend from Isleworth accompanied Zoffany,
one Thomas Longcroft, and this we learn from some notes made by
Thomas Twining while in India.

He says —

“ Zoffany had a friend, Thomas Longcroft, who lived at Isle-
worth. He went with Zoffany to India in 1794, and the two friends
were together for some time. Eventually, however, they quarrelled,
and Longcroft left Zoffany, bought some land at Jellowllee, and
started as an indigo planter. When Thomas Twining went out to
India, he was given an introduction to Longcroft, and spent a very
pleasant day with him, but, owing to the fact that the person who
had written the letter of introduction, had not written Twining’s
name clearly in it, Longcroft did not realise till after his guest had
left that he and his guest were closely related through a mutual
relative named Powell. Longcroft sent a messenger after Mr.
Twining, striving to persuade him to return and talk over family
matters with him, but Mr. Twining was too far on his journey for
him to make the necessary arrangements, and he had to go on to
Lucknow, where he visited Colonel Martin, and Colonel Polier, and
stayed with Colonel Polier and met Zoffany. Longcroft was never
able to see his friend Zoffany again, and soon after Mr. Twining’s
visit, died all alone, having no Europeans about him.” 1

It is mentioned in the same book that Zoffany said of the Taj,
when he saw it at Delhi, “ it wanted nothing but a glass case to
cover it.”

Before we leave Longcroft it will be well to mention that he himself
was a skilful artist, and is declared to have been Zoffany’s pupil, receiving
daily instruction from him on board the vessel where they both were,
and proving himself an accomplished draughtsman.

Many of his sketches were, after his death, sent back to England
and came into the possession of his various friends, one of whom, Miss
Twining, presented several of them to the British Museum and others to
the India Office.

They are distinguished for marvellous accuracy and meticulous attention
to detail rather than for artistic effect.

1 Notes and Reminiscences of Thomas Twining concerning his Travels in India.
Published in 1893.

ZOFFANY IN I N D I A— 1783-1789 83

The representations of buildings which Longcroft made, are almost
as accurate as modern photographs would be.

That Zoffany was actually in Lucknow in 1784 we learn from the
inscriptions on the backs of two pictures now in the India Office, represent-
ing Asaf-ud-daula, 1 the Nawab Wazlr of Oudh, and Hasan Raza Khan 2
his Prime Minister. These pictures are inscribed —

“ John Zoffany painted this picture at Lucknow, a.d. 1784 by order
of His Highness the Nabob Vizier Asoph U 1 Dowlah [ffc] (or, in the other
instance, by desire of Hussein Reza Caun [ffc], Nabob Suffraz U 1 Dowlah),
who gave it to his servant (or in the other one ‘ friend ’) Francis Baladon
Thomas.”

It is clear, therefore, that Zoffany speedily found favour with the
Nawab, who succeeded his father Shuja ud daula 3 on the throne of Oudh
in 1775, and who enriched Lucknow with so many magnificent buildings,
and that he was one of the fortunate persons who found commissions in
that Court, the scene for twenty-two years of so much extravagance and
such shocking misgovernment.

These very same exalted personages had at a later time their portraits
painted in miniature by Ozias Humphry, and it was in connection with
work for them that Humphry contracted a very heavy debt, payment
of which he was never able to obtain.

The Prime Minister, Hazan Raza Khan, was, we are told, utterly
unfitted for the post which the Nawab gave him. He had originally been
only the superintendent of Shuja ud daula’s kitchen office, and is described
as “ an indolent voluptuary.” Tennant, 4 however, speaks of him in 1799
as very popular, but also describes an attempt that was made to assassinate
him.

Francis Baladon Thomas, from whom these two fine pictures
came, was a surgeon-major on the Bengal establishment and surgeon to
the Lucknow Residency. He was, however, dismissed from the service
in 1785, the year after he had received as presents these two works.

In 1786 Zoffany painted his celebrated picture of Colonel Mordaunt’s
“ Cock Match,” at Lucknow, one of his best-known works.

This was painted for the Nawab Wazlr of Oudh, and the original
painting, was, it has been often stated, destroyed during the Indian Mutiny.

Here we enter upon an interesting controversy. There are two
versions of the “ Cock Match ” (generally spoken of as The Cock Fight)
in England, one belonging to Colonel Strachey, usually known as the

1 ifjjJI i Lol 2 L ij 3 iljjJI pUr'

4 Indian Recreations, by Sir E. Tennant, II. 409.

84 JOHN ZOFFANY, R.A.

Ashwick version, and one belonging to the Marquis of Tweeddale. From
the latter picture, Earlom made his famous mezzotint. The sporting
event, which is commemorated in the picture, and which created a con-
siderable sensation in Lucknow, took place, as we have stated, in 1786,
in which year Warren Hastings was in England. He therefore was not
a witness to the event, nor could he have seen Zoffany’s picture. He
perhaps heard of the merits of it, and is said to have commissioned a
replica of it. Zoffany, it is declared, made the replica, but did not take
it with him when he sailed for Europe, as he had already despatched it
by another vessel. On reaching England, he learned that it had been lost
in a wreck. He had, however, to carry out the arrangement he had
made with Warren Hastings, and having with him in London many of
his sketches and studies, he set to work with their aid to paint another
picture, which was duly delivered and hung at Daylesford House,
Warren Hastings’ country place in England.

In Once a Week for April 2, 1864, 1 is a note, signed by the initials
J. W. A., 2 referring to the Daylesford picture. The writer says that
Zoffany took the loss of his replica with philosophic equanimity, remarking
that it would do for Neptune’s gallery, “ that ancient collector but sorry
connoisseur.” This note is probably taken from the reference James
Elmes makes in his Art and Artists , 3 in which he thus speaks of the same
picture —

“ Earlom ’s print of Colonel Mordaunt’s ‘ Cock Match ’ at Luck-
now, from the famed picture by Zoffany, was originally painted in
the East Indies by commission for Governor Hastings, and shipped
for England. The ship was wrecked and the picture lost. Zoffany
fortunately took his passage in another vessel. He arrived safely,
and heard, with the philosophy of a stoic, that his labour was gone
to the gallery of that ancient collector but sorry connoisseur, old
Neptune.

“ Zoffany, luckily, had his original sketches and studies on board
his own ship. He set to work again, and made out a second picture,
with all the grouping, portraits of Hindoos and Gentoos, Rajahs
and Nabobs, of all castes and colours, that choice spirit, Jack Mor-
daunt, and his game-cocks into the bargain, and behold another
composition, a facsimile of the first.

1 Quoted by Rev. John Pickford in Notes and Queries, 6th Series, XII. 325, and see
X. 404.

2 Mr. Wheeler suggests that in all probability J. W. A. was John Wykeham Archer,
engraver and antiquary, and a recognised authority on subjects of this kind.

3 Arts and Artists, 1825, I. 12.

4706

Poeto-re. in possession, of Mr. Rcc/iarcf P-Struchey

1 Asaf-ud-daula

2 Nilwab Salar Jung

3 Hasan Raza Khan

4 Mr. Wheeler (afterwards Sir

Trevor)

5 Colonel Mordaunt

6 Colonel A. Polier

7 Mr. John Wombwell

8 Colonel C. Martin

9 Mr. George Johnstone

19 Mr. Gregory’:

10 Lieut. J. Pigot

11 Lieut. W. Golding

12 Mr. M. S. Taylor

13 Mr. Jas. Orr

14 Mr. Robert Gregory

15 Mr. Ozias Humphry. R.A., or

Lieut. Isaac Humphry

16 Mr. Zoffany

17 Colonel Mordaunt’s Cockfighter

18 The Nawab Wazir’s Cockfight* r
Cockfighter

ZOFFANY IN I N D I A— 1783-1789 85

“ The Painter kept his own counsel, the story goes, and Governor
Hastings was never let into the secret.”

The picture which was sent to Daylesford remained there till after
the death of General Sir Charles Imhof, Hastings’ stepson, when it was
sold for 215 guineas to Colonel Henry Dawkins, “ a neighbouring squire,
who had served with the Coldstream Guards in the Peninsula and at
Waterloo.” He possessed it at Over Norton House until 1898, and
while it hung in his possession it was the subject of considerable corre-
spondence in the pages of Notes and Queries . 1 In 1898 the picture was
again sold, this time fetching only 210 guineas, and it now belongs, as we
have already stated, to the Marquis of Tweeddale.

We now come to the Ashwick version. Mr. Stephen Wheeler, who
has taken considerable pains to investigate the history of the picture,
and to whom we are greatly indebted for references and information,
explains how the Ashwick version came into the possession of the Strachey
family. He says that, “ rather more than a century ago, the Governor-
General, Lord Hastings, had reason for disapproving of the way in which
British interests were looked after by Colonel John Baillie, whose name is
commemorated in the famous Baillie Guard.” It had been stated by
Bishop Heber that Colonel Baillie interfered too much with the “ private
affairs ” of the Nawab, and “ in the internal administration of the country,”
and there were many other complaints which had reached the Governor-
General, concerning what was termed “ the mischievous activity of the
Resident.” Accordingly, Colonel Baillie was recalled, and “ Mr. Richard
Strachey, of the Civil Service, was sent to Lucknow in his place.” Strachey
was “ the third son of the first baronet, Clive’s secretary, and he lived
long enough to see his own nephews, afterwards Sir John and General
Sir Richard Strachey, making their way to fame in India.” The new
Resident managed “ to repair his predecessor’s mistakes, and instead of
being regarded with dislike and suspicion at the Court of Lucknow,
became the Nawab Wazir’s warm friend.” His term of office lasted for
two years, and in 1817 he resigned the Service, and came home. This
was during the nominal viceroyalty (but practically the reign) of Ghauzea-
ud-Din Hyder 2 (a nephew of Asaf-ud-dowlah), who had succeeded his
father Saadut Ali 3 (brother of Asaf-ud-dowlah) in 1814. He received
several tokens of friendship before he left from the Nawab, and
amongst them, Zoffany’s picture of “ The Cock Match,” which now
belongs to his grandson, and a portrait of the Nawab himself, “ which

1 See 6th Series, XII. 325; 8th Series, VII. 288, 338, 473; 8th Series, VIII. 38, 96,

138; X. 263, 351.

JOHN ZOFFANY, R.A.

the recipient gave to the Oriental Club, where it now hangs.” That
appears to explain what became of Zoffany’s original work, but the ques-
tion then arises whether Zoffany had not painted, in India, a replica of
it, and that the usual statement that the original of the Cock Match
perished at the time of the Mutiny, refers to this replica. The existence of
such a picture is proved by two separate statements. Mrs. Fanny Parks,
in her Wanderings of a Pilgrim in Search of the Picturesque , refers to her
two visits to Lucknow, in December 1827, an d in January 1831, and on
the last occasion she says that, on the 24th of the month, she went on an
excursion to a palace, the Daulat Khana, built by Asaf-ud-daula, which
she says was then uninhabited, except by some of the ladies and attendants
of the late king’s zenana. “ We went there,” she writes, “ to see a picture
painted in oils by Zoffani, an Italian artist, of a match of cocks between
the Nawab, Ussuf-ood-Dowla, and the Resident, Colonel Mordaunt.
The whole of the figures are portraits, the picture excellent, but fast falling
into decay.” 1 Mrs. Parks, of course, was wrong in calling Zoffany
an Italian, and she was also in error in describing Mordaunt as the Resi-
dent. He never held that post, but Mr. Wheeler points out that the error
she makes is repeated by no less an authority than Mr. William Crooks
in his Things Indian , where he also mis-spells the pilgrim’s name.

Twenty-two years later than the visit of Mrs. Parks, according to a
writer in Notes and Queries , 2 Musawar Khan, the Court miniature painter
of Lucknow, was employed by an English officer stationed there to make
“ reduced copies, in water-colour, of Zoffany’s “ Cock Fight,” and of other
pictures in the Kaiser Bagh and Chutter Munzil, by permission of Wajid
Ali Shah,” the last King of Oudh. These copies, which, it may be pre-
sumed were miniatures, from the use of the word “ reduced,” were
stated still to be in the possession of the English officer. Plis name was
not given, but, at the time the commission was placed in the hands of
Musawar Khan, he was serving in political employ at Lucknow. We only
learn of the existence of these copies from the reference to them in Notes
and Queries. It would be exceedingly interesting if they could be traced.

Furthermore, another writer in Notes and Queries , 3 who signs himself
as “ Senex,” declares that he was in Lucknow before the annexation of
Oudh, and saw the picture in the royal palace, which was destroyed
“ during the Mutiny.” If these statements are correct, and there seems
no reason to doubt their accuracy, there must have been two versions of
the original picture of the Cock Match, one which was taken away
from India in 1817 by Mr. Strachey, and the other, which remained in
the country, and which was seen by Mrs. Parks and by “ Senex,” and

1 See Parks’ Wanderings of a Pilgrim, 1S50, Vol. II. 181.

2 Notes and Queries, 8th Series, VIII. 97. 3 8th Series, X. 351.

ZOFFANY IN INDI A — 1783-1789 87

copied by Musawar Khan. This picture very possibly did perish in the
Mutiny.

We now come to consider the grave differences which exist between
the Ashwick and the Tweeddale version of the Cock Match, which we
think prove, beyond any contention, that the Ashwick version was the
original, and the Tweeddale picture painted in England, when Zoffany
had forgotten many of the circumstances connected with the original
events.

The Strachey painting is thoroughly oriental in its atmosphere. The
central group consists of four persons, three of them are natives, while
the fourth is Colonel Mordaunt. The attitude of the Nawab Wazir 1
towards Mordaunt is that of “ frank friendliness, claiming and conceding
equality, while in the sporting Colonel’s countenance and demeanour
there is an alert intelligence scarcely visible when one turns to ” the
Tweeddale picture. On the other hand, Nawab Salar and Hasan Raza
Khan, who stand between the Nawab Wazir and Mordaunt, in the Tweed-
dale picture appear “ keenly interested ” spectators of the Cock Fight,
whereas in the Ashwick picture “ their attitude show's no departure from
the dignified reserve which men of their position and breeding might
be expected to maintain in the circumstances.” Either Zoffany when
he was in England had altogether forgotten “ how they bore themselves,
or else he considered that the group would look more picturesque if all
the principal persons in it appeared to be thoroughly enjoying the spectacle.”
Either theory, Mr. Wheeler points out, would account for the variation.
Moreover, to return for a moment to the principal figure in the group,
the Nawab Wazir, in the Tweeddale picture, has lost all his courtesy
and friendliness, and might almost be taken for a common “ obsequious
bunnia.” Furthermore, the Indians who are designated in the key to
the engraving as the Nawab Wazlr’s cock-fighter and the Colonel’s cock-
fighter are treated quite differently in the two pictures. The Colonel’s
man, in the Ashwick version, will be recognised at once as “ a typical
Maratha,” an excellent example of the race which is the keenest, intel-
lectually, of all those in India. “ He is intent on the combat, his eager
face, the play of his hands, the concentrated vigilance of his regard, are
all vividly depicted, but from anything one could gather from the Tw'eed-
dale picture, the fellow might be of any race, and rather inclined to go to
sleep.” In the Ashwick version the other cock-fighter “ is manifestly
a man of Oudh, the distinction between the Maratha and the Purbiah
types being clearly marked.”

Compare, again, the two figures on the extreme right, Messrs. Orr
and Gregory. In the Strachey picture they are engaged in an animated

^ 4]^ jJ I

JOHN ZOFFANY, R.A.

betting contest (see the display of their fingers) as to the merits of Mr.
Gregory’s and Lieut. Golding’s cocks, which the respective owners are
holding. In the print the two men “ might be quietly judging at a
poultry show,” and their original likenesses also are quite lost. Mr.
Gregory has also lost his hat.

Again, in the Strachey picture Zoffany has an unimportant position,
his head and shoulders being just visible, with palette and brushes, over
the top of the sofa. In the native Court as an artist, he was probably
only regarded as a superior kind of artificer, but in the picture painted
in England he is given the dignity of a chair and depicted to the waist
and legs.

In the Strachey picture the match is taking place in a real shamiana , 1
with natural scenery, in lieu of a crowd in the distance. In the print,
there is a sort of stage-drapery with no adequate support visible.

Another divergence should be marked in the print and the Daylesford
picture, “ a man in the background is stretching out his hand to catch the
water that pours in a copious flood from a bhisti's mussak.” “ Now, as
any reader acquainted with India must know, this is anything but a
faithful presentment of the ways of the East. In real life the hand would
be held, almost like a funnel, close to the thirsty one’s lip, and a minute
stream would trickle into it so nicely regulated that hardly a drop would
be lost. The bhisti and the absurdly impossible water-drinker were after-
thoughts, and they are not depicted in the other picture, the Ashwick
version. Again, in the Daylesford picture there is a group of nautch
girls either waiting to give a performance after the cock-fighting, or, per-
haps, they have already obliged the company. They are chattering,
moving about and gesticulating with a vivacity which is altogether at
variance with the usual behaviour and deportment of nautch girls. They
would be sitting silent and apparently very much bored, or at any rate
indifferent to what was going on; and so they are shown, betraying no
sign of motion or animation, in the Ashwick picture. Here, again, there
is unmistakable evidence that it was painted when the artist’s first impres-
sions were still distinct; whereas, when he painted the later picture,
they were either blurred by lapse of time or Zoffany saw fit to embellish
them with decorative effects which, though outrageously defiant of truth,
may have seemed to him more likely to suit the taste of the uninstructed
West.”

The single figure of a native guard in the background, clearly of
Dravidian type with ear-pendants and a curious headdress, possibly that
of the Nawab Wazir’s own troops, is omitted altogether from the Daylesford
version.

1 Or tented house.

Original picture in the collection of the Marquis of Twccddale

ZOFFANY IN I N D I A— 1783-1789 89

The dresses of the Europeans, both officers and civilians, are in it
made richer, the ornamental hats and moustaches have been taken off
two figures (Colonel Polier and Mr. Wheeler), and the latter’s elegant,
crescent-pointed native shoes have been replaced by doubtful-looking
boots of the Hessian kind. In the Strachey work he is chatting apart,
side by side, with the Commandant of the British forces, Colonel Martin
(the latter elegantly posed), quite unconcerned by the cock-fighting, while
in the Daylesford picture he is seated opposite Colonel Martin and is
holding a new cock, one of the six which increase the early number of
eight to fourteen in the later work.

We think it will be granted that all these critical remarks — for most
of which we are indebted to Mr. Wheeler and to Mr. R. S. Strachey,
who both speak from an intimate knowledge of Indian affairs — tend
to prove the truth of our contention that the picture at Ashwick, if
not actually the original work, was certainly painted in India in 1786.
The painting, which was at Daylesford, and from which the Earlom
print must have been made, as Earlom did not visit India, was a later
composition, made more fashionable and less oriental and embellished
by Zoffany and his assistants with various additions which detract very
much from its effect, but which possibly may have made it more pleasing
in the eyes of those English persons who were to behold it, and who
knew little or nothing of native habits or native Court life.

It was evidently a popular work, inasmuch as it was considered worthy
of a mezzotint by Earlom.

It seems to us to be certain that Zoffany had no complete sketch for
the picture in his possession when he was in England, and that he inter-
polated various other studies he had made from time to time into the
composition, with what we are disposed to consider very unfortunate
results.

Colonel Mordaunt is the hero of the picture, and it will be of interest,
therefore, if we give some account of him from an Anglo-Indian paper. 1

“ John Mordaunt and his brother Henry were natural sons of an Earl
of Peterborough. If the dates vaguely indicated in a magazine article
more than a century old can be trusted, it was the fourth earl to whom
they owed their birth; grandson and namesake of that famous com-
mander, Charles Mordaunt, third earl, called by Macaulay the most
extraordinary character of his time. John Mordaunt was sent to school
by his noble parent, but does not seem to have acquired even the rudi-
ments of a liberal education. This, at least, may be inferred from the
letter in which he told a friend, “ You may kip the hos as long as you
lik.” He never became either a ready or a correct writer. Rather than
1 The Pioneer (Allahabad), January 23, 1918.

9 °

JOHN ZOFFANY, R.A.

put his pen to paper he would travel all the way from Lucknow to Calcutta.
According to his own account preceptors spared no pains to make a
scholar of him. As nothing, he said, could be done with his brains they
did their best to impress instruction on the opposite seat of learning.
Manifestly unfitted for a learned profession the boy was removed from
school, and an East Indian cadetship was obtained for him. Even in
those days, however — it was in the latter half of the eighteenth century —
candidates for a commission in the Company’s military service were
required to show that they were not hopelessly unintelligent. There was
some sort of viva voce examination before a committee or board at the
India House in Leadenhall Street. Young Mordaunt duly appeared,
and at first failed ignominiously to answer a single question put to him.
Then one of the examiners — a friend, perhaps, of the family, and thus
aware that the boy was not wholly without accomplishments — asked him if
he knew anything about cribbage. Pulling a well-worn pack of cards out
of his pocket John Mordaunt offered to play a game with any of the
gentlemen for whatever sum they pleased. So the cards were dealt,
and he proceeded to give his seniors indubitable proof that there was one
subject in which he was competent to instruct them. He rose a winner
and they passed him. In after years he became noted for his proficiency
in all the card games then fashionable. No one was quicker to detect
foul play, and he could himself perform all the feats of legerdemain which
sharpers practice for the confusion of the unwary. On one occasion in
India, when he had seen enough to feel sure that his opponent was cheat-
ing, he took the first opportunity to deal out thirteen trumps to his own
hand. “ This is to show you, sir,” he calmly remarked, “ that you can’t
have all the fun to yourself.” He only consented to let the matter drop
on receiving the offender’s promise to clear out of the country. . . .

In 1782, and possibly before that date, Mordaunt was aide-de-camp
to Warren Hastings, in which capacity he escorted the Governor-General’s
wife, when she hurried from Bhagalpur to Calcutta, to join her husband
then lying ill. “ Sydney Grier ” quotes a letter from Mordaunt to
Hastings reminding him of the incident. . . .

It has been stated that Mordaunt had the honour, when on a sporting
expedition, of being presented to the Nawab Wazir, and that this led to
his entering Asaf-ud-daula’s service. Whatever may be the true facts,
however, there is no doubt that Mordaunt won the Nawab ’s confidence,
and became a person of considerable importance in the State. In addition
to military duties, which were not very arduous, he was more or less a
master of the ceremonies, and at times, perhaps, a leader of the revels
at the Lucknow Court. That the Nawab treated him as a friend is not,
of course, conclusive proof of the Englishman’s merit. Asaf-ud-daula,

ZOFFANY IN I N D I A— 1783-1789 91

says the author of the Siyar almuta ’ akhkhirin , took delight in associating
with the lowest and most worthless characters. He adds, however, that
you might occasionally see him in conversation with men of birth and
talents, and evidence is not wanting that Mordaunt should be placed
among the latter. Lord Cornwallis must have thought well of him, or
he would have resented Mordaunt’s reply when the Governor-General
asked him if he did not long to return to his regiment. “ Not in the
least,” said Mordaunt. “ But your services may be wanted,” Cornwallis
remarked. “ Indeed, my lord,” was Mordaunt’s rejoinder, “ I can’t do
you half the service there that I can in keeping the Nawab amused while
you ease him of his money.” Needless to say that no record of this
conversation will be discovered in any official “ Proceedings ” or other
State document ; but it is sufficiently characteristic of both men to be
credible.

More than one instance is given of the tact which enabled Mordaunt
to hold his own amidst the intrigues of an Indian Court. The same
quality sometimes served also to get other people out of tight corners.
Zoffany, whilst staying at Lucknow, must needs draw or paint a caricature
of the Nawab Wazir and show it to his friend, General Claud Martin.
Less friendly courtiers saw or heard of the picture, and, in the hope of
discrediting the artist, told their master about this affront to his dignity.
Asaf-ud-daula declared he would have a look at the offensive portraiture,
and decide for himself on the proper way of marking his resentment.
The affair, which threatened to bring about the abrupt termination of
Zoffany’s comfortable sojourn in Oudh, came to Mordaunt’s knowledge.
He at once sent for the painter, warned him of the impending storm,
and earnestly advised him to transform the caricature into something
less likely to enrage the potentate it depicted. Zoffany was astute enough
to perceive the wisdom of this counsel. Working all night he retouched
and improved his satire in paint so effectively that, when the Nawab
had it shown to him, it proved to be quite a flattering likeness. The
abashed tale-bearers were the only persons who had cause for dejection;
whereas the artist, thanks to Mordaunt’s timely and good-natured inter-
ference, got Rs. 10,000 for his handiwork.”

On another occasion it is said that the Hajam, or barber, for the
Nawab Wazir, by an accident drew blood when shaving His Highness.
This was regarded as a capital offence, and the man was ordered to be
baked alive in an oven. Mordaunt interceded for him, and knowing that
Colonel Martin of Lucknow was at that time interested in ballooning, and
had two or three balloons in his possession, suggested that the barber
should be put into one of these balloons and sent aloft. The Grand Vizier
agreed to change the punishment according to Colonel Mordaunt’s

JOHN ZOFFANY, R.A.

suggestion, the terrified man was fastened into the balloon, and it made its
way to a place called Polier Gorge (the residence of Colonel Polier), five
miles from Lucknow, where, very fortunately, it came to the earth, and
the man was rescued almost dead with fright. He took good care never
again to come within the range of the power of the Nawab Wazir of
Oudh. Mordaunt, it should be mentioned, frequently visited Lucknow
for the cocking for which it was celebrated and in which the Nawab,
who had many famous birds, took a keen delight. He died on board his
Budgerow near Chunar, on November n, 1790, aged forty, and his tomb
is in the old European Cemetery, close by the quarter called Colonel Ganj.

Mr. Wheeler has taken considerable pains to identify the various persons
who are portrayed both in the Ashwick and in the Tweeddale pictures,
and has generously placed all his notes at our disposal, and from them
our information is taken.

It will be noticed that, in the key to Earlom’s engraving, the names
of the persons read thus—

(1) Asof-u-Dowla Nabob Vizier. (n) Lieut. Golding.

As regards the Nawab Wazir, Louis Ferdinand Smith’s character
sketch of him reads as follows —

“ He is mild in manners, generous to extravagance, affably polite
and engaging in his conduct; but he has not great mental powers,
though his heart is good. He is fond of lavishing his treasures on
gardens, palaces, horses, elephants, and, above all, on fine European
gems, lustres, mirrors, and all sorts of European manufactures, more
especially English, from a 2d. deal board painting of ducks and
drakes to the elegant paintings of a Lorraine or a Zoffani, and from
a little dirty paper lantern to mirrors and lustres which cost up to
£ 3000 each.” 1

(2) Nabob Salar Jung.

(3) Haseen Reza Khan.

(4) Colonel Martin.

(5) Colonel Mordaunt.

(6) Colonel Polier.

(7) Mr. Wombwell.

(8) Mr. Wheeler.

(9) Mr. Johnson.

(10) Lieut. Pigot.

(12) Mr. Taylor.

(13) Mr. Orr.

(14) Mr. Gregory.

(15) Mr. Humphry.

(16) Mr. Zoffany.

(17) Colonel Mordaunt’s cock-

fighter.

(18) The Nabob Vizier’s cock-

fighter.

(19) Mr. Gregory’s cock-fighter.

1 See Asiatic Annual Register, 1804, “ Misc. Tracts,” p. 10.

Coll, of Mr. Henry Sinclair

PORTRAIT OF MR. MARCUS SAVILLE TAYLOR, II.KT.C., A FRIEND OF WARREN HASTINOS

ZOFFANY IN I N D I A— 1783-1789 93

The portrait of him which appears amongst our illustrations is one
which belongs to Lord Teignmouth and has been specially photo-
graphed by him that we may use it in this book. It came to his
ancestor, Sir John Shore, known in India as “ Honest John Shore,”
direct from the Nawab who tried hard to influence Shore in his favour,
but wholly without effect. The Governor-General thus simply recorded
the story in a letter he wrote to Lady Shore —

“Lucknow, 8th of Feb., 1797. This day I had a private
audience with the Nabob, from which we separated both much
pleased. I have, however, refused a fortune for you and your
younger children. Notwithstanding he was repeatedly told that I
would accept nothing, he had prepared five lacs of rupees and eight
thousand gold mohurs for me; of which I was to have four lacs,
my attendants one, and your Ladyship the gold. My answer to his
Excellency was this : That a barleycorn from him was equal in my
sight to a million ; but that I could not but express my concern
that he and his people were so ignorant of our customs and of my
character, to make such an offer, which I peremptorily declined.
I added, that I had seen in his Shusha kana some pictures of his
Excellency, of which I begged to have one, as a memorial of his
friendship. And I took one, about 15 inches square, done by
Zoffani (not set in diamonds), which is a strong resemblance to
the Nabob; and for which, to say the truth, I would not give
two-pence. It pleased him.” 1

Asof-ud-daula succeeded to his throne in January 1775 and died
September 21, 1797. The Nawab Salar Jung was his uncle, being a
brother of the once celebrated Bhac Begum. The Begum had two
brothers, the other being Mirza Ali Khan; and Middleton, 2 the Resi-
dent, described them as “ not brilliant but experienced men, mild and
just in their administration and beloved by all.” The author of the
Tarikh Farahbaksh, on the other hand, denounced them as cowards and
profligates. “ The Minister, Hasan Raza Khan, is mentioned in
Thornton’s History of India , and his name frequently occurs — though
not always spelt the same way — in the official papers of the period.”

Antoine Polier was French by descent, but was born at Lausanne
in Switzerland in 1741. He was at one time Chief Engineer at Calcutta ;
he collected Sanskrit manuscripts, and was murdered by robbers after
his return to Avignon.

“ John Wombwell was the Company’s Accountant at Lucknow. He

1 See The Spectator of Oct. 18, 1919, and Bengal Past and Present, Calcutta
Historical Society. A gold Mohur in 1797 was worth two pounds.

2 Whose portrait Zoffany painted ( see p. in).

JOHN ZOFFANY, R.A.

was one of the donors of the silver cup presented to Warren Hastings
by “ Old Westminsters ” and two or three others (Wombwell among
them), who, though not at the school, were allowed to join in that tribute
of esteem. The Wombwells were a Yorkshire family, one of whom
was Consul at Alicant. This George Wombwell’s daughter married
Archdeacon John Strachey, a brother of the first baronet.”

“Mr. (afterwards Sir Trevor) Wheler was assistant to the Resident,
and was a nephew of Edward Wheler of the Bengal Council, who died in
1 783 } George Johnstone (not Johnson), another Assistant Resident,
retired from the Company’s service in 1798, and ten years later, gave
evidence before a House of Commons Committee on the charges against
Lord Wellesley. Lieutenants John Pigot and William Golding were in
the Company’s Corps of Engineers. Lieutenant Isaac Humphrys, a brother
officer, may have been the Humphry of the list, or the reference may be
to Ozias Humphry, the miniature painter, who was at Lucknow at the
time. Mr. Marcus Saville Taylor was Second Assistant to the Resident
in 1788, and, as he entered the Company’s service in 1781, it is likely
enough that he was at Lucknow in 1786. James Orr, a merchant at
Lucknow, went to India in 1779. He is mentioned in Thomas Twining’s
travels. Robert Gregory, yet another of the Resident’s assistants, had
been warned by his father that if he persisted in risking his money at
cock-matches he would be disinherited. Gregory senior went home,
and walking down the Strand one day saw Earlom’s engraving in a shop
window. He recognised the figure of his son holding a white cock under
his arm, and, after making further inquiries, altered his will, cutting out
Robert’s name in favour of a younger son.” 2

Zoffany painted in India two other notable pictures, which also were
the subjects of engravings in mezzotint by Earlom. Both are said to have
been commissions from Warren Hastings, and one certainly was intended
for presentation to the Nawab of Oudh.

One is called “ Tiger Hunting in the East Indies,” and represents,
so the inscription upon the print informs us, “ the attack and death of the
royal tiger near Chandernagur, in the Province of Bengal, in the year
1788, by a party of gentlemen and their attendants mounted on elephants,
according to the custom of the country.” In the howdah on the right
are depicted Sir John Macpherson and Zoffany himself, the latter with a
gun; in that on the left are General Carnac and (behind him) Mr. Stables.
In the foreground is a native woman advancing to pluck the whiskers off
the dead tiger.

1 See Worthies of Warwickshire, by Colville (1870), 806. The reference to William
WTieeler is in error, as he died in 1783.

2 Autobiography of Sir Wm. Gregory, 1894.

J'uhhjhr.l Dec r2"/' 1*02 . /,. TtOBT r.AURlt tC JA* jW&ITTLK ..W Fleet Stntt.Lmlon.

I. Sir Jolin Maepherson. V?. — Stables, Esq. 3. General Carnac 4. John Zoffany, Esq 5. Men placed
Tiger, held be a Preservative from its Fury. 7. Portrait of a„ P.lcphanf (the,,) belonging to Warren Hastings, Esq.
belonging to People of Distinction, the others using Houghs of Trees for the same Purpose.

the Trees, to give Notice to the Hunters of the Tiger's approach. 6. A Woman advancing to pJock the Whiskers off the dead
8. Tail of a Thibet Cow (mounted in Silver) which is used as u Fan, to keep off the Flics, &c. but only allowed to Elephant

■g ity of ihe Elephant is well known, but it is remarkable of this animal, that, on account of the dismissal of his keeper, he wandered from his home, a considerable distance up the Country, and joined the wild 'nerd several drivers had pre-
) 'to mana 0 c him, but he would not submit. I en years hud elapsed when, by chance, seeing his old keeper (who was employed to catch other Elephants), and hearing his name called, he immediately kneeled down, let the man resume his former
i walked with him quietly home. -For the authenticity of this Anecdote, we refer to those Gentlemen whose Portraits arc introduced in the Print, who relate it as a fact, and a circumstance well known in the Country.

By the courtesy of the Cocoa Tree Club

ZOFFANY IN I N D I A— 1783-1789

Forbes, in his Oriental Memoirs } prints a letter from Sir John Day
to Sir William Jones describing another tiger-hunt, in which Zoffany
took part in April 1786, and with reference to the native woman in this
picture, he adds that the natives deem the tiger’s whiskers “ a deadly
poison, and most anxiously, but secretly, seek them, as the means, in
drink, of certain destruction to an enemy.”

Mrs. Alexander Kennedy has in her possession what is either an
elaborate study in oil, by Zoffany, for this picture or else the picture itself
unfinished, probably the former. It is thoroughly characteristic and a
work of much interest. We have not been able to trace either in India
or in England any other version of the work.

The last of the three great pictures which were engraved by Earlom
sets forth “ The Embassy of Hyderbeck to Calcutta from the Nawab of
Oudh by way of Patna in the year 1788 to meet Lord Cornwallis,” and
this work, so well-known from Earlom’s spirited mezzotint of it, we have
been quite unable to find.

It also is said to have perished in the Mutiny. “ Haidar Beg’s 2
mission,” says Mr. William Foster, “ to Lord Cornwallis was to negotiate
for a reduction of the contributions levied from the Nawab of Oudh, and
took place at the beginning of 1787, not in 1788, as stated on the picture.
The enemy’s cavalcade,” he continues, “ is seen marching in the rear of
the European troops, towards Patna, which is shown in the distance, as
also one of the huge granaries erected by the Bengal Government against
time of famine.”

The central incident is thus described in the index plate, which was
published with the mezzotint, and which is the subject of one of our
illustrations. “ A male baggage-elephant, irritated by his driver, who is
taken from his seat and destroyed, and by the violence of the elephant’s
action are seen the women and children falling from his back. This
was the moment when Mr. Zoffanv took his design for the picture.”

Mr. Foster further states that “ the second elephant ” in the picture
carries a howdah in which are Captain (afterwards Sir John) Kennaway,
Lord Cornwallis’s aide-de-camp, and the Nawab’s native interpreter.
“ Zoffany rides on a horse by the side. In the foreground are introduced
several types of natives, soldiers and others. Near the Nawab’s colours
are seen his Portuguese doctor, with his wife and son.” 3

All these three pictures are overcrowded compositions, and in that
respect unsatisfactory. The best is that of the “ Embassy of Hyderbeck,”
because in that the incident of the irritated baggage-elephant stands out
with some grandeur and effect, but the proportion of the figures in this

1 Vol. II. p. 489. 2 eL

3 See also Bengal Past and Present, II. 388-9, 401-2.

96 JOHN ZOFFANY, R.A.

work is not correct, the elephant having all the effect of a mammoth, and
in its gigantic proportions dwarfs everything about it.

The elephants in the other picture, the “ Tiger Hunt,” are more
accurately drawn, but in all of them the legs are anatomically incorrect,
and Zoffany, desiring an effect, and wholly unaccustomed to painting an
elephant, has neglected to make careful studies of its unusual character-
istics. The tiger also, in the “ Tiger Hunt ” picture, could not have
been sketched from life, its legs, thighs and tail are all inaccurately
drawn.

Tegetmeier, the celebrated naturalist, writing in the Magazine of
Art concerning the engraving of the “ Cock Fight,” comments on the in-
accurate manner in which Zoffany had drawn the two cocks. He said
the feathers were drawn in wholly incorrect fashion, pointing in the wrong
direction and arranged in impossible order.

The three paintings are, however, notable illustrations of native life
and habits, many of the figures being exceedingly well painted and as
usual, the costumes, fabrics and ornaments are represented with care
and fidelity and in the neat manner in which Zoffany rejoiced. The
colour-scheme also and atmospheric effect may be praised, but there is
too much of a set effect about the pictures, they are too theatrical and
too artificial to be really true to life.

One notable native portrait should be mentioned here.

It was whilst he was at Agra that Zoffany most probably painted the
portrait of Mahadjl Sindhia 1 (Madhava Rao Sindhia, the Maratha
Chief, 1759-95), who conquered Delhi in 1789, and which is referred
to by Sir James Mackintosh in the Journal of his visit to Poona in 1805.
He says —

“ Near the monument which is being erected to the memory of
the Mahdajee Sindia, is a sorry hut where the ashes of this powerful
chieftain were deposited for a time, and there they may now lie long
undisturbed. It is a small pagoda where, in the usual place of the
principal deity, is a picture of Sindia by Zoffany, very like that in
the Government House at Bombay. Before the picture lights are
kept constantly burning, and offerings daily made by the old servant
of the Maharajah, whose fidelity rather pleased me, even though I
was told that the little pagoda was endowed with lands which yielded
a small income sufficient for the worship and the priest.” 2

2 Good Old Days of Hon. John Company, Vol. II. It has been declared in Bombay
that Zoffany did not paint this picture of Sindhia, but that it was the work of an artist
named Welsh ( see Appendix, under Poona).

1111

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1, “'” *' ’‘^Vyjy_ H'-<i--'.ock.y,v„ a. tw efouDB «, at^ty a.

Lord Cornwallis.

By the courtesy of the Cocoa Tree Club

PORTRAIT OF MADHAVA RAO SINDHIA

Photographed from a copy made of the original by Zoffany, now preserved in a small pagoda near Poona

GROUP REPRESENTING WARREN HASTINGS, HIS WIFE AND HER MAID

ZOFFANY IN I N D I A— 1783-1789 97

This picture is probably the only work of European art which is now
an object of adoration.

Sindhia in it is represented in that curious coat which it was the
fashion amongst the Rajahs at that time to wear, and which had arms as
long as a yard and a half.

Rai Bahadur B. A. Gupte, the Curator of the Victoria Exhibition,
tells us that the Dhobi (washerman), or the dresser, had often to spend
more than half-an-hour in putting on such a coat to the Rajah and in
arranging the folds, so multitudinous were they. The effect when
finished was to give to the sitter a stiff doll-like appearance, which is very
marked in the picture now under consideration.

There is a replica of this picture at Government House, Bombay,
which is also stated to have been the work of Zoffany, and a clever copy
of it by Mr. Cecil Burns was shown at the Victoria Memorial Exhibition
in Calcutta. From that our illustration is taken.

Zoffany, however, painted many other important portraits in India
besides this one.

The first that should be mentioned are those of the Governor-General,
Warren blastings, and his wife. These came by bequest into the posses-
sion of Miss Winter, the great-niece of Mrs. Hastings, and for many
years, although their existence was well-known, they were not accessible
either to the general public or to connoisseurs. Lately, in consequence
of the decease of Miss Winter, both the pictures have been brought to
London.

The delightful group representing Hastings and his wife in an Indian
landscape attended by her native maid, and with the official residence
and troops, with elephants, in the distance, was bequeathed to Earl Curzon,
and by his kind permission finds a place amongst our illustrations. It
is, we understand, to be passed on to that famous gallery of Indian portraits
at Calcutta, with which Lord Curzon ’s name will ever be associated,
and in the Victoria Exhibition will find a fitting place. It does not, per-
haps, convey the idea of a lovely woman (as Mrs. Hastings is said to
have been), as well as does the larger painting, but as a piece of simple,
charming and satisfactory portraiture it would be hard to excel it, and
as an historic work of unimpeachable authenticity, it is in the highest
degree important.

Of Mrs. Warren Hastings 1 Zoffany painted a showy portrait, 2 which
delighted her husband, and of which he wrote in enthusiastic fashion
after her departure for England in January 1784.

1 Anna Maria Chapusetten, better known as the Baroness Imhoff, married Hastings
in St. John’s Church, Calcutta, in 1777. A Mr. Winter married one ot her nieces.

2 See S. G. Grier’s Letters of Hastings to His Wife, especially under Feb. n, 1784.

9 8

JOHN ZOFFANY, R.A.

This has been bequeathed by Miss Winter to the National Portrait
Gallery, and there it is at this moment. It was Hastings’ favourite
portrait of his much-beloved wife, and it was so hung, by him, in Calcutta,
that he could see it when he was lying in bed.

Mr. Tennyson found out that this picture caused an infinity of trouble.
It was returned from the ship Berrington as being too large for transport,
and Zoffany undertook to pack it into a smaller compass. This (with his
usual carelessness) he did so ineffectually that on its arrival in England
by the Cornwallis it was found to be seriously damaged. Its frame, we
understand, was removed, and the canvas crushed into a case far too
small for it. Signs of the damage can still be seen. As a painting it
was highly praised, the attitude of the lady compared to that of
Mrs. Siddons ; the painting of the green satin dress extolled as in-
comparable and magnificent, and the features were, so blastings declared,
those of a perfect likeness. Mrs. Hastings was not, however, so well
satisfied with it, and while in her possession it occupied a less important
position. As the painting which of all others Warren Hastings himself
preferred, it has peculiar importance and should be regarded as a
precious possession for the nation. It is life-size, however, and in
consequence not an easy picture to place in a gallery, save in a very
large one. 1

One of Hastings’ portraits (called a Zoffany) was engraved in Calcutta
by R. Britridge, and published by him in 1784. It was sold, framed and
glazed, at two gold Mohurs per copy. 2 The same picture, but set in an
ornamental oval frame and the work of an anonymous engraver, was
published by J. Murray in 1786, and forms the frontispiece to Memoirs
relative to the State of India. It is not, however, clear that either of
these were really by Zoffany.

A portrait of Mrs. Hastings, attributed to Zoffany, is said to have
belonged to Mr. John Clark Marshman at Serampore.

The picture to which Sir John Doyle refers in a letter quoted by Mr.
Tennyson, and which he calls “ an abominable one, it is true, by Zophanee”
[s/V] was, so far as we can ascertain, a single portrait, and was not by Zoffany
at all, but by Devis.

In the Government House at Poona are, we are informed, portraits
of Madhavrav II, the last Peshva of Poona but one, and of his Finance
Minister, Nana Fadnavia, and these are both attributed to Zoffany. We
have no evidence, however, in their favour.

In Government House, Calcutta, is a portrait of John Zephaniah

1 It has been suggested that it also should be sent to Calcutta, and probably some
arrangement will be made by which this result can be obtained.

2 See Good Old Days of Hon. John Company.

Coll, of Mr. Edward Impcy

LARGE GROUP REPRESENTING SIR ELIJAH AND LADY IMPLY WITH THEIR THREE CHILDREN, AYAHS AND SERVANTS

ZOFFANY IN I N D I A— 1783-1789

Holwell, 1 Governor of Fort William in Bengal, 1760, attributed to Zoffany,
and there is said to be another portrait of the same Governor at Delhi.
Mr. Holwell is represented in the Calcutta picture as superintending the
erection of the monument, which he placed (at his own expense) over the
grave of his fellow sufferers in the “ Black Hole ” atrocity. This monu-
ment, by the way, was demolished in 1821, but another somewhat similar,
but not identical with it, has recently been erected by Earl Curzon on
the same spot.

It is, however, almost inconceivable that this portrait can have been
the work of Zoffany. In any case he could only have been responsible
for part of it, although the frame bears his name upon it. Holwell left
India in 1760. Zoffany did not arrive till 1783, and when Zoffany was
back in England Holwell was a man of seventy-nine, whereas in the
picture he is represented in the prime of life. Moreover, he has in his
hand a sheet with a drawing of his monument, and this he himself erected.
The only possible explanation seems to be that Zoffany may have altered
a portrait already in existence, and supplied the detail concerning the
monument, painting on to another man’s work. This is, of course,
just possible, but the simpler explanation would be that the frame-maker
was given wrong instructions, and that the portrait has nothing whatever
to do with our artist.

Another portrait in Calcutta is that of Sir Elijah Impey, Chief Justice
of the Supreme Court of judicature at Fort William in Bengal, 1774-82,
which hangs in the Judge’s Library in the High Court.

Here, again, there is a difficulty. The picture is a huge full-length,
and does not resemble the seated figure in the portrait of Impey by Zoffany
in the National Portrait Gallery. The portrait is dated on the label
1782 (perhaps an error for 1783), but Zoffany only arrived in Calcutta
in the autumn of 1783, and Impey left on December 3 of the same year.
The interval seems hardly long enough for the execution of this great
State picture. Zoffany did, of course, paint Impey with his family, and
the picture still belongs to his descendants ( see Appendix and p. no).
There is, however, a definite tradition connecting Zoffany with the large
portrait, and this must not be lightly disregarded, despite the error on the
label and the frame.

The portrait of Carey, the Baptist missionary, with his moonshee,
which hangs in the Baptist College of Serampur, near Calcutta, once given
to Zoffany, is now attributed to Nathaniel Hone.

1 He was the author of a book, which is now very scarce, entitled Holwell’ s “ De-
plorable Deaths of One Hundred and Twenty-three English Gentlemen and others,
who were suffocated in the Black Hole of Calcutta folding front., 121110, cloth . — John
Fair hum, n.d.

IOO

JOHN ZOFFANY, R.A.

Then we have two portraits of Sir Eyre Coote, one now at West Park
Salisbury, and the other at Ballyfin in Ireland; one of John Lumsden, a
Director of the Hon. East India Company, now belonging to his grand-
daughter, Mrs. Bevan; one of Henry Vansittart of the Hon. Artillery
Company’s Establishment at Bengal, now belonging to Mr. D. N. Vansit-
tart, while no doubt there are many others that we have not been able
to trace, as in addition to the groups for which he was noted, and to
which we refer later on, Zoffany appears to have had many commissions
for single portraits from the native potentates and statesmen, and from
the officials of the Government and East India Company while he was
in the East.

One of his best-known paintings was, however, the one he executed
for St. John’s Church in Calcutta, and this deserves some special
attention.

It was painted in April 1787, and thus the Calcutta Gazette of the 12th
of that month speaks of it —

“ We hear Mr. Zoffany is employed in painting a large historical
picture, ‘ The Last Supper ’ : he has already made considerable
progress in the work, which promises to equal any production which
has yet appeared from the pencil of this able artist, and, with that
spirit of liberality for which he has ever been distinguished, we
understand that he means to present it to the public as an altar-
piece for the new Church.”

Unfortunately for our artist he was addicted to the practical joke of
introducing into his groups, “ without the permission of the original
and often in unflattering guise,” the representations of living persons
with whom he had quarrelled or against whom he had a grievance.

He is said to have scandalised the English Court by sketching out
and showing to his friends a bold replica of his “ Life School,” in which
he had introduced a portrait of Queen Charlotte before she was married,
and had placed opposite to it the figure of one of her former admirers
in Germany. He is also declared to have painted in his “ Tribuna ”
picture, when first he exhibited it, a caricature portrait of a well-known
man in Florence of notoriously bad character, with whom he had a bitter
dispute, and then have been compelled, under pain of a challenge, to
remove it. Here in Calcutta he had a great disturbance with a certain
Mr. Pauli, a servant of the Hon. East India Company. He had been
promoted to be Resident at the Court of Oudh by the Marquess Wellesley,
but repaid his patron with gross ingratitude. On his return to England
Mr. Pauli became a Member of Parliament, and attacked the policy of

In SI. John's Church, Calcutta

PAINTING REPRESENTING THE LAST SUPPER

Greenwich Hospital Gallery

THE DEATH OF CAPTAIN COOK,
14 FEBRUARY, 1779

IOI

ZOFFANY IN I N D I A— 1783-1789

Lord Wellesley with great severity. On the dissolution of Parliament,
however, he lost his seat, and shortly afterwards committed suicide.

This man Zoffany had, it is stated, the bad taste to introduce into his
painting of “ The Last Supper,” in the person of Judas Iscariot, and
to give him a prominent position in the picture, portraying in a very
marked manner “ the conflict of passion and strife ” upon his countenance.
Pauli had made himself particularly disagreeable both to the Nawab
and to the painter, and Zoffany had already caricatured him in a lewd
fresco wdiich he painted, and which was defaced along with others of a
similar character by order of Sir Robert Montgomery in 1858 A It was
quite unpardonable on the part of the artist to introduce Pauli’s features
into the altar-piece upon which he was engaged.

It has been stated by another writer that the original of the portrait
was a well-known auctioneer in Calcutta named Tulloh, and that he went
to law about it. A careful search in the records of the Supreme Courts
for the years 1786 or 1787, or “ within the next few years ” has, however,
found “ no traces of such a suit between Tulloh and Zoffany.”

Moreover, the weight of evidence seems to be in favour of the
portrait being that of Pauli, who was very much disliked, and the
Englishman already quoted has stated in his Diary that, although
such pictures make one ashamed of his species, “ still the person so
gibbeted richly deserved the treatment, for, like his prototype, Judas
Iscariot, he afterwards committed suicide.” Zoffany’s bad taste was,
however, much resented at the time, but it did not end with the figure
of Judas.

All the portraits of the other apostles were asserted to be taken from
leading merchants of the city, and in order to scoff at the very Church
for which he was painting the altar-piece, Zoffany selected as his model
for the figure of St. John the Divine, who is shown leaning on the breast
of our Lord, a Mr. Blaquiere (or de Blaquiere), a man whom John Clark
Marshman in his biography of Carey, Marshman and Ward describes as a
“ Brahmanised European, notorious for his hostility to Christianity and
his indifferent character.” This Mr. Blaquiere was of a very feminine
countenance, and, in fact, as Police Magistrate, was known to have made
some of his cleverest captures, when a young man, in female disguise.
His face, therefore, lent itself to the popular conception of the features
of St. John, and the Magistrate is said to have chuckled in somewhat
indecent fashion at the dignity given to his portrait. He survived Zoffany
many years, dying only in 1853 at the advanced age of ninety-four.

The countenance of our Lord in the painting was, it is declared,

1 See The Diary of an Englishman at the Court of Oudh, and see The Statesman for
1888, and Calcutta Old and New.

102 JOHN ZOFFANY, R.A.

taken from that of Father Parthenio, a Greek priest, well-known in
Calcutta.

Warren Hastings and Lord Cornwallis took much interest in St. John’s
Church, which was the sixth building erected as the Presidency Church,
the third having been destroyed in 1756; the fourth, which was originally
Portuguese, given back to its original owners in 1760; and the fifth pulled
down to make room for the new building.

Zoffany presented his altar-piece to it on April 9, 1787, and when on
June 24 the building was consecrated, the painting was in its proper place
over the altar.

By October, however, it was found to be in bad condition owing to
the dampness of the wall on which it had been hung, and the following
extracts from the Vestry proceedings, which were printed in a work
entitled Calcutta Old and New, written by Mr. H. E. A. Cotton, refer to it,
and are quoted by permission of the author, to whom also we must express
our thanks for much information kindly given us respecting Zoffany’s
work in the place. The minutes read thus —

“ 1787, 15 th October . — The picture made by Mr. Zoffani and hang-
ing over the Communion Table having been represented by Mr.
Alefounder (a painter and friend of Mr. Zoffani) to be damp and in
some degree injured, the Churchwardens accepted the proffered
services of Mr. Alefounder to have it dried, and this has been done
as well as circumstances would admit, as appears from the following
letter from Mr. Alefounder —

“ To E. Hay, Esq.

“ Sir, — I have this forenoon aired and cleaned the mildew of the
picture with the utmost care and attention. I fear the painting is
injured by the mould, as it remains spotty after cleansing it off. The
cause I believe to have arisen from a canvas having been fixed behind
the picture to preserve the original one, and being oiled after it was
nailed on. The damp air remaining between the two must have in
some measure occasioned it. I took the liberty of having it un-
nailed sufficient to admit a small quantity of air.

“ I am (etc.),

“ John Alefounder.”

“ ii//? October, 1787. — Mr. Alefounder attending the Vestry repre-
sents that the cloth or canvas put at the back of the picture ought
to be removed that the admission of air may prevent any injury from
the dampness of the wall.

ZOFFANY IN INDI A — 1783-1789 103

“ Ordered that the cloth be removed from the picture without
delay.”

This was not, however, the end of difficulties concerning this notable
altar-piece, for a correspondent writing in 1888 to the Statesman under
the designation “ A Quille Penne,” denounced the condition of neglect
into which it had then fallen.

“To see the damage done,” he says, “ and to observe the rapid
progress in the shameful treatment which must end in the total ruin
of an invaluable w r ork of art, cannot but excite the indignation of
the most indifFerent visitant. The painting is so badly hung that
. . . only when the church is fully lit, one can examine the picture.
At any time, it is possible to see only too w-ell the tarnished, broken
wooden frame, denuded in many places of the gilding, the scratched,
dented surface, the torn, frayed canvas, and the large hole near the
nose of Judas Iscariot.”

The result of this letter v/as that the picture was again taken down
and attended to, and its mount and frame carefully repaired. Mr. Cotton
says that it was “ first removed from the altar, when it lay in the large
covered verandah now an open portico, then it was moved to the vestry,
and finally to a . . . place over the gallery. It now appears to be in an
excellent state of preservation.”

Since 1888 it has again been moved, and at the present moment,
Lord Curzon tells us, it hangs over the altar of the Lady Chapel.

It is clear that, despite the scandal attaching to the portraits, the
altar-piece formed a very acceptable gift to the Church, was much
admired and greatly appreciated. The Bengal Obituary thus speaks
of it —

“ Sir John Zoffany bestowed on the Church that admirable altar-
piece painted by him, representing ‘ The Last Supper.’ It was
proposed by the Rev. W. johnson and Cuthbert Thornhill, Esq., as
Sir John Zoffany was about to leave Calcutta, to present him with a
ring of Rs.5000 value 1 in consideration of this signal exertion of
his eminent talents. The low state of their funds prevented other
members of the Committee from supporting the motion of Messrs.
Johnson and Thornhill, but they unanimously agreed in sending
Sir John Zoffany an honourable written testimonial of the respect

1 Zoffany at this time was charging Rs.iooo per figure, and he regarded his gift
to the Church as the equivalent to a present of more than Rs. 13,000.

io 4 JOHN ZOFFANY, R.A.

in which they held his great ability as an artist. From their handsome
and appropriate letter the following is a paragraph —

“ ‘ We should do a violence to your delicacy were we to express,
or endeavour to express, in such terms as the occasion calls for,
our sense of the favour you have conferred on the Settlement by
presenting to their place of worship, so capital a painting, that it
would adorn the first Church of Europe, and should excite in the
breasts of its spectators, those sentiments of virtue and piety so happily
portrayed in the figures.’ ”

In 1865 an application was made by Colonel J. P. Beadle on behalf of
the Dalhousie Institute that the picture should be transferred there as a
gift, that it might be more carefully guarded and, moreover, be seen by
many more persons than could view it in its dark position in the Church.
The Vestry, however, replied that they did not feel at liberty to part with
the picture, and accordingly it still hangs in St. John’s Church, but by
reason of its present position it is not at all easy to see it or to obtain a
good photograph of it. 1

When at the Court of Oudh Zoffany became acquainted with another
remarkable man, Major-General Claud (not Claude, as often misprinted)
Martin, and they struck up a firm friendship, which lasted the rest of
their lives.

Martin was then a rich man, and commissioned many pictures by
Zoffany, some of which still remain in the College he founded.

Mr. S. C. Hill, Record Officer for the Government of India, is good
enough to supply us with the following information concerning this
extraordinary man —

“ Major-General Martin,” so he says, “ was born in Lyons in
1735, and died at Lucknow in 1800. He went to India at the age
of sixteen and entered the French service. After the surrender of
Pondicherry, he became attached to the Madras Government, and
was in the service of the Hon. East India Company for man}''
years, being especially remarkable for his skill in surveying. In
1779 he left the direct service of the East India Company, and
became attached to the Court of Asaf-ud-daula, the Nawab Wazir
of Oudh, for whom he became the military councillor and the adviser
upon political affairs. He came into intimate contact with Hyder
Beg Khan, the Nawab ’s able Prime Minister, and was on terms of
friendship with him. He was present at the siege of Seringapatam,
and was responsible for casting a gun which was used at that siege.
He had charge of the Arsenal at Oudh.

1 See The Handbook to St. John’s Church, Calcutta, 1909.

ZOFFANY IN I N D I A— 1783-1789 105

“ He built two houses at Lucknow, one known as Farhad Buxsh,
part of which still remains, and the other, Constantia, in which
he was afterwards buried, and which was dedicated as a college, and
is now known as the Lucknow Martiniere.

“ He was a successful horticulturalist, and was particularly in-
terested in the manufacture of indigo. Fie held such a high position
at the Nawab’s Court that he was frequently in receipt of considerable
sums from persons who required his assistance, and by such means,
and from the presents which he received from the Nawab and other
persons, and from his pay at the Court of Oudh, he was able to
accumulate a considerable fortune, amounting, it is said, to nearly
forty lacs of rupees. The greater part of it he bequeathed, by a
munificent and most extraordinary will, to the support and founda-
tion of various establishments, charitable and literary, mainly for
the education of children, girls as well as boys, and under his will
schools were established in Lucknow, Calcutta and Lyons, the
former of which were open to native children of all persuasions,
who were to be instructed in the English language, literature and
the Christian religion. There was considerable litigation with regard
to his will after his death, 1 lasting for nearly thirty-five years, but
the accumulation of interest during those years swelled the sum
originally bequeathed, and provided more amply than was expected
for the fulfilment of the purposes laid down in his will. He was a
personal friend of Warren Hastings, who speaks of him as a brave
and experienced officer, and a man of strict honour, and he is charac-
terised by Hawkesworth as ‘ that brave, impetuous, fortunate, and
munificent Frenchman.’ He was himself a clever mechanic, and
responsible for the casting, not only of the gun already referred to,
but of bells, a large example still remaining at Constantia, also for
the striking of medals. He was a great collector and got together a
library of over four thousand books, a large collection of Persian
and Sanscrit manuscripts, and a gallery of over four hundred pictures,
included in which were forty-seven oil-paintings and sketches by
Zoffany. Fie was also a collector of precious stones, jewellery, coins,
medals, guns and pistols, and possessed an unusually large quantity
of otto of rose of peculiarly fine and pure quality, which he had
made a great effort to obtain. Constantia 2 was a remarkable building,
eccentric in its architecture, adorned with a number of figures, and
richly decorated in its interior. It was damaged in an earthquake
in 1803, and seriously injured at the time of the Mutiny. It contains

1 There is an important Mural Tablet of black marble to his memory, in the South
Gallery of St. John’s Church, Calcutta. 2 Zoffany named his daughter Constantia.

io6

JOHN ZOFFANY, R.A.

an important picture by Zoffany of Colonel Martin in the scarlet
uniform of a Major-General of the Hon. East India Company’s Service
and a fine bust representing him. The statements made concerning
Colonel Martin’s character by Lord Valencia are inaccurate in almost
every respect, and were apparently derived from the gossip of persons
whom he met in Lucknow.”

To this information, we can add that there is another fine painting
attributed to Zoffany in the Martiniere representing the Gora Bibi 1
(White Lady or Fair Lady), or Boulone Begum, 2 a Persian girl whom
Martin bought from a Frenchman and with whom he lived. She is
depicted with a slave boy, Zulficar Khan, 3 otherwise known as James
Martin, who pre-deceased her. “ They are shown,” says Mr. Sykes, “ as
fishing in the Martiniere lake. The lady has just caught a fish, and the
boy is taking it off the hook. She was usually considered as General
Martin’s wife, and he always regarded her as such, but in these matters
he conformed to a considerable extent to the customs of the country
and of the times in which he lived. There appear to have been no
Christian women in the circle of society out there at that time.”

These two portraits, so Mr. Aldobrand Oldenbuck states, were acquired
by the College about 1872 from a descendant of Zulficar’s, who had
concealed them in his house during the Mutiny, when the Martiniere
was looted, and the General’s tomb, in the vault, under the central tower,
was desecrated by the rebels.

Mr. T. G. Sykes, the late Principal of the College, from whom we
have just quoted, gives us the following notes concerning it, some of
which appeared in the Punjab Educational Journal for February 1906,
and are supplemented by further information from Mr. Sykes himself,
dated February 23, 1916.

“ The Martiniere College,” he says, “ is the most remarkable
educational institution in India. It has been stated that there is
no English Public School, not even Eton, which can surpass the
special dignity of its surroundings, and, unlike many of the schools
in India, it is marked by the note of strong historical associations.
The whole of the resident pupils, including eighty on the Founda-
tion, are educated, clothed and fed, and, in fact, fully provided for,
out of the funds left by the founder, Major-General Martin. It is
one of the oldest foundations amongst European schools in India.
It possesses General Martin’s brass cannons and brass bell, bearing
his name and the date 1786, and its history was intimately connected

3 (jb» ji

FAMILY GROUP, NAME UNKNOWN
It is suggested that it represents Mrs Bruere and her children

107

ZOFFANY IN I N D I A— 1783-1789

with the days of Warren Hastings, the Great Mogul, Lord Corn-
wallis, Tippoo Sultan, and the siege and capture of Seringapatarn.
Lord Roberts refers to the fact, in his Forty -one Years in India , that
the building was at one time held by the rebels at the time of the
Mutiny, that at another it w T as the headquarters of the Commander-
in-Chief, Sir Colin Campbell, and that there was a great deal of fight-
ing round about it in November 1857 and March 1858, when Sir
Colin finally returned to crush the rebels and pacify the province.
The position which the Martiniere boys and their masters held to
defend the Residency, is still marked by a marble slab bearing the
inscription ‘ The Martiniere Post.’ The volunteers associated with
the School have the honour of wearing the badge and scroll marked
‘ Defence of Lucknow, 1857.’ All the boys receive military instruc-
tion. The gallant Hodson, Hodson’s Horse, and Lieut. Otway
Mayne, v/ere both killed and buried close up to the Martiniere.”

Martin, the founder of this famous place, was so lavish a patron to
Zoffany, that we find from searching the Betigal Inventories , 1 in the India
Office, he possessed at his death no less than nineteen pictures by
Zoffany in addition to forty-five sketches, and that all these were sold
by Quieros the auctioneers on December 29, 1801.

Martin is also declared by the same books to have owed “ Sir John
Zoffany when he died the sum of Rs.332.” This money was duly paid
to the artist some few years afterwards, “ w T ith compound interest up
to date,” by Martin’s executors.

The paintings are thus described —

A List of Pictures by Zoffany belonging to Col. Claud Martin.

Portrait of Mirza Jewaun Burkht the Shazada.

Portrait of Asof ud Dowlah [«c], the Nawab of Oudh. 2

Full-length portrait of Mrs. Bruere.

Group representing Mrs. Bruere ’s children with a dog.

(We are inclined to suggest that this is Mr. Asch’s painting.)

Portrait of General Martin on horseback.

Portrait of Sir Eyre Coote. {See Appendix under Coote.)

Portraits of General Martin and Sir Eyre Coote together.

Picture of General Martin’s house painted by Daniel and
Zoffany. {See one of our illustrations.)

1 Bengal Inventories, 1801, 1802, 1803, Range I., Vols. 24, 26 and 28.

1 Oudh was a province of the Mogul Empire. Its rulers were Prime Ministers to
the Mogul. There was a Shah or King in 1819. It was annexed by Dalhousie in 1856.
The last Shah died in September 1887.

io8

JOHN ZOFFANY, R.A.

Portrait of Hasan Raza Khan.

One picture of Nagaphon Ghut.

One sketch for the portrait of Sir Eyre Coote and General Martin
together.

A group, the names of the persons are not given.

Picture of a Fakir.

Picture of an Elephant.

Another portrait of Asof-ud-Dowlah [«'c].

Two other portraits of Hasan Raza Khan.

A sketch of Sir Eyre Coote.

Portrait of Colonel Polier, General Martin and a native planter.
Seven sketches, various.

Thirteen sketches, various.

One small sketch.

Twenty-four sketches, various.

At the Royal Academy, in the Library, we have discovered two letters
from Colonel Martin, in which allusion is made to Zoffany. In one of
them, dated from Lucknow, October 15, 1788, he says that he “ is coming
to Calcutta, and intends sitting to Zoffany with Colonel Polier in the
middle of November.” 1 This letter also refers to Llodges ( see pp. 41
and 80), and says that Hodges has bought some prints, and is “ coming to
Calcutta to see ” Colonel Martin.

The other letter from Colonel Martin is written to Ozias Humphry,
and was sent to London. It is dated March 11, 1789. In it he refers to
Zoffany as “ a good, worthy man,” hopes that Humphry has seen him,
and says that Zoffany has taken a passage in an Italian ship called the
Grande Duchesse , but has not yet been paid a penny for his work for the
Nawab, adding that this Eastern potentate does not like paying
Europeans, and if one could see his heart, it would be found “ loaded
with dark and sinister intentions.” Martin writes this information in
order to cheer up Ozias Humphry, who was in exactly the same predica-
ment, not having yet received his payments from the Nawab Wazir of
Oudh. It may be added that Humphry never received the money, but
that Zoffany, who had been clever enough to get the British resident to
endorse his account against the Nawab and guarantee its payment, did so.

The only other letter we have been able to discover respecting Martin
and Zoffany we owe to the kindness of Mr. W. Westley Manning, who
owns it. 2 There are so few letters of Zoffany’s in existence, that this

1 This may be the Bridgeman group (see Appendix).

2 In the possession of W. Westley Manning, R.O.I., R.B.A., 12, Edith Villas, West
Kensington, W.

ZOFFANY IN I N D I A— 1783-1789 109

has peculiar interest, especially as it concerns his friend and patron. It
is addressed to Messrs. Raikes and Co., and reads thus —

“ Gentn,

“ In consequence of an order I received from General Claud
Martin for a mechanical Shew-Box, I paid Mr. Weeks of Coventry
Street the sum of 85. which had been laid out by him for sundry
coloured views, &c. to be introduced in the Shew, his not having
completed the machine before the news of General Martin’s Death
arrived, I stopped the Order, and have settled with him by taking
the Prints, which he had bought, and which I herewith send and
shall be obliged to you for the above sum of fg 85., and am

“ Gentn,

“ Your most obedt. servt.,

“ Johan Zoffany.

“ July 1 y, 1801.

“ Being lame and indisposed, prevents me the pleasure of waiting on
you personally.”

It will be well here to refer to the important group by Zoffany belong-
ing to Mr. William Bridgeman, because it has special interest, inasmuch
as Zoffany has introduced himself, into it, seated at an easel, painting a
picture, and has represented five other of his paintings on the wall of the
room in which the various persons are seated. Furthermore, Colonel
Claud Martin, to whom we have just made considerable allusion, is the
principal person in the group, and is represented explaining to Major
Womb well, who sits next to him, the plans and drawings of the house,
afterwards called La Martiniere, he was about to build on the river-bank
near to Lucknow, the plans being held before him by a native servant.

At the opposite end of the picture we find Colonel Polier, Martin’s
great friend, represented as ordering some fruit from the natives who are
presenting specimens to his notice (see pp. 92-93). This picture is
perhaps the group which was in Colonel Martin’s possession at his decease
(see above), and the paintings on the wall ought to enable us to identify
other works by Zoffany. It was very likely painted in the artist’s own
rooms or studio, and his favourite monkey is to be seen close to the easel.

Zoffany’s principal work in India consisted in the many groups he
painted of families who were important in the Anglo-Indian Society
of the day, or who were connected either with “ John Company ” or with
the Government. Some of these groups were successful compositions,
albeit somewhat straggling in their arrangement, and they are generally

I IO

JOHN ZOFFANY, R.A.

clever works painted with careful attention, marked by a fine colour-
scheme and by a proper sense of sound portraiture.

Of one of them Mr. Austin Dobson, in his “ Memoir of Zoffany ” in
the Dictionary of National Biography speaks in specially high terms.

This represents the Auriol family. It forms one of our illustrations,
and belongs to the Dashwood family. It is composed of three distinct
groups, one taking tea, another playing chess, and a third engaged in
conversation, while near at hand are native servants and attendants. The
composition is long and straggling, almost necessarily so, when so many
figures are to be introduced, but the colour-scheme is delightful and the
adjuncts to the picture, the silver and porcelain of the tea-equipage, the
chessmen, the tables, etc., are painted with consummate skill, while the
features of each person are carefully portrayed, and the costumes rendered
with great care and ability.

Of this style of family-group there are many fine examples to be found,
the one belonging to Mr. Asch, an anonymous group as to the identity
of which w T emake a suggestion on page 107, being one of the most success-
ful. It is more cleverly composed, and in colour and execution is unrivalled,
the painting of the ladies’ costumes being a veritable tour de force.

Zoffany delighted in painting European children in India, and they
are always depicted full of youthful vivacity.

Take, for example, the famous Impey group, in which occurs the
portrait of the celebrated judge, Sir Elijah. Here we find him with Lady
Impey, his children and servants, and though once again the word strag-
gling must be applied in criticism of the composition, yet the whole series
of persons are naturally arranged, and the boy who is dancing in the
foreground and the two younger children, one with the mother and the
other in the arms of an ayah, are all full of life and activity, while it is
clear that Zoffany has exulted in the foil that the dark countenance of the
ayah, makes against the exquisite colour, blue eyes and fair hair of the
youngest child. Sir Elijah is, perhaps, the weakest figure in this group.
Lady Impey is far more successful, and the many native attendants in
the distance are painted with remarkable skill.

An even prettier group of children is the anonymous one once be-
longing to Messrs. Tooth, and now to Mr. A. P. Cunliffe. It is believed
to represent the three children of some high official, and to have been
painted in the East, but its early history is incomplete. The masses of
curly hair which each child possesses makes the head of each appear
rather large in proportion to the figure, but the disproportion is rather
apparent than actual, accentuated perhaps by the close-fitting costume of
the boy in the centre of the picture, who is blowing bubbles. As a picture
of child-life nothing can well be more delightful.

THE AURIOL FAMILY GROUP

KOU1 ’ IIIKI!|,; CHILUKKN, N A M I (S UNKNOWN

Coll, of Capl. A. Pepys

GROUP REPRESENTING THE OWNER’S GREAT-GRANDFATHER, COL. BLAIR, WITH
HIS WIFE, TWO DAUGHTERS AND AN AYAH

PAINTED IN INDIA IN 1789

Coll, of Mr. Robert Marshall

GROUP REPRESENTING MR. AND MRS. HUSSEY, OF WARGRAVE HILL MOUSE,
AND THEIR DAUGHTER

GROUP REPRESENTING TWO OF THE OWNER’S ANCESTORS, PORTRAIT OF EDWARD PEARCE, GREAT-GRANDFATHER OF

CLAUD AND BOYD ALEXANDER, WITH THEIR HINDOO SERVANT THE OWNER

Coll, of Mr. II . B. Middleton Griffin photo

PORTRAIT OF NATHANIEL MIDDLETON, H.E.I.C.

RESIDENT AT I.UCKNOW UNDER WARREN HASTINGS (d. 1807), WITH THREE INDIAN OFFICIALS IN ATTENDANCE

Coll, of Mr. H. B. Middleton Griffin pholo

PORTRAIT GROUP OF ROBERT MORSE (ob. 1816), HIS DAUGHTER SARAH, AFTERWARDS MRS. CATOR,
WILLIAM CATOR (ob. 1800) AND ANNE FRANCES MORSE, AFTERWARDS MRS. MIDDLETON (ob. 1823)

Ill

ZOFFANY IN I N D I A— 1783-1789

Another charming group is that belonging to Captain Pepys, represent-
ing the owner’s great-grandfather, Colonel Blair with Mrs. Blair, their
two children and the ayah, and here we may again comment on the exceed-
ing skill with which Zoffany has painted the dark glowing countenances
of the native attendants, delighting, it is evident, in the foil they afforded
to the clear complexions of the English children. One daughter in this
group is seated at the pianoforte, the other, a much younger child (the
grandmother of Captain Pepys), is close up to the ayah and playing with
a kitten. The group is well composed, and is quite delightful in its
familiar natural arrangement. It was painted in 1789, and is one of
Zoffany’s thoroughly successful works.

A simpler group, representing Claude and Boyd Alexander with their
native servant and their dog, belongs to about the same time, but is a far
larger picture, as all three figures in it are life-size.

It belongs to Sir Claude Alexander, and his ancestor in it is reading
a letter to his brother just received from his wife, announcing the purchase
of the estate of Ballochmyle, where now the painting hangs.

On the same simple lines Zoffany painted Nathaniel Middleton, the
Resident at Lucknow (see p. 93), whom he depicts seated in a certain
dignified splendour, attended by three Asiatic officials of high rank,
who stand near him, and whose costumes, ornaments and jewels are
painted with great skill, and add largely to the resplendent general
effect.

Yet another is the Morse group, belonging to Mr. Middleton, in which
Robert Morse is seen playing on the ’cello and his two daughters, Sarah
(afterwards Mrs. Cater) and Anne Frances (afterwards Mrs. Middleton)
are at the harpsichord, Cater standing near by resting his hand on the
instrument.

Even more successful, because simpler still, is the group belonging to
Captain Blunt, in which Suetonius Grant Heatly, a Judge in the East
India Company’s Service and Magistrate for the province of Dana, is
depicted with his sister Temperance (afterwards Mrs. William Green),
attended only by the bearer of the hubble-bubble, the mouthpiece of
which the Judge is holding in his hand, while receiving some important
native servant, who carries a long, elaborate staff in his hand, and is
explaining something to them.

Here the figures and the composition in the open space could hardly
be improved, and the look of evident interest which overspreads each
countenance is admirably rendered. The splendid carpet upon which
the chairs are placed and the costumes of both persons, the line Dacca
muslin of the lady and the elegant small clothes, silk stockings and buckled
shoes of Suetonius, and his bunch of seals and pipe are all triumphs of

1 1 2

JOHN ZOFFANY, R.A.

sound painting, while the modelling of the faces and hands in this delight-
ful composition is of the very best, and does infinite credit to the artist
responsible for it.

Just as good is the single figure of Patrick Heatly, belonging to the
same owner. Zoffany has depicted his sitter on a rock overlooking the
sea, shading his eyes with his beaver hat. His face bears an anxious,
thoughtful aspect ; he is looking out to sea, watching the ship which bears
away his sister, Temperance, to America with her husband, Captain
Green, and the whole story is cleverly set forth in the picture. Even the
dog near him has caught the same anxiety; he, too, has lost a friend and
is distressed, not quite understanding why the person who has so often
fed and petted him should be going away from his master and himself.
The painting is a charming one, very simple, natural and attractive, and
possessing a delightful sense of atmosphere and space.

Other delightful Indian 1 groups are the two large ones at Oxford
belonging to Dr. Blakiston, painted in about 1790 or 1791, representing
members of the Dent family; that depicting John Wombwell (already
mentioned in connection with the Bridgeman group, p. 109) and his
friends, belonging to Mrs. Cartwright, a picture about which we are
doubtful; the Macleod groups, painted also in about 1788, belonging
to Macleod of Macleod and hanging in Dunvegan Castle, where at one
time there certainly was a portrait of Dr. Johnson by Zoffany; the Watts
group, introducing the figures of Mir Jafar 2 and his son, Miran, 3
reproduced in S. C. Hill’s Betigal in 1756-7 which belongs to Mrs. Watts
of Hanslope Park, and the portraits of Beau Wilton and Lady Chambers,
which belong to Canon Oldfield.

There are, moreover, many other groups in existence, both in India
and England, which Zoffany painted in India, several of which we have
been unable to describe, but a sufficient number has been mentioned to
give an adequate presentation of the class of painting the artist carried
out in that country, and by which he obtained much renown and high
recompense.

One only of them, so far as we know, appeared at the Royal Academy,
and that was the painting of Haidar Beg’s 4 mission to Lord Cornwallis.

This, Zoffany on his return to England, sent in to the exhibition of
1795, and bitterly did Anthony Pasquin criticise it.

His critical remarks were evidently intended to be sarcastic, and they
must be quoted as evidence of the sort of coarse abuse with which Williams
treated the artists of his day.

1 Mr. Tennyson alludes to a picture by Zoffany painted “ in the Indian manner,”
but does not specify to which picture he refers.

2 3 4 Al so spelled Hyderbeck and Hyderbeg.

Coll, of Captain and M iss I3hml

PORTRAIT OF PATRICK HEATLY, H.E.I.C., LOOKING OUT TO SICA WATCHING THE SHIP WHICH TAKES HIS
SISTER TEMPERANCE AWAY FROM INDIA TO AMERICA WITH HER HUSBAND, CAPTAIN W. GREEN

Coll, of Mrs. Walls

GROUP REPRESENTING WILLIAM WATTS, GOVERNOR OF FORT WILLIAM, IN BENGAL. NEGOTIATING THE
TREATY OF 1757 WITH MIR JAFAR AND HIS SON MI RAN
This event preceded the arrival of Zoffany but Watts required its commemoration in the group to be painted

Coll, of Mrs. Watts

WILLIAM WATTS

GOVERNOR OF FORT WILLIAM IN BENGAL

He was a prominent figure in the negotiation that preceded the capture of Calcutta by Siraj-ud-Daula and the battle of Plasscy

Coll, of Mrs. Walts

PORTRAIT OF MRS. WATTS ( ob . 1812, cel. 87)

Who, after the death of her third husband, married a Bengal Chaplain, the Rev. W. Johnson, and was known as
“ the Begum Johnson.” Her daughter Amelia was the first wife of Sir Charles Jenkinson, afterwards 1st

Lord Hawksbury and 1st Earl of Liverpool.

Coll, of Mr. Francis Edwards from that of Miss Winter, fo whom it came direct from Warren Hastings

PORTRAIT OF BENERAM PUNDIT, THE VAKEEL OR MINISTER OF THE RAJAH

OF BERAR

He rendered great service to Warren Hastings during the Benares Insurrection, and was highly

esteemed by him

4f~’ * r T ' f f?1'r? r rr r rtf r^r^rrrrrrrt'rpr-’ r r • ' •• *

u. IU<»< m i mil »|I— mi >■»><.» .1. . I.

^ ^ ^ • - " '4 /*

Fri-

:• 5

loll, of Mr. E. S. Mostyn Pryce

AN INDIAN SCENE

The picture is believed to represent some houses in Lucknow, but at present they cannot be identified.

Coll, of Mr. C. Nugent Humble Keohan photo

GROUP REPRESENTING MR. AND MRS. THOMAS RICE, THEIR SON. MR. STEPHEN RICE, FATHER
OF THOMAS SPRING RICE, ist LORD MONTEAGLE, THEIR DAUGHTER, CHRISTIANA RICE, AFTER-
WARDS MRS. FOSBERY AND THE SONS OF MRS. RICE BY HER FIRST HUSBAND, MR. COLLIS

ZOFFANY IN I N D I A— 1783-1789 113

Thus he speaks — 1

“ From the same, p. 20, No. 125, Hyderbeg on his mission to
Lord Cornwallis, with a ‘ View of the Granary,’ erected by Warren
Hastings, Esq., at Patna. J. Zoffani, R.A.

“ This performance furnishes a melancholy proof how far the
human powers may decay, before the agent in error will resign his
weak propensities; in speaking of the grouping and the colouring,
we know not which to condemn first, as both so irresistibly demand
our scorn. In the management of this picture (as in that he exhibited
last year, of the “ Parisians plundering the King’s Cellar at Paris ”),
he has laboured hard to sacrifice the dignity of humanity, to the
pride and parade of aristocracy; indeed, he seems so familiar with
slavery, and so enamoured of its effects, that we doubt if even the
black catalogue of governing infamy can furnish a subject equal to
his hunger of degradation.”

It may be permissible in completing this chapter to mention that the
Prince of Wales (now the present King), in speaking at the Royal Academy
banquet in May 1907, made reference to the relation of the Empire to
Art, and recommended artists to go to India to learn for themselves
how “ great are the beauties of the vast and silent jungles, how gorgeous
the sunset effects of the deserts ”; while he reminded his hearers that one
of the earliest Royal Academicians, Zoffany, faced all the difficulties of a
journey to India more than 120 years ago, and with “ great success both
to the world of art, notably to that of portraiture, and to himself.”

1 Pasquin’s Guide, p. 20.

CHAPTER VI
zoffany’s return home

We hear of Mrs. Zoffany during her husband’s absence in India, from
the gossipy pages of Mrs. Papendiek’s Diary , in which there are repeated
allusions to her.

Thus, for example, Mrs. Papendiek writes —

“ Mr. Papendiek now took lodgings at the house of Clarke, the
Queen’s footman, in Eaton Street, Pimlico. . . . Mrs. Zoffany then
came to stay with us for a week. She told us that a friend had
lent her a house in Hart Street, Bloomsbury, for one year, while her
house at Strand-of-the-Green 1 was being repaired. She wished us
to go to her whenever we liked so to do, but it was too far from
our beat to afford any convenience.” 2

A page or two later on she again refers to the house in Hart Street,
thus —

“ The Royal family, going for a week or two to town on account
of some foreigners, we took the opportunity of paying a long-promised
visit to Mrs. Zoffany. Her house in Hart Street was at the corner
of Church Passage, and one watchman’s box was close to her front
door, a second being stationed up the passage. It was a comfort
to feel so well protected, for just after . . . housebreaking and
robbery of every description were very prevalent.

“ Just after I left, having stayed a week in every comfort of friend-
ship, Mrs. Watkins arrived from India, and by Mr. Zoffany’s desire,
made his wife’s abode her home pro tempore. She was protected
on the voyage by Maddison, the great stockbroker , 3 who managed all
Zoffany’s affairs, and of whom Zoffany painted such an admirable
portrait that it was engraved.” 4

1 Mrs. Papendiek styles this place Strand-of-the-Green. It should really be called
Strand-on-the-Green.

2 Mrs. Papendiek, I. 266. 3 See pp. 79 and 81. 4 Mrs. Papendiek, I. 281.

1 14

ZOFFANY’S RETURN HOME

11 S

Again briefly she adds —

“ Poor Mr. Papendiek was in great anxiety at leaving me, as I was
very near my confinement, but Mrs. Zoffany promised she would
remain with me, and very kindly did. She brought me the silver
tags to lace my gown ornamentally, which Augusta now has in her
amateur theatrical wardrobe.” 1

Then in 1789 Mrs. Zoffany went out to Strand-on-the-Green and
Mrs. Papendiek went to stay with her, and made her house the place
from which she was to come up to London in connection with the
public thanksgiving for the King’s recovery from his long and serious
illness.

She says —

“ And now a letter arrived from Mr. Papendiek desiring that I
would immediately repair to Kew to partake of the general joy, saying
that he had secured me a bed at dear Mrs. Zoffany’s, where he knew
I should be happy. Her daughters were still at home, so I did not
attempt to trouble her with any of my children, but Charlotte, who
still suffered from her chilblains, I took to my mother’s, where she
was a welcome guest both to her and to my brother. With warmth
and good nursing she began to get better, yet the spring had quite
set in before we could say she was really well.

“ After making all necessary arrangements for my other children
I went off to Strand-of-the-Green, which was near Kew, where I
was most kindly and hospitably received by Mrs. Zoffany. . . . 2

“ In the meantime,” she adds, “ public rejoicings (for the King’s
recovery) had full vent, and a general illumination and great demon-
stration were fixed for March 9. On that morning Mr. Papendiek
arrived in a chaise to take Mrs. Zoffany and myself to see all the
preparations. She excused herself on account of her children being
at home and of her own illuminating difficulties. I therefore started
off with Mr. Papendiek alone, he telling Mrs. Zoffany that she was
not to expect me till she saw me, nor to sit up one moment beyond
her usual time for me, as he thought I should probably remain in
town.” 3

For one night Mrs. Papendiek could not return to Mrs. Zoffany
and had to go back home to Kew, but the day afterwards she was at
Strand-on-the-Green again, and thus refers to her friend —

1 Mrs. Papendiek, I. 306. 2 Ibid., II. 67.

3 Ibid., II. 68.

1 16

JOHN ZOFFANY, R.A.

“ Our object in hurrying on to Kew the preceding night, was that
my father and Mr. Papendiek should be at their posts. They could
not, in consequence, take me round to Mrs. Zoffany’s; besides, it
was a pleasure to Mr. Papendiek that I should witness the scene
which I have just endeavoured to describe. . . .

“ The next morning early, I went back to my dear friend at Strand-
of-the-Green, in the hope of either taking her to see the Queen’s
illumination, or of persuading her to go to London with Mr.
Papendiek while I remained to take care of her house. She
declined both, so we passed the day together in quiet rest and pleasant
intercourse.

“ Mrs. Zoffany,” she adds, “ then lived in the first of four houses
near the river, of which the frontage was precisely the same, and
the residents of these houses made their devices of lamps to encom-
pass the four . 1 This gave space; the idea was well imagined, and
the chaste effect drew the attention of the Queen, whose carriage was
ordered to stop on the bridge that their party might see it. The
tide was high, and the reflection in the water was almost more
beautiful than the thing itself.” 2

Alluding to the hope of Zoffany’s return from India she next
writes —

“ When my husband left Windsor with the Royal family, my
mother came down to me for a few days, bringing my sister, who
remained with me till the term recommenced at Mrs. Roach’s. Miss
Meyer and the Zoffanys also returned, but my friend could not be
prevailed upon to remain with me, as she was now expecting Mr.
Zoffany’s return from India almost daily.” 3

Of that journey home we have heard of but one incident, and that
relates to a terrible experience the travellers had in the Indian Ocean.
The vessel 4 was wrecked and the passengers escaped in boats, but that
in which Zoffany was, came short of food, and according to the traditions
in the family, which are said to rest upon fact, lots were cast on the boat
as to who should be killed; and eventually one sailor, who was in a very
weak state, either succumbed to his injuries or was put out of his misery

1 Zoffany had evidently sent over plenty of money from India, for this illumination
must have been a costly affair.

2 Mrs. Papendiek, II. 75. 3 Ibid., II. 116.

4 It has been stated, and in print, that Zoffany returned from India on the

Brilliant, but that is not possible, as the vessel was wrecked in 1782.

Coll, of Miss Ellen Beachcroft Gray photo

PORTRAIT OF ZOFFANY PAINTED BY HIMSELF IMMEDIATELY
UPON HIS RETURN FROM INDIA

ZOFFANY’S RETURN HOME

117

and the others had to eat his flesh, roasted in some primitive fashion, in
order to keep themselves alive.

Whether this horrible occurrence took place on the boat, or on an island,
is not clear, but it is generally said to have happened on one of the Andaman
Islands ; and it is stated that the experience had such an effect on Zoffany
that he from that time had a melancholy cast of countenance, 1 and was
very different in every respect from the jovial, enthusiastic, gay man he
had been in India.

From Mrs. Papendiek we hear that he had also been seized with an
attack of paralysis. This is supposed to have arisen from his experiences
after he left India, and it is declared to have happened in the Mediter-
ranean during the later part of the voyage. He was certainly lame in
1801 (see p. 109).

Of his actual return, Mrs. Papendiek speaks in the long and curious
account she gives of a concert at her house. It is worth referring to as
there are three allusions in it to Zoffany, who appears to have arrived
home at quite an unexpected moment.

She writes thus—

“No one else in any way peculiarly remarkable was at this meeting
except Mr. Zoffany, who surprised us at dinner. He had only
recently returned from India, whither he had gone so many years
before.

“ We could but be rejoiced at his return, although sorry to see him
so changed. For during the voyage home he had been seized with
an attack of paralysis, from which he certainly never thoroughly
recovered. During dinner we began to explain to him the nature
of the evening’s amusement, but he told us that he had heard all
about it at Mrs. Roach’s, where he had called to see his daughters
on alighting from the coach.”

She then goes on to describe the concert to be held at her home “ to
hear the boy Bridgetower 2 play,” and all the difficulties connected there-
with and adds—

“ Zoffany (was) extremely satirical upon the whole affair; and,
as may be easily inferred, I was tired and agitated by my exertions,
and became almost hysterical, but in the occupation of getting all
completed by the time appointed, I recovered my power of action,
and went through the whole evening with credit to myself under the

1 See an allusion to his portrait, painted after his return, on p. 128.

2 A young negro violinist very popular at that time.

1 1 8

JOHN ZOFFANY, R.A.

continued sarcasm of Zoffany and the very few smiles of approbation
from Mr. Papendiek.”

Finally she adds —

“ Twenty-five guineas Mr. Papendiek put into Bridgetower’s
hand, taking nothing from Mr. Jervois as he compelled him to come.
The ladies being gone I went to bed, after making arrangements for
Zoffany, but the gentlemen made a merry evening of it.” 1

One of the notable pictures which Zoffany painted after his return
rom India was certainly not amongst his successes, and in its compo-
sition and technique betrays the hand of a man who was weakened and
exhausted by exposure and suffering.

Later on, he was to regain almost all his accustomed vigour; but in
this work, the altar-piece at Brentford, which he executed in the early
days of arrival home, when full of the memories of the somewhat similar
work he had painted in Calcutta ; he fell distinctly below his average
skill.

Moreover, Zoffany was never at home in sacred subjects. He painted
in a far too theatrical manner, and the emotion was superficial and stagey.
He could not rid himself of his method and style in painting dramatic
scenes on the boards, and the sacred pictures gave no opportunity what-
ever for his love of splendour in costume, his enthusiasm over a rich
colour-scheme, nor even for his neat manner of painting fabrics and
accessories. This is not to say that the Brentford altar-piece is an unim-
portant picture — far from that. The faces are well painted, the figures
ably grouped, the contrast between the white cloth on the table and
the prevailing gloom cleverly accentuated, but the composition partakes
of the stage, and the feeling is forced and sentimental without being
religious. The picture was, it is stated, intended for Kew Church ( not
for St. George’s Chapel, Windsor, as one authority states), and it is said
that reports having reached the King concerning the Calcutta altar-piece
and its high merits, His Majesty suggested that a similar one should be
done for Kew. When finished, however, the authorities at Kew refused
to pay the price Zoffany demanded for the work, and he, to show his
independence, forthwith made it a gift to St. George’s Church, Brentford
(hence the confusion with St. George’s Chapel, Windsor), and there it
still is.

Again in this picture Zoffany pursued the very course which had got

1 Mrs. Papendiek, II. 137.

0 )

PAINTING OF THE LAST SUPPER, IN WHICH ZOFFANY INCLUDED PORTRAITS OF HIS WIFE AND OF THEIR NEIGHBOUR

ZOFFANY’S RETURN HOME

IX 9

him into discredit in India. He had a furious quarrel with an attorney
at Kew over the draft for his will, and forthwith used his countenance
in the altar-piece, in the figure of Judas Iscariot, thereby setting the people
of Kew against him, for the man was respected in the place and was in
high office in connection with the Church. Mrs. Oldfield, who as a child
was taken to worship at Brentford, used constantly to gaze at the picture
which was her grandfather’s work, and she declares that at least three
persons, including the attorney in question, have been pointed out to her
as those whose portraits appeared in it. In this picture Zoffany himself
is represented as St. Peter, a strong, full face, with a small grey beard;
and the face of St. John is that of the painter’s wife, taken from a portrait
he drew of her when she was quite a girl. The other apostles were
painted from local fishermen.

“ The grandson of one of these men,” says a contemporary writer,
“ was so exactly like his grandsire that he might have been taken for the
original of the figure in the canvas.”

“ The two altar-pieces,” he continues, “ do not agree in their arrange-
ment. In the foreground of the painting at Calcutta are a great laver of
brass with an ewer and small dish, while in the Brentford picture their place
is occupied by two figures, who appear about to descend from the ‘ large
upper room ’ by steps, to which access is given by an opening in the floor.
The figures are those of a white youth and a negro, the latter a portrait
of the artist’s ‘ black slave.’ It is thought that Zoffany, by the introduc-
tion of these two figures, negro and Caucasian, in connection with the
Jewish type, wished to exemplify the three races of mankind — the descen-
dants of Shem, Ham and Japhet — sharers alike in the blessings of the
new dispensation.”

Zoffany was fond of painting negroes. He painted, so Angelo tells,
a small whole-length of a black man named Soubise, who though not
tall, was well proportioned, and, what is so rare with the black sons of
Africa, had well-formed legs. Zoffany “ painted this picture for Doctor
Kennedy, who presented it to the Duchess of Queensberry as it was under-
stood, to further the interests of the subsequently unfortunate Doctor
Dodd,” his intimate friend, “ whom,” adds Angelo, “ in my young days,
I often met at Doctor Kennedy’s . 1

Later on the Duchess of Queensberry gave away the portrait to Mrs.
Angelo, and by Mrs. Angelo it was given to Burgess, her solicitor in
Curzon Street. There is no further trace of it.

Elmes gives us a story of a picture painted at about this time which
is another proof of the independence of our painter. He says that
“ Zoffanii once painted a small whole-length of a gentleman, standing by

1 Angelo’s Reminiscences, 351.

120

JOHN ZOFFANY, R.A.

his favourite Arabian horse. When the piece was finished the owner,
thinking the price very high, refused to take away his picture, on some
frivolous pretence, such as the buttons of the blue coat being white instead
of yellow , upon which Zoffany sent the painting to a public sale-room,
where it remained long exposed ; and the owner was, at last, so much
ashamed of his meanness as to send for it at the painter’s price.” 1

The pictures which he sent to the Royal Academy in his later years
were sometimes received with applause and sometimes with caustic
criticism. 2

Upon one picture which Zoffany sent in for the Exhibition in 1795
Anthony Pasquin poured out the vials of his wrath. It was called
“Plundering the King’s Cellar at Paris, August 10, 1793,” and was the
subject of a brilliant mezzotint scraped by Earlom and published in the
same year.

It was not a pleasing picture, and the Morning Herald of the day says
that it was painted in accordance with a very broad hint given to Zoffany
by the Royal family and was intended as a sort of moral lesson or
warning. 3 Forcible it undoubtedly is, and very cleverly composed, while
from the engraving it would appear to have been painted with great skill,
but the original picture cannot now be traced.

It certainly did not deserve the bitter and cruel comments passed
upon it by Williams, when in his Authentic History of the Artists of England
and Royal Academicians , 4 after referring in scurrilous fashion to Zoffany’s
career in India, he goes on to say that —

“ In the moments of his weakness, or his antipathy, he embodied
a group of Parisians plundering the King's cellar : and this vulgar
untruth was exhibited with all the pride of a gothic sacrifice to
Prejudice !

1 Elmes’s Art and Artists, II. 207.

2 It was to this period of Zoffany’s career that Peter Pindar alluded in his sarcastic
lines in which he pokes fun at two of the Academicians, Dominic Serres and Zoffany.
Thus he wrote —

“ Serres and Zoffani I ween,

I better works of yours have seen ;

You’ll say no compliment can well be colder,

Why, as you scarce are in your prime,

And wait the strengthening hand of Time,

I hope that you’ll improve as you grow older.”

If these lines from Ode X were written, as is supposed, in about 1793, Serres must have
been seventy-one at the time and Zoffany nearly sixty, so the sarcasm was very self-
evident and needlessly cruel.

3 There is little or no evidence for the accuracy of this statement.

4 Page 34.

ZOFFANY’S RETURN HOME

121

“ Every candid observer must consider this foul production as
one of those irregular tributes to the malice and folly of the moment,
which every mean man is eager to pay to those who have purposes
to answer, which are not very consonant with truth, humanity, or
justice. Of all the pieces I have seen from the pencil of Mr. Zoffanii,
this is the most unlike himself; he evidently labours to tread in the
steps of Mr. Hogarth, but is truly unsuccessful. This savage
assemblage of monsters are denied the possession of human linea-
ments by this indignant German. It is but too certain that the mobs
of Paris committed atrocities at which a generous nature will shudder ;
yet I do not think that the cause of morality will be much strengthened
by making the perpetrators of a crime singularly deformed and
repulsively hideous : this offending spectacle can only be reviewed
with pleasure by a blackguard or an assassin.”

Speaking of the picture Zoffany sent to the Academy in the following
year entitled “ Mr. Townsend as the beggar in the pantomime of Merry
Shenoood ,” another work which, unfortunately, we cannot find, Anthony
Pasquin is rather less severe, but still a little cruel. He declared that the
portrait was not that of Townsend, but was taken from Lord Mansfield,
and added —

“ This portrait is eminently characteristic, with a strict adherence
to the minutiae of the stage dress. The countenance partakes of all
the muscular whim of the original — the contour and expression of this
supplicating visage is so like the Earl of Mansfield, that many have
supposed it the amiable Peer trying his powers in a masquerade habit.” 1

This picture, however, which marks Zoffany’s best work after his
return from India, is the famous one of the Towneley Museum or Towneley
Marbles which now belongs to Lord O’Hagan, and was the subject of a
large mezzotint scraped by W. H. Worthington.

Charles Towneley, the famous collector, had taken a house near to
St. James’s Park, 7, Park Street (now 14, Queen Anne’s Gate) for the
reception of the priceless treasures he had brought from Italy, as his
principal residence was away in Lancashire, a place impossible for the
connoisseurs of the day to reach, and one widely removed from the neigh-
bourhood of those who w T ould admire his treasures and help to unravel
their history.

Here, in an inner hall lighted by a skylight, he arranged some of his
vast collection, and the picture Zoffany painted show him seated amidst
what a recent writer calls “ a welter of statues,” surrounded with marble

1 Memoirs of the Royal Academicians, p. 13.

122

JOHN ZOFFANY, R.A.

figures, sepulchral tablets, cinerary urns, sarcophagi, bas-reliefs, columns,
winged creatures, busts and the like, a treasure house of the spoils
he had gathered up in Rome when the contents of Hadrian’s Villa
were dispersed, and which he had captured by the strength of his
purse from those who were striving to obtain them for such august per-
sonages as Prince Borghese, the Empress of Russia, the Kings of Prussia
and Sweden, and even the Pope himself.

Towneley sits in a stately chair with “ his faithful dog, Kam, at his
feet, a native of Kamschatka, whose mother was one of the dogs yoked to a
sledge which drew Captain King in that place,” 1 holding open on his
knees a folio- work on classic art, and is in conversation concerning an
attribution with the renowned M. d’Hancarville, then his intimate friend.
In the background stand Charles Greville and Sir Thomas Astle, also in
conversation, and all four portraits are worthy of Zoffany at his very best.

D’Hancarville, it will be remembered, was “ one of the band of
virtuosos who helped to explain the basso-rilievos on the Portland Vase,”
and for a while Towneley relied on his judgment and agreed with his
decisions. Later on, they quarrelled, concerning, it is said, the authen-
ticity of a torso, and Lord O’Hagan has in his possession a pocket-book
containing a list of statues and busts, against which Mr. Towneley has
written in red ink “ scathing marginal notes demolishing the pretensions
of some of d’PIancarville’s finds.”

In this picture Zoffany, however, pursued the plan he had adopted in
Florence, years before. As in the “ Tribuna ” picture he crowded into the
one room treasures from all parts of the gallery in a glorious, rich and
grand profession, so here, to produce a “ fine, grand eloquent effect,”
he has enlarged the appearance of this inner hall, which was far too small,
Lady Strachey tells us, in her article on the Towneley marbles, to receive
all the statues. It is still in its original proportions, and Zoffany has
crowded in many more groups and urns, busts, columns and tablets
than it could ever at any time have received.

It was really in the beautiful dining-room of the house — a room of
elegant and dignified proportions — the same writer assures us, that
Towneley had placed his largest and best statues, and in this room he
entertained the artists and critics of the day.

The “ Diana,” the “ Drunken Faun,” the “ Clytie,” 2 “ Discobolus,”

1 Smith’s Nollekens, Lane’s edit., I. 213.

2 Towneley was so attached to the famous bust of Clytie, which he regarded as
his most precious possession, that he often spoke of it as “ his wife,” and when his
house was threatened by the rioters in the Gordon Riots and he himself as a Catholic
had to leave it in great haste, he carried this precious bust with him into his carriage,
saying, that even in all his hurry and speed he could not be separated from “ his wife ” !

CHARLES TOVVNELEY AND HIS FRIENDS IN THE TOYVNELEY GALLERY,
PARK STREET, WESTMINSTER

FROM THE ENGRAVING BY WORTHINGTON AFTER ZOFFANY

ZOFFANY’S RETURN HOME

123

“ Adonis,” “ Venus,” and other great treasures were all exhibited in this
room, and the “ Elegant Memoirs of Towneley,” which appeared in the
General Chronicle and Literary Magazine of 1 8 1 1 , speaks of the beauty of
this apartment.

“ Lamps,” it adds, “ were placed to form the happiest contrast of
light and shade, and the improved effects of the marble amounted by this
means almost to animation. ... To a mind replete with classical imagery
the illusion was perfect.”

Zoffany’s task was, however, to paint the inner-hall, to show all
the treasures in it that he could , 1 and in that respect he has ably
succeeded.

The apartment appears in the picture to be of imposing size, and,
even though the marbles are somewhat crowded, each is well seen in the
space given to it, and the arrangement is so skilful that each object has
its proper place, and an adequate view of it is not obscured by any other
or any larger statue or figure. There is, moreover, a vacant space in the
foreground on which the eye can rest with relief, and as regards the four
persons depicted in the room, Zoffany was never more successful in viva-
cious clever portraiture. As in the “Tribuna” picture, the result is a
pictorial document of great importance, rendered even more precious
by its delightful scheme of colour and sound portrait painting.

Smith, in his Nollekens and His Times , 2 gives us a full description of
the room in Park Street and of the treasures they contained, and he con-
fesses that all the best of the marbles were brought into the painting by
Zoffany who made the contents “ up into a picturesque composition
according to his own taste.” He also alluded to Towneley’s dinner-parties,
at which both Reynolds and Zoffany figured amongst the guests.

Further, he tells us, and he was qualified to judge, that “ the likeness

1 In Towneley’s note of instructions to Zoffany he desires him to represent in his
picture, the following marbles —

Statue of Discobolus found near Tivoli.

Statue of Diana crouching, found in the Veroosi (sic) Villa.

Head of Marcus Aurelius.

Statue of Venus found at Ostia.

Group of Faun and Nymphs found near Tivoli.

Bust of Isis (the Clytie) in a very prominent position in the picture.

Head of Homer found at Baiae.

Statue of a young Bacchus.

Bust of Lucius Verus.

Head of Decebalus.

Head of a Bacchante.

Small statue of Cupid bending his bow.

Statue of Silenus.

2 I. 213, in Lane’s illustrated edit.

124

JOHN ZOFFANY, R.A.

of Mr. Towneley is extremely good. He is seated and looks like the
dignified possessor of such treasures.”

Of his three friends it suffices to add that Pierre Francis Hugues
d’Hancarville was the author of Recherches sur VHistoire VOrigine, VEsprit
et les Progres , des Arts de la Gr'ece, 1785; Astle was the antiquarian and
palaeographer, who became, in 1783, Keeper of the Records and was a
correspondent of Dr. Johnson; and Greville was the second son of the
first Earl of Warwick, a fashionable connoisseur, whose name is chiefly
remembered in connection with that of Lady Hamilton.

The picture was engraved first by Stow, who left it unfinished,
and it was completed by Carden. The better-known print is, however,
the one by Worthington.

The marbles, urns, busts and other treasures are now in the British
Museum, as they were purchased by that institution, in 1808, after the
decease of Mr. Towneley. 1

Lord O’Hagan owns also another important painting by Zoffany
representing six connoisseurs more or less connected with the Society
of Dilettanti. Towneley had joined this Society in 1786, but he did
not present his portrait to it as the members were generally “ ordered by
the Society ” to do. Whether he intended to give Zoffany’s group to
the Society we do not know, but if he did not make such an arrangement
he must have paid a guinea a year “ face money ” during all his twenty
years of membership. Whatever may have been his intention, the Society
never obtained the painting, which now hangs at Pyrgo Park.

The six persons in it are Mr. Charles Towneley, Mr. Charles Price, 2
Dr. Verdun, Dr. Oliver, 3 Mr. Richard Holt, and Captain Wynn. 4

1 We should, perhaps, refer in brief fashion to these marbles because no
such collection was ever before brought together, and it constitutes the main artistic
importance of the classical collection in the Museum. It includes representations of
Zeus, Hera, Demeter, Apollo, Artemis, Endymion, Actseon, Athene; (4 examples)
Aphrodite; (5 examples) Hermes, Dionysos; (11 examples) Ariadne, Pan; (4 ex-
amples) Eros, Thalia, Victory, Fortune, Cybele, Atys, Hecate, Heracles; (6 examples)
Midas, Mithras, and the Nymphs and Satyrs, besides twenty other figures, many
sarcophagi, mural reliefs, votive reliefs and the like.

Furthermore, there are in this famous collection busts of Homer, Sophocles, Hippo-
crates, Epicurus, Nero, Trajan, Hadrian, Sabina, Antoninus Pius, Faustina, Marcus
Aurelius, Septimus Severus, Caracalla, Gordianus Africanus, Otacilia Severa, and
many other notable persons, and it was from the Bacchic scene on a vase in the Towneley
collection that Sir Sidnej' Cohan, in his Memoir of Keats (p. 416), suggests that the
poet drew his inspiration for some of the well-known phrases in his Ode on a Grecian
Urn.

2 Sir Charles, 2nd Bart. (1732-1788).

3 William Oliver, physician.

4 None of these men save Towneley were ever actual members of the famous
Society of Dilettanti.

>11. of Lord 0’ Hagan Warham fliolo

A GROUP REPRESENTING CERTAIN CONNOISSEURS, WITH MR. CHARLES TOWNELEY, INSPECTING A MARBLE FIGURE
DR. VERDUN, DR. OLIVER, MR. PRICE, MR. HOLT AND CAPTAIN WYNN

Coll, of the Garrick Club. nG

THOMAS KNIGHT (17647-1820), ACTOR AND PLAYWRIGHT

AS ROGER IN “ THE GHOST ”

Knight’s wife was Margaret Farren, sister of the Countess of Derby

ZOFFANY’S RETURN HOME

!25

Of the other pictures sent in by Zoffany to the Royal Academy we
have only been able to trace one, that representing “ Mr. Knight as the
Clown in the farce of The Ghost ” (no). That is now hanging in the
Garrick Club.

To the “ Hyderbeg on his mission to Lord Cornwallis” (125) which
was also hung in 1796, we have already alluded in Chapter V. The
picture was engraved in mezzotint by Earlom, but where the original now
is, we cannot say.

“ Susanna and the two Elders ” (195), exhibited in 1796, “ Moses and
Pharaoh’s Daughter” (101), exhibited in 1800, and no less than three
versions of “ Joseph and Mary on their flight to Egypt,” also exhibited in
the same year (224, 225 and 522), were doubtless unsatisfactory pictures
as Zoffany’s religious works were perfunctory, but “ A Beggar’s Family ”
(152), exhibited in 1797, and a “ Professor of the Harp ” (167), exhibited
in 1798, it would be interesting to find, if only for the fact that they were
the last important works sent in to the Academy by the artist, who at the
time he exhibited them was over seventy years old.

They, however, and the portrait of Miss C. Zoffany (283), exhibited
in 1790, have so far eluded our most careful search.

Another important work which Zoffany painted was called “ The
Wreck of the Brilliant .” It was an imaginary scene depicting a wreck
which took place off the coast of India in 1782 while Zoffany was in that
country, but we have been unable to find it.

The picture has often been mentioned, but no one appears to know
where it now is.

CHAPTER VII

ZOFFANY HIMSELF, AND HIS WIFE AND FAMILY

(Zoffany, his grand-daughter tells us, was a very tall man, and she
adds that this, indeed, was one of the reasons why he had to relinquish
the journey round the world with Cook and Sir Joseph Banks, since the
cabin accommodation was far too small for him.

She also informs us that he was a quick and hot-tempered man, and
frequently got into trouble with his friends and family.

Angelo also describes him as “ a very tall man,” and goes on to say
“ he was a very ugly man, and very much marked by small-pox ” in later
years.

The fact of his unusual height is an argument in favour of the authen-
ticity of the portrait of a young man holding a palette and brushes which
belongs to Mr. W. J. Davies, and has always been known as a portrait
of Zoffany. Who painted it, is not known, but it has been attributed to
Zoffany himself and also to Mortimer, and if it be Mortimer’s work
there is another argument in its favour, as we have already seen how
intimate were the two artists in their early days (see p. 14).

In other respects, however, the painting in question does not offer
very close resemblance to the pictures we possess of the artist which are
of undoubted authenticity, save in respect to the hair, which, both in the
manner in which it falls over the forehead and stands off by the ears, does
undoubtedly resemble the hair in the later portraits. There is no par-
ticular reason, therefore, for refusing to accept the traditional ascription,
more especially as Mr. Davies’ portrait is the only one with which we are
acquainted that even professes to show us the appearance of our painter
when he was young, save a fine signed drawing belonging to Mr. Lane.

To a much later date belongs the fine portrait of Zoffany by himself,
now in the collection of Mr. John Lane, a remarkable oil-painting, and of
unusually large size and brilliant colouring.

Here we see the artist as a fashionable young man, when concerts
and water-parties were the order of the day, and when he was making and
spending money freely. He wears a scarlet coat, greenish-grey waistcoat
trimmed with gold lace, breeches to match and silk stockings. There

126

Coll, of Mr. IT. /. Davies

PORTRAIT 01 ZOPTANY AS A YOUNT. MAN

IJY IIIMSI L1

Possibly the portrait exhibited at the Royal Academy in 1771

('TRAIT OF JOHN ZOFFANY, R.A.
1 e possession of Mr. John Lane

ENGRAVED REPRODUCTION OF THE PORTRAIT ZOFFANY PAINTED OF HIMSELF, FOR
THE UFFIZI GALLERY, IN FLORENCE
Taken from Museo Fiorentino Ritratti di Pittori

ZOFFANY, HIS WIFE AND FAMILY 127

are lace ruffles at his wrists, and he lolls back in a comfortable red-covered
chair, against a large cushion, with his legs crossed and a book in his
hand, supremely satisfied with the world and himself.

Even more interesting, as representing the artist of mature age, is the
signed portrait he drew of himself in pastel and pencil, which has
never left the family possession. It now belongs to Miss S. J. Beachcroft,
who has been good enough to have it photographed for the first time
in its history, in order that it may adorn these pages. Here we see Zoffany
as the artist, at his easel, and holding a port-crayon in his hand. His face
is full towards the spectator, and he looks out in cheerful fashion from
the canvas.

It is not so easy, with this portrait before us, to regard him as the short-
tempered man he was declared to be. He looks amiable and benevolent
enough, and it must not be forgotten that the latter term can fittingly
be applied to him, for all the family traditions unite in stating that he was
“ a generous soul ” and that he gave away many pictures, received small
sums for others when his sitters were unable to pay his usual prices, and
spent money freely on giving pleasure to other people.

These kindly attributes may well be assumed from this delightful
self-portrait.

The same benevolence is expressed in a curious engraving of Zoffany
taken from his portrait in the Uffizi Gallery, which appears in a book
called Museo Florentine) Ritratti di Pittori, a collection of engraved and
coloured portraits of the world’s greatest painters of all countries, from
the fourteenth century onwards, published between 1731 and 1766.
The volume contains 324 portraits, and seems to comprise every artist
of note from the fourteenth century down to the date of issue of the last
part. Very few copies of the book were issued in colours, and it is seldom
that any of the illustrations can be found apart from the book. The
volume itself is of considerable rarity. Zoffany’s portrait bears the
following inscription upon it —

Giovanni Zoffani Pittore
nato in Francfort 1 sopra il Meno 1 ’anno 1773
vive in Londra

and the number 231. He is depicted in a rich fur-trimmed robe holding
in one hand a skull and in the other an hour-glass. An Italian landscape
is in the distance, while nearer at hand are figures of the Three Graces,
a tall marble figure of Apollo, a portfolio inscribed “ Ars longa Vita
brevis,” some books, a palette and brushes. Benevolence coupled with

1 Bearing out the statement concerning his birthplace made on p. 3.

128

JOHN ZOFFANY, R.A

some smug self-satisfaction is again a leading characteristic of his counte-
nance, and the print gives altogether a pleasing view of the painter.

Somewhat otherwise is the impression to be gathered from another
family portrait, also photographed for the first time by its obliging owner,
Miss Ellen Beachcroft, that it may appear in this book. This is a minia-
ture, painted by Zoffany of himself, when he first reached London after
his return from India.

We have already alluded to the terrible experiences of that shipwreck.
They had evidently made their impression upon the man. He is seen
old, querulous, in poor health and inclined to be irritable, but the face
is a striking one, and some resemblance can still be traced between it and
the face of the young man in the Davies’ portrait. The miniature is a
fine piece of self-presentation, the likeness quite unmistakable, the features
clear-cut and deep-set, the hand, with its long fingers, eminently that of
an artist, and one who was not in strong health ; the mouth that of a
quick-tempered, testy man, and the eyes reveal the same attributes. We
see the mind clearly set forth in this portrait, and it enables us to com-
prehend many of the subtleties of his character.

The other miniature preserved in the family, and which belongs to
Miss S. J. Beachcroft, represents Zoffany at a far earlier period and in
fancy costume. This was not his own work, but painted by some con-
temporary artist friend, perhaps by Luke Sullivan, whose technique it
somewhat resembles. Unfortunately, the ivory on which it is painted
has split, but the features are not interfered with by the accident, and the
likeness is unmistakable. The owner has had it photographed that it
may form another of our illustrations.

These portraits are by no means all that we possess of the artist, as he
was fond of introducing his own likeness into the groups which he painted.

We see him — as already mentioned — in a prominent position in the
“ Tribuna ” picture, and when in India he is seen in the group repre-
senting Colonel Martin and Major Wombwell, seated at his easel.

In his trip to Scotland he comes, in rather melancholy guise, into the
Raith group of the coming of age of William Ferguson, and there is an
admirable likeness of him in the Burke group belonging to Mrs. Spencer
Percival, where he is to be seen holding his god-daughter in his arms.

We must not overlook the portrait of himself in the National Portrait
Gallery in which his hand rests upon the top of a book or sketching-block,
while between his fingers he holds a double port-crayon. This he
painted in 1761, when quite a young man, before ever he exhibited with
the Society of Artists.

Furthermore, there is the notable self-portrait belonging to Mrs. Everard
Hesketh.

Coll, of Miss S. J. Beachcroft

W. Gray photo

MINIATURE REPRESENTING
ZOFFANY IN FANCY
COSTUME

Artist unknown, possibly painted
by Luke Sullivan

'a///y/ /u// /// ///a f/f

■ X'jSs n/s ’s/ r/n / 7 0 7

ZOFFANY, HIS WIFE AND FAMILY 129

We are not, therefore, at a loss to determine what manner of man he
was.

Unfortunately he was, as has been stated, of a quick, hasty temper,
all his life, and could also be very sarcastic upon occasion.

As an illustration of this, Mrs. Oldfield, his grand-daughter, tells us
that her mother, his daughter Laura, when a girl of only twelve, wandered
one day into his studio, and seeing on the easel a portrait of a child
which to her ideas looked far too pale for the little school-friend whom
it represented, helped herself to some carmine and put a little more to the
face where she thought it was needed. Zoffany came in soon afterwards,
and finding out what had been done, was so incensed by the child’s action
that Laura had to be kept out of his sight for nearly a fortnight after this
exploit. 1

Of the children we learn a great deal from Mrs. Papendiek. They
are first alluded to by her in 1788 when two of them (the elder two)
were, she says, eleven and eight years old, and their education was being
considered.

The elder was Maria Theresa Louisa, so named after the great
Empress of Austria, and the younger Cecilia Clementina Elizabeth.
Thus Mrs. Papendiek writes —

“ On my way home I called upon Mrs. Zoffany and I invited her
to stay with me, with her two little girls, Theresa and Cecilia, then,
I should say, about eleven and eight years old. In a few days she
arrived, and at once consulted me about sending her daughters to
school, for they were now evidently losing time. I strenuously
recommended Streatham, but again Mrs. Roach’s establishment
found favour on account of its more accessible position, and with her
they were placed in due course. They were to be my little pets,
and I begged Mrs. Roach to lose no opportunity of bringing them
forward in all points of elegance. They appeared to be amiable,
but, poor dears, they preferred joining in all the domestic arrange-
ments, and cared little for accomplishments.” 2

1 Angelo, in his Reminiscences (I. 280), gives us a story relative to Zoffany’s hot
temper. He and Zuccarelli, he tells us, were criticising West’s famous picture of
“ Regulus.” “ Zuccarelli,” says Angelo, “ who used to visit at my father’s, exclaimed
‘ Here is a painter who promises to rival Nicolas Poussin ! ’ Zoffany, who was not
very friendly with Zuccarelli, tauntingly replied : ‘ A figo for Poussin, West has already
beaten him out of the field.’ At length these two irritable foreigners got into such a
heat with each other, that my father was obliged to interpose. Garrick, who enjoyed
their petulance, in relating the dispute, said, the irritable phizzes of these two knights
of the palette changed hues, like the throttles of two choleric turkey-cocks.”

2 Mrs. Papendiek, I. 302 (the names of the children are quoted wrongly).

I 3 0

JOHN ZOFFANY, R.A.

A little later she again refers to their going to school —

“ My mother and brother came down one day to see baby, and
went back the same evening. None of my family were at the christen-
ing except my father, and no old friends but Mrs. Zoffany, who, in
bringing her little girls to school, again stayed a few days. A few
Cheltenham medals struck in honour of the visit were all that Mr.
Papendiek had to offer. Mamma had, however, already had a pretty
and useful needlebook.” 1

And again —

“ Mrs. Roach called now and then, and my sister and the little
Zoffanys often passed the Sunday afternoons with us after coming
out of church, and went home at dusk in the sedan, but this only
when the cold, which showed little sign of abating, was not too
severe.” 2

Her later allusions are not couched in so kindly a spirit.

She tells the story of the marriage of the second girl, the elder girl,
Maria, having already married a physician, John Doratt, who was
knighted in 1838. Mrs. Papendiek, however, confuses in this narrative
two separate persons who were both named Martin. The Colonel
Martin of Leeds Castle, Kent, whom she mentions was not the same
person as the Colonel Claud Martin whom Zoffany met in India and who
founded ( see p. 104) the Martiniere College in Lucknow.

Mrs. Papendiek is quite in error in saying that the Colonel Martin
who asked the hand of Zoffany’s daughter in marriage, was identical with
the personage who appears in the Cock Match picture.

Here is her account of the second girl’s marriage —

“ Of the two men standing in the foreground of the cock-fight
painting,” she says, “ whose birds are supposed to have been brought
to the cruel sport, one is a portrait of the late Colonel Martin of Leeds
Castle in Kent, who on coming to this country was introduced to the
familv of his friend Zoffany, whose acquaintance he had made in
India. He immediately demanded the hand of Cecilia Zoffany in
marriage, she being then about sixteen or seventeen years old, and
beautiful in the extreme. The Colonel was a fine, handsome-looking
man, amiable and kind-hearted, and of immense property. She,
foolish girl, refused this eligible offer, and he retired to his castle

1 Mrs. Papendiek, I. 315.

2 Ibid. II. 35.

Coll, of Mrs. Everard Hesketh

PORTRAIT OF MRS. ZOFFANY

Photo by M r Hesketh

ZOFFANY, HIS WIFE AND FAMILY

1 3 I

disappointed and mortified . 1 He lived secluded, and at his death
left his riches to a family of the name of Wykeham, strangers to
him, as he had no relatives. His castle became a complete ruin.

“ Cecilia contrived to fall in love with Mr. Thomas Horn of
Chiswick, fearing that her father would marry her to some one she
could not bear, as she termed it. He was an amiable man, but
extremely plain, and not very prepossessing. His habits were
retiring, and he devoted himself to the school which his father kept
at Chiswick with universal honour and credit to himself. Both families
entirely disapproved of the match, but Thomas Horn was flattered
by the preference of the young lady and they were united. Mr.
Zoffany afterwards recommended a general reconciliation on all
sides, to encourage the young people to do well; and at last they
were received by both families. They had a fine family and went
on remarkably well. Zoffany painted a whole-length portrait of
Dr. Horn, the father, in his full canonicals, with spirit, and in
his first style of excellence. It was a capital likeness and was
exhibited . 2

“ The young couple after a time had the school, which they con-
tinued upon the same plan at the Manor House, where all for some
time proceeded well. Eventually, however, one circumstance and
another brought on most unfortunate disputes, and the Horn
family interfering too severely and very injudiciously, Cecilia left her
husband, and they were never again reconciled.”

Whether Mrs. Papendiek, who mixes up names in hopeless confusion,
was correct in the story of the quarrel cannot now be stated, but it is
clear that the daughters inherited something of their father’s hasty and
imperious temper, and that this did not tend towards happiness in the
domestic circle.

Mrs. Papendiek then goes on to speak of the two )^ounger daughters.
One was Claudina Sophia Ann, who married Robert, the fourteenth child
of Samuel Beachcroft, a Governor of the Bank of England, and amongst
her descendants are Mrs. Everard Hesketh, Miss S. J. Beachcroft and
Miss Ellen Beachcroft, to all of whom we are greatly indebted for
information given us in connection with this book and for the loan of
paintings, photographs and documents.

The other daughter, Laura Helen Constantia, who received her last

1 He was then over sixty. He died a bachelor at the age of eighty-eight.

2 Dr. Horne (as the name should be spelled) was, we are informed, Rector of St.
Katharine’s, London Docks, and a rich man. His wife, Mrs. Oldfield says, was “ a
great beauty.”

132

JOHN ZOFFANY, R.A.

name in commemoration of the residence of Colonel Claud Martin in
Lucknow — which was called Constantia — married in 1821 in Chiswick
Church, Lewis Bently Oliver, a physician of Brentford, and it is her
daughter Mrs. Oldfield, Zoffany’s sole surviving grand-daughter, who,
as already stated, has been gracious enough to place at our disposal such
memories as at her advanced age she still possesses, and to lend us
documents, photographs and portraits.

Of these two daughters Mrs. Papendiek, in somewhat harsh manner,
thus speaks —

“ Mrs. Zoffany had two more daughters after Mr. Zoffany’s
return, now Mrs. Beachcroft and Airs. Oliver, and as the}^ grew up
they were injudicious intruders at the Manor House, and it was
principally through the violence of their tempers coming into collision
with the equally bad ones of Mrs. Thomas Horn and of Miss Horn,
that the disputes began which ended in the unhappy way that I have
mentioned. It was never supposed by Cecilia’s friends that she
acted criminally. Indiscreetly, certainly; for as her beauty never
faded with her increasing years, her vanity kept pace with them;
but her unhappiness arose more from her dreadfully passionate
temper than from any other cause. She evinced resentment and
vindictiveness to her husband and her children, who gave him great
trouble.

“ The school diminished, not unnaturally. Thomas Horn, there-
fore, gave it up, and retired to his living, which was in the city of
London. His wife died early.” 1

All the children appear in an interesting group by Zoffany, which
now belongs to Mrs. Everard Hesketh, his great-grand-daughter, and
there is a curious incident in connection with this painting.

Zoffany himself, an old man, is seated in the middle. One daughter is
playing on the harpsichord, and near by is the other, playing on the harp.
The two younger girls are one at each end of the group, but their figures
have never been completed — they are only slightly sketched in, and for some
reason or other Zoffany never finished the picture. In the rear is the
figure of the old nurse, Airs. Ann Chase, a connection of the well-known
raconteur, Air. Chase, whose portrait Zoffany also painted (see p. 76).
In her arms is yet another child, although the painter had but four children
at the time.

1 From Old Krd' we learn that old Mr. Home lived at Manor House Farm and that
the wedding between his son and Zoffany’s daughter took place in June 1799. A
tenement near Kew is still called “ Home’s garden.”

Coll, of Mrs. Everard Hesketh Photo by Mr. Hesketh

ZOFFANY AND HIS CHILDREN

Coll, of the Right Hon. Sir Ronald C. Munro Ferguson

GROUP REPRESENTING WILLIAM FERGUSON, GREAT-GRANDFATHER OF THE OWNER, COMMEMORATING
WITH HIS FRIENDS HIS SUCCESSION TO THE ESTATE OF RAITH IN 1781
Zoffany himself is seated at the extreme right

ZOFFANY, HIS WIFE AND FAMILY 133

It is stated that this is an imaginary portrait of the little boy who
died in infancy, Zoffany having a sort of curious fancy for depicting the
entire family in the group, but another member of the family declares
that it is not so, and that it is the youngest girl, afterwards Mrs. Oliver.
The third girl, who was Mrs. Beachcroft, is by this person stated to
come twice into the painting, once on the left, where she is being repri-
manded for treading on her sister’s dress, and again on the right, where
she is leaving the room, having been dismissed from the apartment in
disgrace, and that Zoffany was so pleased with the composition of the
picture with its five figures, that he left it as it was as a record of the
event. It has certainly never been out of the possession of the family,
nor has it ever been photographed until now. 1

We are disposed, with some diffidence, to suggest that there may yet
be a third manner of explaining this picture. Is it certain, we would
ask, that the lady seated at the harpsichord, who appears to be some-
what matronly in face and figure, is the eldest daughter ? May she not,
conceivably, be Mrs. Zoffany, and in that case the family is complete !
The figure of the old artist himself is wonderfully well painted and a
striking likeness of him.

The same lady also owns a portrait of Mrs. Zoffany, and one of Lady
Doratt, and she possesses the “ Patent of Nobility ” already mentioned
(see p. 57).

As regards family life we have little more to tell.

Mrs. Oldfield reminds us that her grandfather was so much appre-
ciated by George III that she says the royal carriage used often to stop
in Kew, and Zoffany be requested to leave his easel, get into it and drive
with the King for an hour to entertain him, and to tell him all about the
paintings he was then carrying out and the persons who were sitting to
him.

So little however were his sketches appreciated that she remembers
a number of them in her nursery with which she used to play, and with
which she adorned her doll’s house. She also remembers a whole
set of oil-sketches by Sir Joshua Reynolds which Zoffany did not care
for. These were given to her for the same purpose, and very gay they
made the rooms of the doll’s apartments. All have, of course, disappeared
long ago. She still owns a pewter mug which belonged to her grandmother
and was a present to her from the King, and also possesses one of the
four miniatures that Zoffany painted of himself for his four daughters, hers
being the one which belonged to Mrs. Oliver. Furthermore she has in

1 It should be mentioned that the talent for drawing and painting has descended
from Zoffany to his great-grand-children, notably to Miss Zoffany Oldfield, who has
inherited it to a marked degree.

her room a clever representation in colour of the arms granted to Zoffany
by the Empress Maria Theresa, and one of the rare coloured prints of
the artist from the Italian volume of which allusion has been made
(see p. 127).

Her doll’s house was of exceptional importance, finely furnished and
set out, and for its walls Zoffany painted some tiny portraits. It was called
Lilliput Hall, and Zoffany painted its name on the door.

She also remembers her grandfather’s parrot, which belonged also
to her mother, and finally to her, and about which her brother-in-law,
Dr. Horne, wrote some appropriate lines. It died, she says, of extreme
old age and had a tombstone erected to its memory, which Mrs. Oldfield
preserved for many years, but has now lost.

She says that her grandmother, Mrs. Zoffany, made lace of remark-
able beauty, and was an expert needlewoman. For each of her grand-
children she appears to have made a lace cap, and one which she made
is still in Mrs. Oldfield’s possession, and in perfect condition.

Almost the only anecdote that she remembers of her sisters is con-
nected with Mrs. Beachcroft, who, she says, when sitting by the drawing-
room window overlooking the Thames at their house in Strand-on-the-
Green, saw a child fall into the water, when she rushed out, plunged in
as she was, rescued the child, and then strolled indoors to the amazement
of her sisters, to change her sopping clothes.

Of the eldest daughter, Mrs. Doratt (afterwards Lady Doratt), and
whose descendants we have been unable to discover as they settled in
Belgium, we know but little. We learn however from Miss Beachcroft that
she was an accomplished painter of flowers and also a clever guitar-player.

Her tutor for the instrument was one Armand Ciciez, who is said to
have dedicated to his favourite pupil an important piece of guitar-music
which he had composed, and which she, almost alone of his pupils, was
able to render in satisfactory style.

Of Mrs. Bapendiek the family do not speak in agreeable terms.
They say that she was certainly warmly attached to Mrs. Zoffany, but
did not get on at all well with her children, eventually quarrelling with
all of them; and that in consequence many of the bitter things she men-
tions of the daughters were inserted in her diary in pique and are for
the most part untrue. They say that Mrs. Papendiek was an inveterate
gossip and not a satisfactory chronicler, as her memory failed her as to
names and dates, and she confused many incidents together, while when
the book was issued there was no one then living who was in a position
to refute its statements.

Of Zoffany’s last days there is little more to be said. We have only
a few detached facts to chronicle. On February 2, 1792, he acted as a

Coll, of Mr. H. Burton Jones

DRAWING IN RED AND BLACK PENCIL REPRESENTING LORD HEATHFIELD
Signed by Zoffany

ZOFFANY, HIS WIFE AND FAMILY 135

pall-bearer at the funeral of Aiton, the botanist, with Sir J. Banks, Jonas
Dryander, Aiton’s assistant, Pitcairn and others.

There is, also, in the Royal Academy, a letter from Zoffany, dated
April 26, 1792, in which he presents his compliments to Mr. Benjamin
West, and is very sorry that, owing to a previous engagement, he cannot
come to see him.

In 1794 Zoffany served on the Council of the Academy and took
his full share in its duties, and in 1804 he was to have served again but
was “ abroad,” where we do not know, but in any case a journey when
he was eighty-one and partly paralysed and lame was of itself an
accomplishment, especially in those days !

In 1804 or 1805 Zoffany is said to have made a journey to Canterbury,
having been requested by a famous miser, one Betty Bolaine, to paint her
portrait. Whether he ever did so or not cannot be told, for the engraving
representing her bears no artist’s name, and the portrait does not look
like the work of Zoffany, but it is said that Zoffany insisted on being paid
for his journey and trouble, and took up so determined an attitude that
the old woman, who protested she was dreadfully poor (she died worth
.£40,000), at length produced some guineas which Zoffany carried off in
triumph, and boasted to the end of his life that he was the only person who
had ever persuaded Betty Bolaine to part with any of her cherished gold.

Zoffany died on November 11, 1810, 1 and was buried in Kew
Churchyard close to the tomb of Gainsborough.

His tomb can still be seen. It is at the east end of the churchyard,
and is a large, oblong, altar-tomb. The inscription upon one side is as
follows : “ Sacred to the Memory of Johan Zoffanij, Esquire, R.A., who died
November 11, 1810, aged 87 years. 2 His widow caused this tomb to be
erected as a Memorial of her Affection.” On the other side of the tomb
is a memorial to Mrs. Zoffany, this : “ In Memory of Mary Zoffanij,
widow of Johan Zoffanij, R.A., who departed this life, March 30, 1832,
aged 77.”

On the foot of the tomb is a statement referring to the decease of
Laura C. R. Oliver, grand-daughter of Johann Zoffany, who died at the
age of nine months, March 15, 1825, and at the south end is a brief allu-
sion to the fact that there was buried in the same tomb Mrs. Ann Chase,
September 24, 1810, aged eighty-one, the devoted old nurse whose
portrait appears in Mrs. Hesketh’s family group.

1 In the same year died Ozias Humphry, Hoppner, Rigaud and Richards, all
Royal Academicians, and there is said to be no other instance of the death of five
members of the Society in one year.

2 The Gentleman’ s Magazine, in referring to his decease, says, " he was often styled
Sir John Zoffany.”

136

JOHN ZOFFANY, R.A.

Mrs. Zoffany, as the inscription tells us, survived her husband many
years, and Smith thus speaks in his Nollekens and his Times 1 of the old
lady who was evidently a delightful and engaging person.

“ Mr. Nollekens, who had been extremely intimate with Mr.
Zoffany, when approaching his eightieth year, offered his hand to
his widow, who very civilly declined it, prudently observing, ‘ No,
sir, the world would then say she had married him for his
money.’ ”

The old sculptor was, however, much attached to Mrs. Zoffany, and
showed his sense of her character by bequeathing to her a sum of .£300.

Of this Smith says —

“ Mrs. Zoffany, when she found poor Bronze, the servant, had
been set down in his will for only nineteen guineas, very generously
gave Mrs. Holt a guinea for her, long before she received her own
legacy.”

Later investigations have gone to prove that Mrs. Zoffany’s father
was a glover and a member of the Glovers’ Company, in the roll of
which Company the name of Thomas certainly appears. There was also
a John Thomas in the Haberdashers’ Company in 1768, who may,
perchance, have been a relative.

Both Mrs. Zoffany and her daughter, Lady Doratt, who happened to
be with her at the time of her decease, died of cholera, and so great was
the alarm at the outbreak of that disease that almost all the drawings and
pictures that were left in the house were at once destroyed for fear that
they should convey the infection, and in this manner all the rest of
Zoffany’s sketch-books, many portfolios of studies in pencil and oil, most
of his account-books, his diaries and family papers perished.

By his will Zoffany appointed Angelo’s nephew 2 and his friend,
Mr. Dumerque, his executors, 3 and subject to the transference to the
Trustees of his two elder daughters, of the sums he had settled upon them,
he left all his estate to his wife, who was to maintain the two younger girls,
and on her death they were to succeed each of them to £ 2000 in three
per cent, consolidated annuities and a sum of .£300 each in cash, while
all the residue was to be divided equally between the four of them.

1 See p. 41, Lane’s illustrated edit.

2 This Mr. Anthony Angelo Trememando was the “ Captain Angelo of the body-
guard,” whom Zoffany met in India and who was particularly friendly with Warren
Hastings and on intimate terms with Zoffany. Angelo mentions him (II. 82). He
was his younger brother and kept to his original family name of Trememando.

3 Zoffany painted a portrait of Dumerque. It now belongs to Mrs. Crosse.

•• ini

Coll, of Victoria and Albert Museum By the courtesy of Messrs. Seeley Service & Co.
SKETCH IN BLACK CHALK WITH THE FACES IN SANGUINE
REPRESENTING A FATHER AND SON EXAMINING A DRAWING
There are also slight sketches on the reverse. Size r6, K 2 x iijl

ZOFFANY, HIS WIFE AND FAMILY

*37

We give the will in extenso in the Appendix.

Immediately after the artist died, a sale was carried out by Messrs.
Robins at their rooms in the Piazza, Covent Garden, practically in the
very building in which Zoffany had himself resided in his early days.

In the Appendix we give the entire catalogue, but are unable, unfortu-
nately, to mention either the purchasers or the sums realised by the various
lots, as no information of this kind appears on the only copy of the catalogue
which we have chanced to see.

The artist was a profound admirer of Hogarth’s works, and fine
sets of his prints appear in it. There were also a large number of his
sketches and studies sold, 1 and many unfinished paintings, some of which
ought still to be in existence.

The sale, furthermore, included three fine suits of armour and a collec-
tion of Oriental costumes which Zoffany brought back from the East,
with various curiosities, such as weapons, horns, curious shells, a gong,
an ivory carving, a fine copy of the Koran, and there was included in
it an interesting portrait in enamel, by Spicer, of Sir Joshua Reynolds.

Zoffany’s possessions also included a copy, by himself, of the portrait
of Raphael, a painting of the Virgin and Child, which was attributed to
Leonardo da Vinci, and a considerable number of books having reference
to Italian art and literature or to portraiture. Amongst them were a
few volumes that Zoffany had probably brought with him from Germany
w T hen he first came to England from his native land.

Zoffany had one pupil. He may have had others, but one, Henry
Walton, we know he had, as a certain Mr. Ambrose Humphreys is de-
clared to have interested himself in Walton “ and placed him under
Zoffany.”

In 1772 Walton painted a portrait of his patron, Humphreys, repre-
senting him with two lads, W. and J. Mason, to whom he had been
tutor, playing cricket at Harrow, and this work and some others by
Walton, notably those of some young men fishing, and of Rev. C. Tyrrel
under a tree, are very reminiscent of Zoffany, and show clearly from whom
Walton obtained his ideas.

Walton, about whom little is known and whose dates are 1741-1813,
is the subject of an illuminating article in the Connoisseur for November

1 We only know of six genuine drawings by Zoffany. Two, which are really
sketches in oil, are in the Ashmolean Museum. The third, representing two gentle-
men, is in the Victoria and Albert Museum, and appears in these pages. It is also
illustrated in Randall Davies’ English Society of the Eighteenth Century (1907). The
iourth, which came direct from Zoffany’s sale, is in Dr. Williamson’s collection, and
is a drawing of Garrick in pencil and wash. It also is illustrated in these pages.
The fifth is Mr. Lane’s drawing of Zoffany himself, signed and dated. The sixth is
the signed drawing representing Lord Heathiield.

138 JOHN ZOFFANY, R.A.

1909 (p. 139), from which the above facts are taken. He is represented
in the National Gallery.

Whether Philip Wickstead, who calls himself a “ disciple of Zoffany,”
ever actually worked in his studio cannot be told. Probably it was not
so, but that the two men met in Rome or Florence, as they were certainly
in Italy at the same time, and Wickstead was painting portraits somewhat
in the manner of Zoffany in the Eternal City in 1773. There it was, that
he met Beckford, whom he accompanied to Jamaica, where for a while
he practised as a painter, eventually relinquishing the art and going into
business as a planter. Wickstead died in 1790 in the West Indies.

One other person v/e know worked under Zoffany’s tuition.

In Granger’s Biographical History of England 1 is the following state-
ment : ‘‘A genuine picture of her (Mother George) is in the possession
of Mr. George Huddersford, late of New College, Oxford, who, in pursuit
of his genius in painting, is now, or was lately, under the instruction of
Zoffanij, the celebrated Italian painter.” We are indebted to Mr. Grundy
for this reference, but we have not been able to add any information to it.

A somewhat curious instance has come to our notice of the way in
which Zoffany’s portraits were accepted and copied by other artists.
William Chamberlain, who studied under Opie, was instructed by George
III to prepare a State portrait of the King, which the monarch desired
to present to Lord Hotham, and which is still in the possession of the
Hotham family. On examination, it has been found that this picture
is practically identical with one painted by Zoffany, the only difference
being that the face is a little younger in its expression, and that the
monarch is seated at a different table. The pose of the figure, the details
of the uniform, and the drawing of the chair, are absolutely identical
with the Zoffany picture. So exact is the copy, that the sash crosses the
breast at the same place, and shows the same number of buttons above
and below, and all the smaller details of the costume are absolutely copied
from the picture by Zoffany.

The head of the King does not resemble in technique the rest of the
picture, and it would almost seem as though the figure was prepared by
one artist from Zoffany’s painting, and the face painted by some one
else.

1 Second edit., 1775, IV. 218.

Coll, of Uie Garrick Club. 386

SCENE FROM “ MACBETH ” ( ACT II)

GARRICK AS MACBETH, MRS. PRITCHARD AS LADY MACBETH

CHAPTER VIII

GARRICK AND THE THEATRICAL PICTURES

Zoffany has not inaptly been termed by Horace Walpole the
“ historian of the stage of Garrick,” and in a previous chapter we have
referred to the early connection of the painter with the great actor,
which led to the long series of representations of Garrick in his theatrical
impersonations.

There can be no doubt that the picture which laid the foundation
of Zoffany’s fame as a painter of the theatre was his “ David Garrick
as Abel Drugger in Ben Jonson’s play of The Alchymist ,” which was
sent by Zoffany in 1770 to the Royal Academy, and at once achieved a
success.

To the delightful story of its purchase by Sir Joshua Reynolds and
to the manner in which he ceded it to Lord Carlisle we have
already referred.

This important picture is still at Castle Howard and has been
extremely well engraved by John Dixon. Certainly Zoffany has ad-
mirably expressed in it the stupid cunning of Abel Drugger, who is
leering round at Fall and Subtile, while he presses his tobacco into his
pipe bowl with his thumb.

Two of Zoffany’s rough sketches in oil, representing Garrick in the
part of Abel Drugger, done directly from the life, immediately after the
actor’s return from the theatre, are now in the Ashmolean Museum at
Oxford. So few of Zoffany’s sketches are extant that these two have a
special interest. They are said to have been executed in the theatre
itself (see p. 137).

Hogarth, who painted Garrick several times, saw his performance of
“ Abel Drugger,” and was so struck with it that he said to him : “ You are
in your element when you are begrimed with dirt, or up to your elbow
in blood.”

It is impossible to dwell at length on the different presentments of
Garrick by Zoffany. He is known to have painted at least eight portraits
of him, in different characters, and among the best is a scene from the
first act of Bickerstaff’s Love in a Village , which is painted with Zoffany’s

i39

140

JOHN ZOFFANY, R.A.

usual vivacity and skill. The actors depicted are Shuter, Beard and
Dunstall in the characters of Justice Woodcock, Hawthorn and Hodge.
Zoffany, taking a leaf out of Hogarth’s manner, has introduced a picture,
“ The Judgment of Solomon,” into the background.

Another of these clever theatrical scenes is that of Garrick and Mrs.
Cibber in The Farmer's Return. This picture is the one now in the
possession of Lord Durham, and was probably actually painted for
Garrick, as it was purchased at his sale.

The colour-scheme is fine, and, like most of Zoffany’s work, it remains
in perfect preservation and condition. Garrick is in a bluish-grey
costume, and is smoking a pipe. Mrs. Cibber is in green, with a white
apron and fichu. Lord Yarborough possesses another fine version of
this same picture.

Zoffany’s dramatic pictures, apart from their artistic value, have a
great histrionic interest, as they show the general arrangement of the
stage and the costumes of the actors and actresses of the period. Nowhere
is this better demonstrated than in the painter’s picture of the dagger
scene from Macbeth , with Garrick as Macbeth and Mrs. Pritchard as
Lady Macbeth, now at the Garrick Club. To us who are accustomed
to performances of that tragedy, in which the modern stage pays such
scrupulous regard to accuracy of dress, it seems that the costume of
the Thane of Cawdor is singularly inappropriate, but it must be re-
membered that Garrick was only following the fashion of his day and
of his predecessors in arraying Macbeth in the rich gold-laced apparel
of a gentleman of the eighteenth century.

The great actor was especially good in the parts which needed strong
expression, and contemporary eighteenth-century literature is full of
allusions to his wonderful rendering of Macbeth and to that of the peer-
less Mrs. Pritchard. From a pictorial point of view, it is unfortunate
that Garrick’s shortness of stature is accentuated as he stands beside
the imposing actress who is robed in ample satin draperies which, by
the way, Zoffany has painted with even more than his usual skill.

Zoffany depicted Garrick in “ private life ” several times. One of
the best of these portraits is the small sketch in oils, now hanging in the
library of the Garrick Club. Mr. Fitzgerald considers this “ portrait
together with that by Pine, in the drawing-room, about the best records
we have of the great player.” The picture originally belonged to the
actor Baddeley, who is now remembered chiefly by reason of his curious
legacy to Drury Lane Theatre — providing cake and wine for a Twelfth
Night Feast. It represents Garrick in early middle life, full face; he
wears a white wig, the background is unfinished and the coat merely
indicated, but this in no way detracts from the picture which may be

GARRICK AND MRS. PRITCHARD IN MACBETH
See another version of the same picture belonging to the Garrick Club

Coll, of the Garrick Club. 135

PORTRAIT OF DAVID GARRICK (1717-1779)

GARRICK AND THEATRICAL PICTURES 141

described as a brilliant “ impression ” in oils and was most probably
an excellent likeness, for the wonderful eyes with their alert expression
are cleverly painted, and the whole head is alive with character and
expression. It is interesting to compare this forcible sketch with the
finished portrait of the great actor by Sir Joshua, hanging in the dining-
room at the Club. Zoffany’s production stands the ordeal well. Lie
has seized, in a wonderful way, the chief characteristics of Garrick.
Reynolds’ work, though splendid in point of technique, strikes the
spectator as being somewhat stiff and wooden, and lacking in the vivacity
with which Zoffany has, with his forcible brushwork, managed to invest
his canvas.

Mr. Fitzgerald, in his interesting life of Garrick, states that many
of these theatrical impersonations, together with those of Hogarth, were
placed among the pictures and treasures in Garrick’s delightful villa at
Hampton near Chiswick. Perhaps among them was the charming
portrait of Mrs. Garrick, painted in her days of brilliant youth and charm,
holding a mask 1 (see p. 8).

Fortunately for us, Zoffany has chosen to represent Garrick in all
the charm of his vie intime in two other delightful pictures belonging to
Lord Durham. One depicts the great actor and his Violette standing
before the celebrated Shakespeare Temple erected in the grounds of
the villa, while on the steps of the building a child is playing, possibly
one of Garrick’s nephews, to whom he was much attached. A servant
to the right is seen bringing in some light refreshment, while one of the
favourite dogs is in the foreground, and a man stands near the river-

1 The following extract from Christies’ Catalogue of Garrick’s sale, June 23, 1823,
refers to pictures by Zoffany : —

42. Mr. Garrick and Mrs. Cibber in J after and Belvedere {sic). £26 5 s.

(Lambton.) : —

43. Mr. Garrick in The Farmer' s Return (the companion). £33 12s. (Lambton.)

50. A small whole-length portrait of Mr. Garrick in the character of Lord Chalk-

stone. £21 10s. 6 d. (Wansey.)

51. Portrait of Mr. Garrick as Sir John Brute. £12 12 s. (Earl of Essex.)

52. Pair of small views of the villa and grounds of Mr. Garrick at Hampton.

£12 12s. (Smart.)

53. Mr. and Mrs. Garrick and Mr. Bowden taking tea on the lawn of the villa at

Hampton, and Mr. George Garrick angling. £49 js. (Lambton.)

54. Shakespeare’s Temple, and portraits of Mr. and Mrs. Garrick resting on the

steps of the Portico with a Favourite Dog in the foreground, and the view

of a Reach of the River. Companion picture to the preceding one. £28 js.

(Lambton.)

N.B. — It is clear that lots 42, 43, 53 and 54 are the pictures now belonging to Lord
Durham. Lot 50 is probably the one at the Garrick Club. Lot 51 still belongs to
Lord Essex. The pair of views (Lot 52) bought by a certain Mr. Smart, cannot now
be traced.

142

JOHN ZOFFANY, R.A.

bank. This Shakesperian Temple looms large in all the literature and
memoirs of Garrick. It was adorned by a statue by Roubiliac, which
was bequeathed by Garrick to the nation and now stands in the entrance
to the British Museum. Mrs. Delany, 1 in her memoirs, describes, in
her usual vivacious manner, a visit to the Garricks which she and her
devoted friend, the Duchess of Portland, paid in July 1770. She writes
thus —

“ The house is singular, which you know I like, and seems to owe
its prettiness and elegance to Mrs. Garrick’s good taste. On the
whole it has the air of belonging to a genius. We had an excellent
dinner, nicely served, and when over, went directly into the garden,
a piece of irregular ground, sloping down to the Thames, very well
laid out, and planted for shade and shelter with an opening to the
river, which appears beautiful from that spot, and from Shake-
speare’s Temple at the end of the improvements, where we drank
tea, and where there is a very fine statue of Shakespeare, in white
marble, and a great chair, with a large carved frame, that was Shake-
speare’s own chair, made for him on some particular occasion, with
a medallion of him fixed in the back.”

In the other picture Zoffany has depicted for us a “ tea-drinking
party ” in the grounds amid the surroundings so clearly described by
Mrs. Delany. The guest of honour is the great Dr. Johnson, seated
next to Mrs. Garrick, who is apparently about to hand the Doctor one
of his favourite “ dishes of tea.” Another guest is Mr. Bowden, who
stands behind the chair of his hostess, and George Garrick, the actor’s
brother, is seen fishing on the river-bank. A fifth personage, who is
clearly David Garrick himself, stands between Mrs. Garrick and
Bowden holding a cup and saucer, and the group is completed by
the presence of their favourite dogs guarding a three-cornered hat
which lies on the grass. We may wonder whether the great actor
and Dr. Johnson were perhaps discussing those far-off days, when they
journeyed up from Lichfield in the same coach, both penniless and un-
known — or possibly it may have been at this veritable tea-party that the
great moralist, as he gazed around on all the delightful surroundings,
the spacious villa with its wealth of pictures and the charming garden and
grounds, expressed his well-known sentence : “ Ah, David, it is the
leaving of such places that makes a deathbed terrible ”

The landscape in the painting is serene and lovely, perhaps rather
too minute — shall we say pre-Raphaelite, in its details — but suffused

1 Pastoa’s Life of Mrs. Delany, 1900, p. 199.

Coll of the Garrick Club, 23

SCENE FROM “ THE CLANDESTINE MARRIAGE ”

KING AS LORD OGLEBY, MRS. BADDELEY AS FANNY STIRLING, AND BADDEI.EY AS CANTON

Painted by the express command of George III after witnessing Mrs. Baddeley’s performance

GARRICK AND THEATRICAL PICTURES 143

with wonderful light, and the trees in the middle distance and those at
the extreme rear of the picture are remarkably well painted. The hand-
ling of Benjamin Wilson, in part, is rather suggested, but the blending of
the whole picture leads one to expect that Zoffany was responsible for
the whole composition. The willows in the distance and the water,
bespeak the same brushwork and period as in the other picture, but the
St. Bernard dog in the foreground of the Shakespeare Temple picture
is, although finely painted, wholly out of proper proportion, and its extreme
prominence rather spoils the general good effect of that painting.

It is interesting also to note the strong influence of Benjamin Wilson
in Zoffany’s picture of the Garricks before the Shakesperian Temple.
In his conversation group of Mr. and Mrs. Richardson, now hanging in
the National Art Gallery, Dublin, and supposed to be the artist’s master-
piece, this resemblance is very striking. In both pictures the couples
stand in a park-like garden before a classical building, while in each
there is a curious weeping-willow tree which is characteristic. No wonder
that often Wilson’s work is attributed to Zoffany and that so much
confusion exists between the paintings of the two.

To pass to the general theatrical groups, it is well to recall Elorace
Walpole’s dictum, that Zoffany’s talent “ is to draw scenes in comedy,
and there he beats the Flemish painters in their own way of detail,” and
to remember that it requires an artist of exceptional talent in this mktier
to make such works successful, as otherwise they are very apt to look
artificial and to seem but “ shadows of a shade.”

Zoffany’s method of painting his dramatic groups was to frequent
the theatres during the actual performances, and while there to make
sketches from the actors and actresses.

The plays are as dead as the actors, but in the pictures they certainly
live, and Garrick and Foote, Weston, Shuter and Beard, are presented
to us in their very garb and attitude visualised for us as no mere descriptions
could ever do.

To us, of course, these stage-land pictures lose somewhat of their
interest and charm owing to our unfamiliarity with the literature and
the plays from which many of the scenes were painted, but all who are
interested in dramatic art, and in Zoffany in particular, will find in the
Garrick Club a splendid and representative collection of theatrical
pictures, from the earliest period up to modern times, in fitting surround-
ings, and amongst them a notable series by Zoffany which fully displays
his skill in the branch of painting he made so peculiarly his own.

In the dining-room of the Club is, perhaps, the chef-cT ceuwe of all
Zoffany’s theatrical pictures, the scene from the play of the Clandestine
Marriage , with King in the character of Lord Ogleby, Mrs. Baddeley

i 4 4

JOHN ZOFFANY, R.A.

as Fanny Stirling and Baddeley as Canton the valet in the background.
This comedy was written by Garrick and Colman, was first acted in
February 1766 and at once had an enormous success. The collaborators
probably divided the work of writing the play between them. Zoffany
has chosen to depict the scene in the Fourth Act, when the old beau
exclaims : “ O thou admirable creature, command my heart, for it is
vanquished.” The dramatic situation is brought out admirably. Lord
Ogleby, as the old lady killer, is excellent, while Mrs. Baddeley makes a
perfect “ Fanny.”

'The grouping of this work is excellent, the richness of its colouring
and the brilliancy of execution throughout is remarkable, and it remains
in perfect preservation as fresh as if painted yesterday.

This picture was painted by the express command of George III
after witnessing Mrs. Baddeley ’s performance. The actress was honoured
by a message from the King, brought by the Royal page, Mr. Ramus,
desiring her to give sittings “ to Mr. Zoffany, the artist, that her portrait
might be included in the scene from the Clandestme Marriage , he was
about to paint by command of His Majesty.”

Needless to say this incident brought the actress into immediate
fame, her success and her beauty became the talk of the town, but alas !
this brilliant career was not of very long duration, and after many vicissi-
tudes of fortune, the beautiful Mrs. Baddeley died in extreme poverty
at the early age of thirty-six. Earlom scraped a very fine mezzotint of
this picture which is well-known and much prized by collectors.

Zoffany has admirably characterised the figure and gait of the old
beau, and it is interesting to remember, when studying this picture,
that it was upon his excellent acting of “ Lord Ogleby ” that King’s fame
as an actor was established. The artist also painted an excellent small
full-length of the same actor, which is now in the possession of Mr.
Charteris, and this may possibly have been the preliminary study for
King’s figure in the work at the Garrick, although it differs from it in
the attitude of the hands, and in the details of the costume. It repre-
sents the actor standing in a landscape, dressed in a pink costume, with
a three-cornered hat under his arm, the beautiful quality of the painting
fully displaying the artist’s powers, and the delicate colour scheme is
characteristic of Zoffany’s best period.

Another of these dramatic scenes, painted by the express desire of
George III, is the scene from Reynolds’ play Speculation , with Munden
as Project, Quick as Alderman Arable and Lewis as Tanjore. Hazlitt,
in his Calcutta Works } has a story relating to this picture (or, perhaps,
to another version of it). He states that the King “ who was fond of

1 Personal Identity, p. 198 f.n.

Coll, of the Hon. Evan E. Charteris

PORTRAIT OF THOMAS KING (1730-1805)

AS LORD OGLEBY IN “ THE CLANDESTINE MARRIAGE

'/. of the Garrick Club. 104

SCENE FROM “SPECULATION,” COVENT GARDEN, 1795

MUNDEN AS PROJECT, QUICK AS ALDERMAN ARABLE AND LEWIS AS TANJORE

Painted by desire of His Majesty George III.

Quick’s portrait is repeated in the picture behind him

Coll, of the Garrick Club. 120

DAVID ROSS (1728-1790), ACTOR AND MANAGER
AS HAMLET

GARRICK AND THEATRICAL PICTURES 145

low comedy,” commissioned Zoffany to paint a scene from Reynolds’
Speculation , in which Quick, Munden and Miss Wallis were to be intro-
duced. The King called to see it in its progress, and at last it was done
— “ all but the coat.” The picture, however, was not sent, and the
King repeated his visit to the artist. Zoffany with some embarrassment
said : “ It was done all but the goat .” “ Don’t tell me,” said the im-

patient monarch ; “ this is always the way : you said it was done all but
the coat the last time I was here.” “ I said the goat, and please your
Majesty.” “ Aye,” replied the King, “ the goat or the coat, I care not
which you call it. I say I will not have the picture,” and was going to
leave the room, when Zoffany, in an agony, repeated, “ it is the goat
that is not finished,” pointing to a picture of a goat that was hung up in
a frame as an ornament to the scene at the theatre. The King laughed
heartily at the blunder, and waited patiently till the “ goat ” was finished.

The situation portrayed is that in Act IV.

Alderman : “ Oh, you consummate scoundrel, this is your speculation,
is it?”

Tanjore : “ Why, Billy, the tables are turned indeed.”

Project : “ They are, indeed. Did the Alderman hear? ”

Miss Wallis does not come into the Garrick Club version, nor is the
goat to be seen, but Quick’s likeness is repeated in the portrait hanging
on the wall.

Hanging on the staircase-wall of the Club is a scene from the Village
Lawyer with John Bannister as Scout and Parsons as Sheepface. Zoffany
is here seen almost in a Whistlerian mood, for the picture is a harmony
in grey and black, and the whole effect is subtle and distinctive. Unfor-
tunately, its present position is not in the very best light, but the picture
is specially interesting and curiously modern in this subdued colour-
scheme. It also illustrates, in striking manner, the fleeting popularity
of dramatic literature. The play, originally a French farce, was once
popular — who now knows anything of it ? The lawyer in it wins the
case for his client by instructing him to answer “ Ba-a-a ” to every
question, but when he comes to claim his fees, the rustic applies his
same tactics and keeps answering “ Ba-a-a ” to every request for payment. 1

There are several small full-length portraits by Zoffany of actors in
their different impersonations scattered about the rooms of the Club,
but it is impossible to dwell at length on all of them.

Perhaps of special interest, as showing how Hamlet was presented
in the eighteenth century, is the small portrait of the actor Ross as “ The
Prince of Denmark.” Nothing more unlike our ideas of Hamlet can be
imagined. He is depicted as a plump, full-faced, short personage,

1 The Garrick Club, Percy Fitzgerald, p. 146.

146 JOHN ZOFFANY, R.A.

arrayed somewhat like a divine of the Georgian period, a funereal-
looking person, in a suit of black velvet, one of his stockings is carefully
turned down (why — we wonder) and in one hand he holds a book, and
bears no resemblance whatever to the modern stage Hamlet we all
know.

A few of Zoffany’s finest dramatic groups are to be found in private
collections. Lord Lansdowne has the interesting group from the
Merchant of Venice , with the great actor Macklin as Shylock. This
picture is a representation of what was probably Macklin’s last appear-
ance in this, his great part, at the extreme old age of ninety. It is interest-
ing to remember that Pope, after witnessing the great actor’s earlier
performance of this character (which made his reputation) wrote the
lines —

“ This is the Jew that Shakespeare drew ”

and Doran tells us that the poet asked the actor why he dressed Shylock
in a red hat, and that Macklin replied : “It was because he had read in
an old history that the Jews in Venice were obliged by law to wear a
hat of that decided colour,” which was true.

One of the most delightful of these theatrical groups is the
beautiful picture in the possession of the Duke of Buccleuch
and supposed to represent Mrs. Robinson (Perdita), and Sheridan.
Here we see Zoffany in his most Watteau-like mood, the idyllic sur-
roundings, the graceful pose of the figures and the delicate coloration,
showing how entirely the artist sometimes succeeded in breaking away
from that harshness of outline and greyness of colour, which are amongst
the faults of his earlier work, and reveals him as a master of tone, and
delicate subtleties of handling, while he has invested the lady with all
the allure and charm of femininity at its most attractive moment.

Mr. Wallop possesses a fine scene from the first act of Foote’s comedy
of the Mayor of Garratt. Foote is represented in military costume in
his well-known part of Major Sturgeon, while the character of Sir J.
Jollup is taken by the actor Hayes. Zoffany exhibited this picture, or
the similar one belonging to Lord Carlisle, at the Society of Artists in
1764, as we have already mentioned, and both pictures are so fine that
we are convinced that each is an original work, and that Zoffany must
have been instructed to make a replica of his famous painting. Horace
Walpole’s note in the catalogue is interesting ; he says : “ Mr. Foote, in
the character of Major Sturgeon, in the Mayor of Garratt (and Mr.
Baddeley). A very fine likeness, a picture of great humour.” The sage
of Strawberry Hill is probably mistaken as to the identity of Baddeley —
for other authorities are unanimous in ascribing it to Hayes. Zoffany’s

Coll, of Mr. Somerset Maugham

GARRICK AND MRS. CIBBER AS JAFFIER AND BELVEDERA IN

Campbell Gray photo

VENICE PRESERVED”

- .1. •<TX’<'<aS.r Zr , T , ~~

Coll, of the Duke of Buccleuch and Queensberry Campbell Gray photo

GROUP OF TWO PERSONS BELIEVED TO BE SHERIDAN AND MRS. ROBINSON IN A

THEATRICAL SCENE

Coll, of the Marquis of Lansdowne

CHARLES MAC KLIN AS SHYLOCK

HIS LAST APPEARANCE IN THIS CHARACTER AT THE AGE OF NINETY

The figure seated on the extreme left is the Earl of Mansfield

GARRICK AND THEATRICAL PICTURES 147

love of detail is rather quaintly shown in this picture, for the scene is
supposed to take place in the house of Sir Jacob Jollup, and the painter
has placed a row of fire-buckets in the background, on which he has
inscribed the initials J. J., which presumably stand for Sir J. Jollup,
while he has also depicted hanging on the wall, a map of London. 1

There is a mezzotint of this picture engraved by J. Haid which was
published by Boydell in 1765. It is a good impression, but — for the
purposes of engraving — slight artistic liberties have been taken with the
picture. The print has been considerably shortened at both ends so
as to give more concentration to the figures, and the furniture has been
“ moved up ” slightly with a view to this effect.

Mr. Somerset Maugham is the possessor of a remarkably fine scene
from Otway’s Venice Preserved . 2 This play, once so popular, is now
hardly known except to the student of dramatic literature.

Yet in the first act are the well-known and beautiful lines —

“ Oh, woman ! Lovely woman ! Nature made thee
To temper man: we had been brutes without you;

Angels are painted fair, to look like you :

There’s in you all that we believe of Heaven,

Amazing brightness, purity, and truth,

Eternal joy, and everlasting love.”

The scene Zoffany has chosen to depict is the tragic dialogue between
Jaffier (Garrick) and Belvidera (Mrs. Cibber) which takes place in the
fourth act. The situation is indeed tragic for the unfortunate pair — for
when Belvidera was delivered by Jaffier, in pledge of his own good faith,
into the hands of the conspirators, he gave them a dagger, charging
them to despatch her, should he prove traitor ; the Senate, false to their
oath, condemned the rebels to death with torture ; indeed, the latter had
refused to accept their lives with bondage at the hands of the Republic.
Belvidera tells Jaffier this, and then he feels tempted to slay with that

1 The Mayor of Garratt. Garratt is between Wandsworth and Tooting; the first
Mayor of this village was elected towards the close of the eighteenth century ; and his
election came about thus : Garratt Common has been often encroached on . . . and
in 1780 the inhabitants associated themselves together to defend their rights. The
Chairman of this Association was entitled Mayor, and as it happened to be the time
of a general election, the Society made it a law that a new- “ Mayor ” should be chosen
at every general election. The addresses of these mayors, written by Foote, Garrick,
Wilkes and others, are satires on the corruption of electors and political squibs. The
first Mayor of Garratt was “ Sir John Harper, a retailer of brick dust in London, and
the last was ‘ Sir ’ Harry Dimsdale, muffin seller in 1796.” (Brewer, Dictionary of
Phrase and Fable.)

2 “ Hallam remarked that Venice Preserved had been more frequently seen on the
stage than any other play, except those of Shakespeare. He relates that when he
saw it he was affected almost to agony.” (Thomas Otway, Honble. Roden Noel, p 289.)

148 JOHN ZOFFANY, R.A.

very dagger the woman who has incited him to compass the ruin of his
beloved friend.

There is another version of this picture at the Garrick Club (378).

Other notable dramatic pictures painted by Zoffany and to be found in
the famous collection at the Garrick Club, are those illustrating Charles
Bannister; Thomas Weston as Billy Button in the Maid of Bath , one
of his most famous impersonations; Thomas King as Touchstone in
As You Like It ; Thomas Knight in his wonderful representation of
Roger in The Ghost ; and William Parsons as the Old Man in Lethe.

All these we have, by kind permission of the Club, the special privilege
of reproducing in our pages.

That Zoffany’s work as the most skilful painter of dramatic scenes
was well recognised we have evidence in an extract from Mrs. Piozzi’s
Glimpses at Italian Society , where, writing from Genoa she says : “ My
chief amusement at Alexandria was to look out upon the huddled market-
place, as a great dramatic writer of our day has called it; and who could
help longing there for Zoffani’s pencil to paint the lively scene.”

Of Zoffany’s representations of actors and actresses on a large scale,
one of the finest is the full-length portrait of Miss Farren as Hermione
in A Winter's Tale , now in the possession of Sir James Seton Stuart.

Zoffany seems to have painted at least two portraits of Miss Farren
and to have been attracted by her charm and personality to a marked
extent. Mrs. Papendiek has one or two interesting references to these
portraits. Writing in 1790 1 she says —

“ While I was in town this time I called on Sunday after sendee,
with my brother, upon the Zoffanys, who had now established them-
selves in one of the new houses in Keppel Place, Fitzroy Square,
Zoffany having resumed his portrait painting. We found them just
going to dine, and by their desire we remained to partake of their
hospitality. The painting-room did not exhibit a welcome on the
return of the once favourite artist, for not a portrait was there except
one of his old and sincere friend, Miss Farren — a small whole-
length, in a light green satin dress and black velvet Spanish hat
(then the costume for dinner-parties). Zoffany was particularly
great in drapery, both as regards the folds and taste, and in copying
the elegancies of dress ; and this portrait being faultless in these
points, and also an excellent likeness, was a perfect gem.”

Unfortunately the painting alluded to in this extract seems to have
disappeared. The writer then goes on to say that she told Zoffany

1 Memoirs, p. 125.

Coll, of the Garrick Club. 44 7

CHARLES BANNISTER (1738-1804), ACTOR AND SINGER

FATHER OF JACK BANNISTER

Coll, of the Garrick Club. 475

WILLIAM PARSONS
(1736-1795)

AS OLD MAN IN “ LETHE

Coll, of the Garrick Club, ioi

THOMAS WESTON (i737-i776), COMEDIAN

AS BILLY BUTTON IN

THE MAID OF BATH

Coll, of the Marquis of Lansdowne

PORTRAIT OF MRS. SALUSBURY

MOTHER OF MRS. PIOZZI

(See Hayward’s Autobiography of Mrs. Piozzi (I. 219) and Mrs. Piozzi’s Letter of Requests, Oct. 18, 1819.)

GARRICK AND THEATRICAL PICTURES 149

of Lawrence’s portrait of Miss Farren and that he intended to exhibit it,
upon which Zoffany replied : “ I shall go and look at it, and if I think
that by exhibiting it he will gain credit to himself, I will keep mine back,
for a young man must be encouraged.”

Mrs. Papendiek 1 afterwards relates how she called upon the
Lawrences and saw there the beautiful and well-known full-length portrait
of Miss Farren by the painter. 2 In her own words —

“ Such a likeness, such an exquisite portrait riveted me to the
spot. I said : ‘ Zoffany yields the palm to you, and does not mean
to exhibit his gem,’ when Lawrence answered that he had been
kind, and he considered himself obliged to him.” “ He then told
me,” continues Mrs. Papendiek, “ that he was in a dilemma, which he
proceeded to explain to me. Two gentlemen, who had called to
see his pictures, were so struck with this portrait of Miss Farren
when only the head was done, that they offered him a hundred
guineas for it, with permission to exhibit it. He answered that
Lord Derby having seen it just before, was so pleased with it that
he at once said he would purchase it for sixty guineas, the price
Lawrence put upon it. Lord Derby called often, being interested
in the progress of the picture, and Lawrence told him of the offer
made by these gentlemen. Lord Derby could only say that he
was prepared to keep his agreement — Mr. Lawrence could do as
he thought proper.

“ The mother was of my opinion, that an agreement ought to
be adhered to, the father rather hankered after the additional sum
offered; the friends of Lawrence advised him to take the first line
of conduct, which he eventually did. The portrait was admirable.
It brought him great fame, but the cavil about the price did not
add to his credit and my Lord Derby never employed him after.”

Further on Mrs. Papendiek states —

“ Zoffany the following year painted another full-length portrait
of this enchanting actress leaning against a pedestal in theatrical
costume, which was most beautiful. The expression of her counte-
nance and the penetrating look of her lively eyes, was fully as well
portrayed as by Lawrence, or even more so ! ”

It seems probable that here Mrs. Papendiek is, according to her very
unfortunate habit, confusing her dates. The picture to which she

1 Memoirs, p. 198.

2 Now in the possession of Mr. J. P. Morgan.

seems to be alluding is apparently that of Miss Farren as Hermione
in A Winter's Tale , for the description fits it exactly. This portrait
was, however, painted some years earlier, for we know that in
December 1778 the actress appeared at Drury Lane in the part of Her-
mione. Zoffany painted her in that character, his picture was not
exhibited but mezzotinted by Fisher and the print published in July
1781. An interesting anecdote is attached to this very picture. The
beautiful actress was wooed by both Lord Derby and Mr. Archibald
Seton. As is well known she chose the former suitor— and the tradition
is that she sent the full-length portrait by Zoffany of herself to the un-
successful wooer, Mr. Archibald Seton, of Touch, near Stirling. This
gentleman never married, but the portrait is still at Touch in the possession
of Sir James Seton Steuart. It must be ranked as one of the best of
Zoffany’s full-length portraits, which are, by the way, very rare, and is a
good example of his work on a grandiose scale.

Coll, of Sir Douglas A . Seton-Sieuart , Bari.

PORTRAIT OF MISS FARREN, AFTERWARDS COUNTESS OF DERBY

ENGRAVED IN MEZZOTINT BY FISHER

CHAPTER IX

CONVERSATION GROUPS

Zoffany’s chief claim to immortality, as a painter, must certainly
rest on his conversation groups or “ conversation pieces ” as they were
called in the eighteenth century. His reputation as an artist has suffered
woefully by reason of the many badly-drawn, badly-composed and stiff
little pictures which have frequently, without any reason, been assigned
to him. So little is known of the work of contemporary artists of that
date that the name of Zoffany has been labelled on many paintings that
have no connection at all with our artist. As an example, the works of
Arthur Devis, senior, whose pictures have a certain naive charm and
whose groups bear a resemblance to the earlier and stiffer work of Zoffany,
often bear Zoffany’s name, although they certainly do not possess his
dexterity of handling. That attractive and little-known painter, Charles
Philips, also painted pleasing conversation groups, and it is possible that
some groups attributed by their owners to Zoffany are in reality his work.
The same thing may be said of paintings by De Wilde, Clint, Mortimer,
and even Rigaud, as Zoffany’s name has been found attached to portraits
or groups by all of them. Zoffany, it may here be stated, like Reynolds,
frequently placed a tree as a background to his figures, while in his interiors
of rooms he was especially fond of a small round table as an “ artistic ”
property and of an oriental table-cover, and his pictures not only repre-
sent the persons, but also give us an excellent idea of the beautiful Georgian
furniture in the homes of that date . 1

The work of tracing these conversation pieces by Zoffany has not
been an easy one, for the majority of them are scattered in the smaller
English and Scottish country-houses, where in many cases they have
remained perdu to the world since they were first painted.

Lord Bristol, at Ickworth, possesses a large and important group in

1 Randall Davies in his English Society of the Eighteenth Century in Contemporary
Art, says of Zoffany’s groups : “ His people occupy the room they happen to be in
with precisely the air of being discovered there without knowing it, and consequently
without any appearance of having been arranged into a lively but artificial group as
we have seen in the work of Hogarth and Copley.”

I5i

J 52

JOHN ZOFFANY, R.A.

what may be described as the artist’s earlier manner. It represents
Captain John Augustus Hervey taking leave of his mother and family
on his appointment to the command of a ship. As the personages depicted
in this work all figure more or less prominently in the eighteenth-century
world, a detailed description of it may be of interest here. The
gallant Commander had a somewhat chequered career, as early in life
he had the misfortune to marry the notorious Miss Elizabeth Chudleigh.
The result of this union was disastrous. His wife eventually became
Duchess of Kingston, and her trial for bigamy was one of the eighteenth-
century causes ceUbres of the day. Hervey became third Earl of Bristol,
but did not again venture into matrimonial toils. On the extreme right
of the picture is his mother, Lady Hervey, who before her marriage was
so well known as the beautiful Polly Lepel, maid-of-honour to Queen
Caroline. Pope and Grey wrote poems to her, and Voltaire addressed
to her the only English verses he is known to have written, beginning
with the lines

“ Hervey, would you know the passion,

You have kindled in my breast,”

while Horace Walpole always spoke of her with high esteem, and in
1762 dedicated to her his famous work, Anecdotes of Painting in
England. Zoffany has depicted her tatting, a typical eighteenth-century
employment, in one hand holding the shuttle. She seems to bear her
son’s imminent departure with great composure. Opposite to her are
her two daughters, Lady Mulgrave and Lady Mary Fitzgerald, with their
respective husbands. Zoffany’s colouring in this delightful picture is
especially fine — and he has devoted particular attention to the rendering
of the beautiful textures of the satins and fine clothes worn by his sitters.
As already mentioned, he painted another portrait of Lord Mulgrave —
a full-length in naval uniform — representing him in the Arctic regions
on his expedition to the North Pole, which is now in the National Portrait
Gallery. Lord Bristol also possesses a very fine series of single family
portraits by Zoffany, which are described in another chapter.

Another pleasing conversation group is that belonging to the late
Sir Henry Bulwer, representing Dibdin, the popular song-writer, with
his second wife and daughter. He is depicted seated at a spinet and has
apparently been writing a song with music, as he has a pen and paper
in his hand. His wife appears to be asking him to go for a walk, because
she holds his hat in her hand.

Zoffany was very fond of children, and painted their portraits with
great charm and skill. Some, indeed, of his pictures of these little
eighteenth-century folk with their prim airs, rank amongst his most agree-
able works. One of the pleasantest is the fine work at Rockingham

oil. of the Marquis of Bristol

GROUP REPRESENTING CAPT. JOHN AUGUSTUS HERVEY TAKING LEAVE OF THE FAMILY ON HIS APPOINTMENT

TO THE COMMAND OF A SHIP

Coll, of the family of the late Sir Henry Bulicer

GROUP REPRESENTING CHARLES DIBDIN (1745-1814) WITH HIS SECOND WIFE AND DAUGHTER
He is seated at a spinet, upon which he is stated, to have accompanied Miss Buckley, in a performance, of “ The Beggar’s Opera,” May 16, 1767

\Coll. of the Rev. Wentworth Watson

GROUP REPRESENTING THE THREE CHILDREN OF THE FIRST LORD SONDES, ONE BEING THE GRANDFATHER

OF THE PRESENT OWNER

Coll, of Lord Willoughby de Broke

GROUP REPRESENTING JOHN, 14m LORD WILLOUGHBY, WITH HIS WIFE AND THEIR THREE CHILDREN

JOHN: AFTERWARDS 15th LORD, L.ENRV, l6th LORD, AND LOUISA (MRS. BARNARD), WHO BECAME MOTHER OF ROBERT JOHN, 17th LORD

CONVERSATION GROUPS

153

Castle, representing the Sondes children. They are depicted playing
under a big tree — one boy holding a cricket-bat of old-fashioned shape
in one hand and a cricket-ball in the other, the second by a squirrel,
which the youngest is feeding with nuts. This is a typical Zoffany in the
arrangement of the group and with the tree in the background, and the
quality of the painting is very good throughout.

Another of these children and family groups is that already referred
to at Blair Atholl, representing John, third Duke, his Duchess, and their
numerous family. The Duke is dressed in blue, holding a fishing-rod,
beside him stands his eldest son, Lord Tullibardine, in grey with a prim-
rose-coloured waistcoat — he holds a fish in one hand and a fly in the other.
The Duchess is a charming figure — dressed in the elaborate apricot satin
gown of the day with a lace fichu, so beloved by the painter — -and a
lace cap, and she holds a baby on her knee. Her eldest daughter, Lady
Charlotte Murray stands near her wearing a yellow dress with a lace
pinafore and holding a small wreath of flowers, and around the Duchess
play the three younger children. Just behind the group is a large apple-
tree in whose branches sits the young Lord James and a tame Racoon,
with which he is playing. In this delightful canvas Zoffany seems quite
to have broken away from the stiffness and hardness of his earlier work.
There is a feeling of gaiety and charm throughout, and it is typical of the
artist’s work at his best “ Watteau ” period. This is the picture with
the landscape background, which was, we believe, the work of Stewart
(see p. 15).

Perhaps the finest of these groups with children is the beautiful one
representing John, Lord Willoughby de Broke, with his wife and their
three children. In this picture Zoffany seems to have grasped the charm
of English domestic life in unique fashion. Nothing can be more natural
than the figure of the father with an admonishing finger held up to the
small child who is standing to the left of the tea-table and is surreptitiously
helping herself to buttered toast, or the third child on the right dragging
a red wooden horse on wheels. In this masterpiece Zoffany is at his
very best, also, in the exquisite finish of the still life, of the tea equipage.
The silver urn in the picture is still preserved at Compton Verney.

Lord Willoughby is represented in a brown coat and red waistcoat,
and Lady Willoughby wears a blue silk dress which Zoffany has painted
with consummate skill. By many critics this picture is considered the
artist’s chef -d' oeuvre ; the quality of the painting is wonderfully good
throughout, the composition is also excellent; and, most important of all,
there is life and action in the figures — the sitters seem actually alive, not
merely posing.

In the charming “ conversation piece ” belonging to Mr. William

154

JOHN ZOFFANY, R.A.

Asch the large family are treated with equal vivacity and skill — the five
children and the little black page realistically painted — and this picture
also must rank as one of Zoffany’s happiest achievements. 1

Another charming group is that which he exhibited in 1764 and which
now belongs to the Hon. Mrs. Goldman. Here the artist has managed to
convey the feeling of air, space, atmosphere and movement to a wonderful
extent. The kite with which the boy is playing actually seems to flutter
in the air, and the action of the child is natural and vivacious.

Still more remarkable is the Dutton group depicting Mr. and Mrs.
Dutton with their son James, afterwards first Lord Sherborne, who
married Miss Coke, and their daughter, Jane, who married Thomas
Coke of Holkham, afterwards Earl of Leicester. The father and daughter
are playing cards, Mr. Dutton hesitating which card to play, and at the
moment consulting his wife, who puts down the book she is reading and
turns towards him. The son is leaning on the table, perhaps giving his
sister some advice in the same difficulty, but he is not taking very keen
interest in the game, and Miss Dutton, quiet, composed, dignified and
alert, is awaiting her father’s play with some impatience. Here, again,
as in the Willoughby de Broke picture, all the accessories are finely rendered.
The mantelpiece with its vases upon it, the pole screen, the mirror,
the card-table, the pictures on the wall, all are painted with consummate
skill and dexterity, and yet never once has the painter permitted them to
usurp more than their proper position in the picture.

It has been stated in a recent book that a companion picture was
painted by Zoffany representing the same family depicted reading the
Bible, but this is apparently not the case, and it is not easy to account
for the story having got into print. Perhaps Mrs. Dutton’s book was
the Bible and she resented her husband’s and daughter’s play, and did
not wish to be disturbed in her reading. This may have started the
story, but it is practically certain that the companion picture was never
painted.

A fine mantelpiece such as we see in this Dutton group also appears
in a conversation group belonging to Mrs. Smart, and in this case the
pair of black basalt vases of Wedgwood ware which Zoffany shows us
upon it and also the centre-piece still remain in the possession of the
family. These groups were, it is evident, in most instances painted by
the artist in the actual room in which his sitters lived, and Zoffany delighted
to render the fittings and treasures in the rooms with the utmost skill,
and so added to the charm of the painting, and in our day very greatly
to its interest. The Smart group, which depicts Mr. and Mrs. Hodgson
and their family, was probably painted at Bowles, Chigwell, Essex. Mr.

1 See a suggestion concerning the identity of the persons on p. 107.

Coll, oj tin : Hon. Frederic Wallop

GROUP OF MR. AND MRS. PALMER AND THEIR DAUGHTER. AFTERWARDS
MRS. LANDON OF DORNEY COURT, BUCKS

Coll, o/ Laura, Lady Simeon

GROUP REPRESENTING TWO MEN PLAYING CARDS
One is believed to be Mr. John Simeon and the other, in uniform, his brother-in-law, Col. Cornwall The room was either
at 60 Queen Anne Street or at Walliscote, near Reading

Coll, o f Lord Sherborne

THE DUTTON FAMILY GROUP

REPRESENTING MR. AND MRS. DUTTON, THEIR SON JAMES, ISt LORD SHERBORNE, AND THEIR DAUGHTER JANE, WHO MARRIED
THOMAS COKE OF HOLKHAM, AFTERWARDS EARL OF LEICESTER

CONVERSATION GROUPS

J 55

Hodgson was a Commissioner for the Relief of American prisoners, and
holds in his hand a paper so inscribed.

Another card-playing picture is the Simeon group, and here two men
only are represented. Mr. John Simeon in a plum-coloured suit, and
his brother-in-law, Colonel Cornwall, in uniform. It is not certain where
this picture was painted. The room may have been one of those at
60 Queen Anne Street, London, or a room in the country home Wallis-
cote, near Reading. Here, again, there is a fine mantelpiece, and an
exquisite cut-glass lustre upon it fitted for candles, with the glittering
pendants and fine metal-work painted with most loving care, while, as
usual, the card-table, the chairs and the costumes of the two players have
received the same neat discriminating attention.

Just as delightful is Mr. Wallop’s charming group of Mr. and Mrs.
Palmer and their daughter, afterwards Mrs. Landon of Dorney Court,
Bucks. The familiar round table is again before us, its gleaming maho-
gany, painted with great skill. All three persons are seated at it, Miss
Palmer receiving a drawing-lesson from her father, Mrs. Palmer in a
blue silk dress busily engaged in needlework. Nothing can well be less
exciting, and at the same time nothing more delightful, more intimate
or more true.

Zoffany certainly had a wonderful skill with these family groups.

To the Bradney picture we have already made brief allusion.
It deserves, however, more attention. Sir John Hopkins, the great-
grandfather of the present owner, is the chief personage in it, and with
him is his wife, his two sons, his three daughters and a friend, Dr. Bout-
flower. There is the customary round table, and as in the Willoughby
de Broke picture and many others, the tea-things spread out upon it.
One daughter is at the harpsichord, another turning over the music, the
elder son stands near to the elegant mantelpiece, one sister by him and
another near to her mother. It is just a family scene, quiet, simple and
without pose, a charming pictorial record.

Another notable group is that which is now in New York, belonging
to the Ehrich Gallery, and setting forth the Hunt Breakfast at Mr.
Palmer’s house, Holme Park, near Reading. Here, again, Zoffany has
had every chance with the accessories of still-life. The white table-cloth,
the silver urn and teapot and the fine porcelain cups and saucers, have
been painted with his usual neatness and dexterity. The group is a
little straggling in line, as the various sportsmen all stand or sit near to
the wall, but their attitudes are simple and natural, and the portrait
group is rendered delightful in colour-scheme, by the gay clothing of
the gentlemen. All their names have been preserved, and from left to
right we have the Duke of Grafton, Sir Richard Aldworth, Mr. Robert

156 JOHN ZOFFANY, R.A.

Palmer, in whose house they are all meeting; his son-in-law, Sir Thomas
Beauchamp Proctor; another son-in-law, Mr. Francis Pym; a third
son-in-law, Mr. George Beauchamp Proctor (Sir Thomas’s brother);
and, finally, the Duke of Bedford, while we must not forget Mr. Palmer’s
favourite dog Tiny, who is perched up on one of the chairs between Sir
Thomas Proctor and his brother-in-law, Mr. Pym.

The Ehrich Gallery used to possess another group of sportsmen by
Zoffany. It now belongs to Mrs. Payne Whitney. The picture at one
time was in the possession of Sir William Bass, and five sportsmen are
presented in it. From left to right we have Edmund, Earl of Cork, Mr.
Bingham, the Rev. Charles Digby, Colonel Cox and the Rev. Mr.
Hume with three hounds. Lord Cork leans over a seat on which Mr.
Bingham is lolling. Mr. Digby and Colonel Cox are near by, while
Mr. Hume approaches the group holding out his hand to one of the dogs.
The landscape in the distance is not like the work of Zoffany. It may
have been painted by one of his friends, like that in the Atholl group, but
the portraiture is admirable, and the stone group under the tree by which
they all stand cleverly rendered.

Another group of sporting men offers some resemblance to those
just described. This is the Roundell group, now hanging at Gledstone,
representing Richard Roundell and his three youthful friends in a stone
summerhouse, in a garden, on the banks of the Isis, with a view of
Oxford in the distance. They were all four Gentlemen Commoners of
Christchurch, and, taking advantage of a visit paid by Zoffany to Oxford,
were depicted in a group about a round table on which stand a bottle and
some glasses. There is plenty of colour in this picture, as Mr. Hawkes-
worth (afterwards Fawkes) is in a red coat with white breeches, Mr.
Dashwood (afterwards Sir Henry) in a blue coat, Mr. Noel (afterwards
Lord Wentworth) in grey with a claret-coloured gown thrown over it,
and the host in buff with red breeches, but also wearing a claret-coloured
gown trimmed with fur. The whole effect is charming.

Another delightful interior is the one belonging to Lord Zetland.
In this case the very room that is represented still exists in Arlington
Street, and the chairs, bronze ornament on the mantelpiece and picture
by Van Der Capelle over the mantelshelf are still cherished possessions
of the family.

Fishing rather appealed to Zoffany as a suitable employment to be
represented in pictorial form. Perhaps the very necessity for a fisher-
man to keep still was a reason for selecting that attitude when a portrait
was desired. Whatever may have been the reason, it is characteristic of
Zoffany’s groups that there are several in which the characters are shown
similarly engaged. We have already seen it in the Blair Atholl picture,

Coll, of Messrs. Elirich Brothers Ehrich Gallery photo

GROUP REPRESENTING A HUNT BREAKFAST AT HOLME PARK, BERKS
From left to right the persons are: The Duke of Grafton; Sir Richard Aldworth of Stanlake Park; Mr. Robert Palmer, M.P. of Holme Park; Sir Thomas
Beauchamp-Proctor of Langley Park ; Mr. Palmer’s dog Tiny ; Mr. Francis Pym, M.P. ; Mr. George Beauchamp-Proctor, and the Duke of Bedford.

Ehrich Gallery photo

Coll, of Mrs. Payne Whitney, New York

GROUP OF SPORTING GENTLEMEN

EDMUND EARL OF CORK, MR. BINGHAM, REV. CHARLES DIGBY, COL. COX, AND REV. MR. HUME

At one time in the collection of Sir William Bass

T i \ '3i

\ 'Swap®

L \

IB ’

M : 1

Ml & MRS. BURKE OF CARSHALTON
llV l ZOPRANY, H.A.

n I <•’ possession of Mrs. Spencer Percival

Coll, of the Marquis of Zetlatid

GROUP REPRESENTING LAURENCE, 1ST EARL OF ZETLAND, THE GRANDFATHER OF THE PRESENT LORD ZETLAND,
THE BOY IN THE FIGURE, WITH SIR LAURENCE DUNDAS, BART., HIS GRANDFATHER

CONVERSATION GROUPS

157

and we have alluded to it in the portrait of the Sayer boy, who appears
in the well-known engraving published by his father as in the act of
fishing.

The same incident appears in the group belonging to Mrs. Spencer
Perceval, a delightful composition. Here we have Mr. and Mrs. John
Burke, with their son and daughter, and Zoffany the artist forming one
of the family. One girl holds a fishing-rod and her brother has his foot
on a basket which contains fish. Mr. Burke is reading the newspaper,
his wife standing near him and resting her hand on his shoulder, while
Zoffany, holding a silver snuff-box (exquisitely painted, by the way),
has gathered up in his arms the youngest and favourite child, who was,
if tradition tells a true story, also his god-daughter.

The children are painted with much charm and sympathy, their
expression and attitudes being easy and unconscious. In grouping the
figures of this picture Zoffany has departed from the conventional pyra-
midal arrangement, and by so doing has made his composition more
natural and unstudied, so that the spectator feels that the family, instead
of being formally posed, has been caught unawares without that stiffness
which sometimes characterises a portrait group.

Yet another fishing group is the one representing Mr. John Yorke
and Colonel Coore, now belonging to Mr. T. E. Yorke. His ancestor is
seated holding a book, but the friend has just landed a fish which he is
in the act of taking off the hook. The colouring of this picture is delight-
ful, the scarlet coat with green facings, and Mr. Yorke’s brown suit being
well set off against the stones and trees in the distance.

Children, again, are charmingly represented in Lady Melville’s group,
although in this case they are not playing but studying. The scene is
set in a library, and the bookcases and the globe that one sees in the
picture are still in the possession of the family. The elder girl Elizabeth
stands by the globe pointing out some place upon it, a younger one holds
a map of Europe in her hand, and the third is seated at a desk copying
a map when their brother suddenly disturbing the geography lesson comes
marching into the room carrying a satchel and some books, and upon
one of them the painter has inscribed the words “ Robert Dundas, his
book.”

Probably this group was painted in Scotland, for to that country
Zoffany certainly went at one time in his later career.

Of that we have evidence in the Raith collection, for Sir R. C. Munro
Ferguson, K.C.M.G., still possesses the famous group Zoffany painted
to commemorate the coming of age of William Ferguson, his great-grand-
father, in 1781. It may be of interest, if, before describing the picture,
we say something of William Ferguson himself. He was William Berry,

158 JOHN ZOFFANY, R.A.

and had a brother, Robert, the father of Mary and Agnes Berry, Walpole’s
two interesting friends. The mother of these two brothers was a sister
of Robert Ferguson, a Scottish merchant in Broad Street, Austin Friars,
who made a fortune of about £300,000, and in 1725 bought Raith from
the Melville family. Robert Berry, who married a distant cousin of his
own, was in the counting-house of his uncle; at whose death, however,
he found himself passed over (save for £10,000, a small annual income of
£300 a year, and the dingy old residence in Austin Friars) in favour of
his brother William, who had married an heiress, a daughter of Ronald
Craufurd of Restalrig, and now assumed by royal licence the surname
and arms of Ferguson. According to Mary Berry, her father was
“ choused” out of his inheritance. 1 This was in 1781, when she was
eighteen, and some years before she and her sister made the acquaintance
of Horace Walpole (then over seventy), who secured a house for them as
is well known at Teddington. Two years later the}^ settled down at
Little Strawberry Hill (earlier known as Clivedon), where Kitty Clive
lived, so that the old beau, now Earl of Orford, could enjoy their
society “ without the ridicule or the trouble of a marriage,” to use a
phrase of Mary’s. The uncle had died in 1781, but soon after that, as
we have seen, Zoffany went to India, and it was certainly after 1790 that
Zoffany must have made the journey to Scotland. The landscape depicts
the scenery about Raith, the tree can, it is said, be still pointed out, and
the wine-cooler, which appears in the foreground of the painting, is still
in the house, and according to tradition has never left it.

Who the men are, cannot now be stated, save with three exceptions.
Ferguson himself has been identified and one friend, a Mr. Adam of Blair
Adam (probably John, eldest brother of the more famous William), and the
painter himself, who is fittingly in the background and does not look
particularly happy, as though the letter he holds in his hand had conveyed
bad news to him, or at all events news that was unwelcome at the time.
The round table is, of course, introduced, and upon it — as in the Roundell
group — are glasses and a bottle. The portraits are excellent, no better
group did the painter ever execute. It is full of movement and vivacity
as befitting such a happy occasion, Zoffany’s own countenance the only
depressing one in the partv, and, thanks to the rich variety of the costumes,
the colour-scheme is like the rest of the picture — delightful.

In the same house are other portraits by Zoffanv, probably painted at
the same time, and representing Lady Dumfries ; Mrs. Ferguson and Mrs.
Fullerton together seated at a spinet ; and one supposed to represent
Admiral Forbes, so that Zoffany, it is evident, had plenty of work to do
whilst there.

1 William, however, settled on Robert a sum to make his annuity up to £1000 a year.

•' STER JAMES SAYER, AT THE AGE OF 13

l! J. ZOFFANY, R.A.

IV he possession of Lady Sayer

Coll, oj Mr 7 v. Oswald

PORTRAIT OF MRS. OSWALD OF AUCHINCRUVE
[Circa 1770)

Full length

Coll, of the Rt. Honble. Sir Ronald C. Munro- Ferguson

GROUP REPRESENTING MARY AND AGNES BERRY AS YOUNG GIRLS

Coll, of Miss Alice dc Rothschild Havfslangl photo

GROUP REPRESENTING SIR JAMES COCKBURN, 6tii BARONET, AND HIS DAUGHTER
At one time in the National Gallery, but invalidly bequeathed and ceded to the Cockburn Family

CONVERSATION GROUPS

*59

Probably the portrait of Sir James Cockburn, the sixth Baronet, and
his daughter, belongs to the same visit. It was at one time in the National
Gallery, but having been bequeathed to it by an invalid will, had, in 1892,
to be ceded to the Cockburn family, and now belongs to Miss Alice
de Rothschild, who also owns Zoffany’s portrait of the Duke of Dorset.

We surmise that at this same time Zoffany also painted the full-length
portrait of Mrs. Oswald, as James Townsend Oswald, Auditor of the
Exchequer, in Scotland, son of a prominent politician, and father of a
distinguished soldier, lived in the same shire and not far off from Raith.

Moreover, the elder Ferguson and Oswald’s father had married sisters,
daughters of Joseph Townsend, M.P. for Westbury, Wiltshire. The
elder sister married Robert Ferguson, the younger, James Oswald (1715-
1769). Both men were educated at Kirkcaldy Grammar School, where
they made one another’s acquaintance. James Oswald was eventually
M.P. for the Kirkcaldy Burghs,

Of this fine painting — one of Zoffany’s very few full-lengths — it is
said in the family that the artist endeavoured to introduce a portrait of
Mr. Oswald on to the same canvas as that on which he was painting his
wife, but that Mr. Oswald objected to it, and eventually made Zoffany
cover his image with a cloud. Mrs. Oswald died in London in 1780,
and her body was brought down and buried in the family vault at Auchin-
cruive in Scotland. Robert Burns, we are told, finding the poor lady’s
funeral retinue in the public house he was in the habit of frequenting,
vented his indignation and spleen by writing a scurrilous poem, entitled,
“ Dweller in yon Dungeon Dark,” in which he abused Mrs. Oswald to
his heart’s content, in spite of the fact that she was a most estimable
lady. Mrs. Oswald in this picture wears a blue silk dress of much the
same colour as Lady Willoughby de Broke in the beautiful picture
already described.

It seems to be possible that the reason Zoffany was invited to Raith
is because years before he had painted a portrait group of Mary and
Agnes Berry when quite young girls. This may have been done when
they were in Florence or by Zoffany soon after his return from Italy,
say, perhaps, in 1779 or 1780, and possibly when they and Zoffany were
near neighbours, for, as we have seen, Zoffany had a residence in Chiswick
and the Berrys lived with their grandmother, Mrs. Seton, in the College
House in that place. The two girls are playing with a large black-and-
white retriever dog, and their expressions are arch and piquant, full of
the enjoyment of life, and just what we should expect in the countenances
of two sisters who were to have such an amusing and delightful time in
old age, and were to be so much beloved by all about them.

Yet other important groups must not fail to be mentioned.

i6o

JOHN ZOFFANY, R.A.

In Miss Boothby’s possession is the famous one in which the Duke
of York appears seated in the midst of the picture with several of his
boon companions. Harry St. John, Sir William Boothby, Lord Lucan,
Topham Beauclerk and others, all grouped under a tree as usual and about
a fine classic stone urn. Here, again, is a fine group of portraits, delightful
colouring and every evidence of life and vivacity. This was perhaps
painted in Florence ( see p. 53).

Then there is the curious Sayer group representing three generations
of the family, old Mr. Sayer, his son and daughter, and their infant child,
and Mr. Sayer’s sister, Madame de Pougens. A tree shelters them all
as usual, and in the distance is to be seen part of the family estate and
its gardens.

The two groups of the Cocks family must not be overlooked. In
one they are depicted out of doors and seated on a block of stone, and in
the other, represented in the room in their own home, and which
apparently just at that moment they had entered.

Special allusion must be made to these two fine groups of the
sons of Thomas Somers Cocks the banker, because they bear upon them
the words “ Zoffany pictor,” a most unusual circumstance, and one
which makes the paintings more than usually important.

Another quite charming group is the Hussey one, said to have been
painted at Wargrave Hill House, and now belonging to Mr. Robert Marshall.
There are just the father, mother and daughter, and the child, holding
a rose, is advancing towards her parents with graceful attitude and mien.
It is in what we have ventured to call the painter’s Watteau-like manner,
and a peculiarly pleasant example of Zoffany’s later work.

It seems possible that Zoffany commenced at one time early in his
career a group of the Royal children, which he never completed. Elmes
tells a story about it, but no such group containing fifteen children or
even one of ten can now be traced. Elmes says that

“ when Zoffany began the picture of the Royal family there were
ten children. He made his sketch accordingly, and attending two
or three times, went on finishing the figures. Various circumstances
prevented him from proceeding — His Majesty was engaged in
business of more consequence, Her Majesty was engaged, some
of the Princesses were engaged, and some of the Princes were unwell.
The completion of the picture was consequently delayed, when a
messenger came to inform the artist that another Prince was born,
and must be introduced in the picture; this was not easy, but it
was accomplished with some difficulty. All this took up much time,
when a second messenger arrived to announce the birth of a Princess

Coll, of the Corporation of Glasgow

A FAMILY GROUP, NAMES UNKNOWN, CALLED “ THE MINUET

' V

C of Mr. Joseph C. T. Hcriz Smith of Slade Park

GROUP REPRESENTING THE REV. JOHN COCKS (1731-1793) AND JAMES COCKS, THIRD AND FIFTH SONS

OF JOHN COCKS OF CASTLEDITCH

\of Mr Joseph C. T. Heriz Smith of Slade Park

, GROUP REPRESENTING THOMAS SOMERS COCKS, BANKER (1737-1796), AND RICHARD COCKS, HIS BROTHER (1740-1821).
SEVENTH AND EIGHTH SONS OF JOHN COCKS OF CASTLEDITCH

CONVERSATION GROUPS

161

and to acquaint him that the illustrious stranger must have a place
in the canvas; this was impossible without a new arrangement; one
half of the figures were therefore obliterated, in order that the group-
ing might be closer to make room ; to do this was a business of some
months, and before it was finished a letter came from one of the
maids-of-honour, informing the painter that there was another
addition to the family, for whom a place must be found. ‘ This,’
cried the artist, ‘ is too much ; if they cannot sit with more regularity,
I cannot paint with more expedition, and must give it up.’ ” 1

Exigencies of space forbid one to dwell on the very many other fine
and interesting groups by Zoffany : to describe them in detail would be
impossible as they are scattered throughout the various country-houses
of Great Britain, but we must briefly cite one more — the beautiful
“ Minuet at Glasgow.” By many critics this picture is considered
Zoffany’s masterpiece. It is very broadly painted — the figures live
and move in it, and it is interesting to the student in studying this
work, to compare it with Zoffany’s earlier and tighter manner, and
to see also how entirely he left behind him the stiff and somewhat
doll-like figures of his first period. The composition is, perhaps, some-
what faulty, but this defect is atoned for by the wonderful dexterity
of the painting, and the brilliancy and charm of the colour ; par-
ticularly effective is the young girl’s dress with its shimmer of pink
seen through the white, and the gleam of silver on the shoe, while the
whole effect of the picture is similar to that of the spirit of Watteau. It
would be of great interest to discover the names of the personages in this
group, for Zoffany so rarely, if ever, painted, like so many of his con-
temporaries (Peters, for instance), fancy groups as subjects, as they are
termed, that one is inclined to think this was a real family portrayed
whose names have been lost in the mist of ages. It is unfortunate that
England at present does not possess one group by Zoffany in her public
galleries, a serious mistake for many reasons, but mainly because no
artist of that period has had so many “ conversation pictures ” attributed
to him, quite regardless of date and style. It would thus be an excellent
thing if our public galleries were to contain two or three well-authenticated
groups by the painter, so that the student of painting in the eighteenth
century should be able to form a comprehensive idea of Zoffany’s work,
as under present conditions it is almost impossible for him to do.

1 Elmes’s Art and Artists, I. 61.

CHAPTER X

SINGLE PORTRAITS

When we leave the groups and come to consider the single portraits
attributed to Zoffany, our task as critics is rendered far more difficult.

As we have said in another place, Zoffany’s name has been very freely
used, and portraits with which he had nothing whatever to do often have
his name attached to them.

This has been more frequently the case with regard to separate
portraits than with groups, as in the latter it has generally been possible
to determine when the picture was painted, whether in England, Italy
or India, and to attach the right name to it.

Moreover, the groups have remained in many cases in the hands of
some members of the family for whom they were originally painted, but
this has not often been so, with the single figures.

Of some, therefore, we can be quite certain, of others we must speak
in far less definite terms.

There is no series of portraits to equal that at Ickworth belonging
to Lord Bristol, and it would appear likely that Zoffany must have made
a prolonged sojourn with the family, so many different portraits did he
paint.

To the large group, reference has already been made, but there are
beside it no less than eight single portraits which have been attributed
to Zoffany. Respecting one of them, that of a lady, name unknown,
we are gravely doubtful, but the remaining seven are probably ascribed
to the right painter. Six appear amongst our illustrations, and although
we are rather concerned respecting the one of Lady Mary Fitzgerald,
yet it does approximate in some measure to the technique and style of
Zoffany, and so w T e include it in the volume.

The two of Lady Mulgrave and Lady Caroline Hervey, seated figures,
cleverly presented and with accessories and fabrics painted in thoroughly
Zoffany fashion, bespeak his hand in every piece of their brushwork,
while the Lady Emily Hervey, so different in many respects from the
other two in pose, composition and lighting, must surely have been the
work of the same painter who was responsible for the others, and is
graceful charming and attractive.

162

Coll of Mrs. Fleischmann Campbell Gray photo

PORTRAIT OF DR. THOMAS HANSON

Coll, of Sir Hugh McCalmont

PORTRAIT OF

MR. PHIPPS

Coll, of the Marquis of Bristol

LADY CAROLINE HERVEY, 4th DAUGHTER OF JOHN, LORD HERVEY

She died unmarried 1 March, 1819, aged 83

CoLL. of the Marquis of Bristol

PORTRAIT OF LEPEL, LADY MULGRAVE, DAUGHTER OF JOHN, LORD HERVEY

She died in 1789

Coll, of Hie Marquis of Bristol

PORTRAIT OF LADY EMILY HERVEY, DAUGHTER OF JOHN, LORD HERVEY.
She died unmarried 4 June. 1814, aged 83

SINGLE PORTRAITS 163

The men’s portraits are those of Colonel William Hervey and the
Bishop of Derry.

Lady Mary, Lady Caroline, Lady Emily and Lady Mulgrave were
all sisters, daughters of John, Lord Hervey, and of the fascinating Polly
Lepel. Colonel Hervey was their brother.

The Bishop of Derry was the fourth Earl of Bristol, and the remaining
picture, which does not appear in this volume, but which was engraved
in mezzotint by Watson, represented George William Hervey, the second
Earl.

Another portrait about which there can be no doubt is that of Mr.
Phipps, in which the breakfast-service so carefully set out upon a white
cloth, on the invariable round table, supplies the needful identification,
if one were needed. As a matter of fact, the history of the picture is known,
for Phipps left it to his college friend, Mr. Barton, who was the great-
grandfather of Miss Barton, half-sister to Sir Hugh McCalmont, in whose
possession the painting now is. It is quite a charming example of Zoffany’s
love of an interior setting, with furniture and accessories.

Just as certain is the portrait of Dr. Hanson, which belongs to Mrs.
Fleischman. The tree under which he sits is unmistakable, and all the
details of the costume, to the buttons on the coat and to the stick in the
hand, speak of Zoffany’s careful, neat work.

The same can be said of the portrait of another aged man, the renowned
Dr. Richard Russell, to whose wise recommendations the town of Brighton
owes its great popularity and importance. Here, again, tradition is at
hand, as the work has always borne the name of Zoffany, and we believe
that the attribution can be fully sustained, for the picture is characteristic
and a very skilful presentation of character. It may be compared with
that of Mr. Andrew Drummond, to which it bears some resemblance.

Another interesting portrait is that of Benjamin Stillingfleet, the
philosopher and poet, who was brother to Mrs. John Locker, and whose
portrait has always remained in the possession of the Locker family and
now belongs to Mr. Godfrey Locker-Lampson, and hangs in his house
at Rowfant.

Stillingfleet was the man who

“ cultivated the society of those learned ladies, Mrs. Montague,
Mrs. Talbot and Mrs. Elizabeth Carter and always made his appear-
ance at their gatherings in a full suit of dark brown, a wig, gilt sword
and buckles, also stockings of a bluish-grey, by which last portion
of his attire the notable coterie especially distinguished him. In
consequence of this recognition the wits of the time, perhaps rather
irreverently, dubbed them the ‘ Bas Bleu Club,’ and it is thus that

164

JOHN ZOFFANY, R.A.

the phrase ‘ Blue Stocking ’ has become a cant term for learned
ladies generally.” 1

Stillingfleet died in 1771 and was buried in St. James’ Church, where
Mr. Locker raised a monument to his memory.

A pair of portraits we have not seen, belonging to Mr. Longman,
and representing a brother and sister named Harris, the latter of whom
married Mr. Longman’s great-grandfather, may also be accepted. The
girl’s attitude is that of one of the figures in the group at Blair Atholl,
and she is carrying a wreath, as is the girl in that picture, while the boy
is equally characteristic, and the tradition had been permanent and
sustained. The paintings are probably early works, as they are somewhat
stiff and formal.

Again there can be no doubt as to the portrait of Maria Waldegrave,
Duchess of Gloucester, which came from the Duke of Cambridge’s collec-
tion, and now belongs to Messrs. Agnew. No one but Zoffany could have
painted that costume ; besides, the inevitable round table, the mantelpiece
with its vases, the fan, books and cloak all proclaim that the painting was
executed at his best period, and no better example of his work could
be desired.

The one of Queen Charlotte belonging to the King is just as certain ;
moreover, the print by Lawrie, although not identical, announces whose
work it is. The engraver has not, however, done justice to the original
work, as will be seen by a comparison of the picture which we are graci-
ously allowed to reproduce, side by side with the print. The omission
of the vase of flowers, the column and the drapery all are to be regretted.
The painting is far finer than the print, even the portraiture far more
satisfactory, and the engraver has failed to impress upon his work the
rich, luxurious effect of the painting in which the fabric, lace, jewels and
cushion are all represented with exceeding skill.

We have not seen the two De Castro portraits, but have no reason
to doubt their being also the work of Zoffany, whose name they have
always carried. The male portrait is a very characteristic one, and
probably both of them were painted in India, where Daniel De Castro
was a successful merchant.

Another old man’s portrait is the one belonging to the Duke of Port-
land, and representing Charles John Bentinck, the youngest son of William,
Earl of Portland. Here, again, we may compare the Andrew Drummond
and the Brighton portraits and see the same skilful handling in all three,
although in the Welbeck picture the painter has centred his efforts on the
face, and has not given as much attention as he usually did to the costume.

1 My Confidences, by Frederick Locker-Lampson, 1896.

Coll, of Mrs. Morland Agnew IV. E. Gray photo

PORTRAIT OF MARIA WALPOLE, COUNTESS WALDEGRAVE AND AFTERWARDS DUCHESS OF GLOUCESTER
From the collection of H.R.H. the Duke of Cambridge

Coll of M esirs. A giieiv

PORTRAIT OF WILLIAM BURTON

Coll, of Messrs. Knoedler, formerly in llial of Lord Ribblcsdule Campbell Cray photo

PORTRAIT OF VINCENT LUNARDI, THE BALLOONIST, GIVING A DISPLAY A'l WINDSOR CASTLE

Coll, of the Earl of Crawford

PORTRAIT OF HENRY DUNCOMBE UNCLE TO THE FIRST LORD FEVERSJIAM

Coll, of Mr. J. Paul de Castro

PORTRAIT OF DANIEL DE CASTRO

AN' EAST INDIA MERCHANT WHO MARRIED SARAH JUDITH DE CASTRO ON AUGUST 6, 1/66

Sec “ Gentleman’s Magazine ” 1766)

Coll, of Mr. J. Paul de Castro

PORTRAIT OI- SARAH JUDITH DK CASTRO

WIFE AND NIECE OF DANIEL DE CASTRO WHOM SHE MARRIED 6 AUGUST, 1 766. SHE DIED IN 1824

Coll, of the Duke of Portland, K.G.

PORTRAIT OF CHARLES JOHN BENTINCK 1708-1779), YOUNGEST SON OF WILLIAM BENTINCK,

EARL OF PORTLAND

BROTHER AND SISTER NAMED HARRIS, PAINTED AT THE AGES OF
The sister married the great- giandfather of the owner of the pictures

Coll, of the Hon. Evan C. Charteris

PORTRAIT OF A MAN IN A RED COSTUME, NAME UNKNOWN
The landscape is attributed to Richard Wilson

SINGLE PORTRAITS

Mr. Charteris’ second single figure may, perhaps, be that of an actor.
Is it Baddeley in the School for Scandal, or is it simply a man standing under
a tree in a landscape in sight, perchance, of the grounds of his country
home ? The landscape bears a close resemblance to that in Lord Durham’s
picture, the tree is quite unmistakable, while the details of the costume,
especially the richly-coloured waistcoat, all lead us to feel quite confident
that it is rightly attributed.

Another single figure is that of Edward Pearce of Camelford, belonging
to Sir Robert Edgcumbe, a man in riding costume with his dog, while
yet another similar in style is the one of Henry Duncombe, belonging to
Lord Crawford. Tradition in this instance says that he is leaning against
Lord Muncaster’s tomb. It is certainly a monumental block of stone
against which he is posed, under a tree, of course, and with an open
landscape in the distance, but there is no inscription or other evidence
to lead us to infer that it represents a tomb.

The portrait of Lunardi the balloonist, giving a display at Windsor
Castle, we have often examined, and feel confident that it is rightly given
to Zoffany. It is just the sort of picture he loved to paint, with plenty
of accessories to the portrait, Windsor Castle in the distance, the Royal
family viewing the balloon, a delightful little intimate group ; the balloon
itself, the gun upon which Lunardi rests his hand and the details of his
costume so cleverly indicated in just the right manner, all go to prove
that this charming painting, which once belonged to Lord Ribblesdale,
is an interesting and attractive work by our artist.

When we come to a portrait of Wm. Burton we are not quite as
certain; although the statuary and marbles, which are its accessories, are
painted very much as are those in the Towneley picture, and the details
of the costume resemble those of Zoffany. The painting is probably
his work, but is not wholly convincing; we do not refuse it a place in
our illustrations, but are not certain that another man may not have
been responsible for it, although bound to say that it is good enough
for Zoffany.

It may, perhaps, be well to mention among the single portraits one of
David Garrick, belonging to Mr. Kyte, which certainly offers some
resemblance to the work of Zoffany, although we are by no means satisfied
that it is from his hand. Its special interest consists in the fact that it
presents him gazing at two miniatures, a pose he adopted when playing
Hamlet, “ pulling out two portraits to look upon this picture and upon
that.”

A picture we would gladly have discovered is that of George Steevens,
“ Shakespeare Steevens,” which was engraved by Sylvester Harding for
Boydell for his edition of Shakespeare. It was sold before Zoffany went

1 66 JOHN ZOFFANY, R.A.

to India to a Mr. Clark of Princes Street, so a contemporary account
tells us, and represented the conceited author with his favourite little
dog. It was painted in early days, for Smith 1 tells us that then, Steevens
loved to have his portrait taken, but later on “ he not only refused to sit
but actually took the greatest pains to destroy every resemblance of his
features, and never suffered himself to remain in the company of an artist
for any length of time lest he should steal his likeness.” Perchance
he got hold of Zoffany’s portrait of himself, and it shared the fate to
which Smith alludes.

A delightful picture is that of Jane Austen as a girl, which must have
been painted in 1790 or thereabouts, and which gives a charming represen-
tation of a prim but amusing, cheerful maiden, just such as we should
have fancied Jane Austen to Be.

We have not space to do more than refer briefly to the portraits belong-
ing to Sir Cosmo Antrobus, the Earl of Desart, and Sir T. Boothby,
the one of an unknown man, miscalled Ozias Humphry at the Ehrich
Gallery; the one of Charles James Fox belonging to Mr. Holden, or
the splendid warrior belonging to MacLeod of MacLeod, but of all
these and many others, details will be found in our Appendix.

One portrait must not, however, be overlooked, the one of Gainsborough
in the National Gallery, a brilliant sketch-like production in a small oval,
showing the painter’s face in profile and exhibiting a mastery in technique
quite amazing, wonderful brushwork with splendid result ; an enchanting
little painting and evidently a splendid likeness to boot.

If the portrait called that of James Quin which belonged to Sir Cuthbert
Quilter is included in our survey, it must be praised with very similar
words, but we doubt very much whether it could possibly represent Quin,
if Zoffany painted it, and on the other hand, it does resemble the accepted
portraits of Quin to a marked extent.

Generally speaking, Zoffany is not at his best in single portraits,
although a few stand out amongst his supreme works, say, for example,
the portrait of Gainsborough, the portrait at Welbeck, and Dr. Russell at
Brighton. 2

It is by his groups, however, that he will live, and these, though
small in scale, are yet broad and vital, and the very fact that Zoffany
possessed no sense of imagination, but was gifted with an insatiable
curiosity, great restlessness and a supreme vanity, help to give to these
wonderful pictures a part of their charm.

He loved to delineate in clear fashion and with precise detail, he

1 Nollekens and his Times, Lane’s edit., I. 65.

2 His actual full-length portraits are rare. We may mention those of Mrs. Oswald
and Miss Farren as two examples.

Coll, of Messrs. EhricJi Brothers

Ehrich Gallery photo

PORTRAIT OF A MAN, NAME UNKNOWN
(called at one time, ozias Humphry, r.a.)

Coll, of Admiral Sir Ernest Rice, K.C.H.

JANE AUSTEN AS A CHILD

REPRODUCED BY PERMISSION OE MR. W. AUSTEN LEIGH AND MR. JOHN MURRAY

Coll, of Macleod of Macleod

PORTRAIT OF GENERAL NORMAN MACLEOD
1754—1801

Coll, of M r . Seymour Boolhby

PORTRAIT

OF GENERAL SIR WILLIAM BOOTHBY ON HORSED

"/humtad />,,//„■, Mamo M , /e/m.

SINGLE PORTRAITS

167

exulted in the effect of light in an interior, and in representing the gleaming
surfaces of silver, porcelain or glass, while for the colour-effects of costumes,
especially in silk, satin or brocade, he had an absolute passion.

All this with “ patient and conscientious art,” as has been well said,
he set out upon his canvas with deft and facile handling, and as a result
we have in his family groups a perfect representation of Georgian life
which has no parallel.

Almost pre-Raphaelite in his usual treatment of minutiae and shadows,
he was able to present the accessories of his pictures with an enamel-like
perfection, and yet never did they usurp more than their proper place in
the composition.

At times he varied this treatment by adopting what we have termed
his Watteau-like method, gay, vibrant and vivacious, broad, feathery
and light, and yet executed with a precision that is remarkable.

Above all, his works, although sometimes similar are never mono-
tonous, never uninteresting, never unsuccessful in colour-scheme, and
although Zoffany must not be claimed as a really great master he yet
stands well in the front rank amongst the minor men, and his works are
always a joy to behold, while he has no competitor and no equal in the
particular manner which he made so successfully his own.

Sir Claude Phillips in his Life of Reynolds remarks that Zoffany almost
alone in his generation was much influenced by Hogarth, and became,
although a Bohemian 1 born, as thoroughly English as any Englishman
in his art; in fact, he adds, “ Zoffany grasped with greater strength and
subtlety certain elements of British character than any other artist had
done since Hogarth.”

May we not also suggest that Watteau, Longhi and Gainsborough
had their influence upon him, and that in his really best work he is not
unworthy of being placed in close juxtaposition with all these masters,
as well as being regarded as the only real follower of Hogarth and the
Dutch painters in his groups and composition.

1 He was born in Frankfort ( see p. 3), not at Ratisbon as generally stated.

PAINTINGS BY OR ATTRIBUTED TO

ZOFFANY

PAINTINGS BY OR ATTRIBUTED TO ZOFFANY

The descriptions in most cases are those supplied by the owners.
The items marked P are illustrated in these pages.

Aberdare, Lord.

83, Eaton Square.

Portrait, believed to represent Horace Walpole,
and to have been painted at Strawberry Hill.

Two portraits of David Garrick, which were
at one time in one frame, and are said to have
been painted to give an idea of his facial
adaptability.

Adam, Dr.

Blackwater.

Small painting representing a man seated in
a mahogany chair, by a round mahogany table.
He wears a long pink and blue waistcoat,
elaborately trimmed with gold lace, and knee
breeches, and a white wig, and bears some
resemblance to Garrick. By his hand, on the
table, is a letter, on which two words can
be read —

TO . . . and

Adams, The Rev. W.
Fulford.

Noke,

I slip,
Oxford.

At the lower part of the letter appears to be
Christopher.

The signature part of the inscription is not
legible.

Near to the letter there stands on the table a
silver standish.

The man is represented seated in a room, the
walls of which are panelled.

This is more probably by Benjamin Wilson.

Portrait of Miss Mary Dacres, daughter of
Admiral Dacres, and afterwards wife of Mr.
Compton. Her sister married William Adams,
Esq., M.P., who was the great-grandfather of
the present owner of the picture.

171

172 JOHN ZOFFANY, R.A.

Agnew, Mrs. Mor- Portrait of Maria Walpole (Duchess of Glou-
land. cester), seated, wearing a very rich silk gown,

and holding a book in her hand. Near by is a
round table, on which is a lace-trimmed cape,
and two books; a fireplace having a picture
of fruit and flowers set inside it, and a
mantelpiece, on which are various vases, can
be seen in the background. 35^ x 27.

Originally in the collection of the Duke of
Cambridge. P.

Albany, H.R.H. The Portrait of a man, small full-length, in white wig
Duchess of. and pigtail, holding in his hand a cocked hat

Kensington Palace, and cane. He wears a star and the blue ribbon
of an order. 14x9.

Albany Barracks.
Regent's Park ,
Officers' Mess.

Alexander, Sir Claud.
Ballochmyle ,
Mauchline ,

Ayr.

Alston, A. R., Esq.
The Tofte,
Sharnhrook ,
Bedford.

Portrait of Rt. Hon. H. T. Seymour Conway,
father of Mrs. Dawson Darner, as Colonel of the
Blues, 1770-1795. 32 x 28.

A young man leaning against a boulder holding
a gun at his knees.

Costume red and grey tricorn hat. Cannon on
the left. Foliage background.

Group representing two of his ancestors, Claud
and Boyd Alexander, with their Hindoo servant
and a dog, painted in India, circa 1768, all
three figures life-size.

The taller man is Claud Alexander, and is
dressed in brown. He is reading a letter, sup-
posed to be from his wife, telling him of the
purchase of the estate of Ballochmyle. This
paper is dated.

The other brother is in a green coat. At the
time when the picture was painted, Claud
Alexander had a rather important appointment
in India. P.

Portrait of Richard Pocock, African traveller,
afterwards Bishop of Ossory and then of Meath
(1704-1765). He is represented full-length,
standing figure, in brown caftan and blue under-
garment, leaning against a Turkish tomb,

APPENDIX

J 73

holding a book in one hand, and resting the
other on his belt. In the distance can be seen
a view of Constantinople with many turrets,
an island, some water and several caiques

79i x 52b

R.A., 1856 (51).

N.B . — -The picture very much resembles the
work of Liotard.

Antrobus, Sir Portrait of Boswell. 28b x 35, inside measure-

Cosmo G., Bart. ment.

Amesbury Abbey , Represented wearing a chocolate-coloured coat,
Salisbury. and yellow waistcoat with gold braid. His

hands are together, resting upon a book, and
between them he appears to be holding a
snuff-box. P.

Asch, William, Esq. Family group of a lady, gentleman, and five
South Street , children (three girls and two boys), with a

South Audley St., favourite black servant. The lady wears a

London. green and gold silk dress, which is exceedingly

well painted. The two boys are in red.
40 x 50. P.

Bought at Christie’s, November 1903 (£420),
and sold to its present owner by Mr. Martin
Colnaghi (see pp. 107 and 154).

Aslett, Mrs. Alfred. Portrait of Dr. Rimbault, musician, said to be
Stanyon Lodge , the first portrait Zoffany painted in England.

Ulverston, At one time it belonged to Dr. E. F. Rimbault,

Lancashire . godfather to E. Rimbault Dibdin, of the Walker

Art Gallery, Liverpool, and now to his daughter.

Half-length representing the musician in a brown
coat, richly adorned with yellow lace, wearing
a wig, and having a piece of music in his hand.
P.

Asquith, Mrs.

20, Cavendish
Square.

Picture representing some masqueraders, two
ladies in fancy costume, one in yellow and one
in blue, and a man wearing a mask and the
dress of a harlequin. He is holding a bottle of
wine and a glass. In the background can be

T 74

JOHN ZOFFANY, R.A.

seen a coach with horses, and some farm build-
ings. Bought from Agnew.

It is probably a scene from a play.

N.B . — Mrs. Asquith also possessed one other
Zoffany, which was destroyed some years ago
in a fire. It represented an old man and a
middle-aged woman in a garden.

Atholl, The Duke of. Family group representing John, third Duke of
Blair Castle , Atholl, with Charlotte his wife, and the seven

Blair Atholl. elder children (four boys and three girls), on

the banks of the Tay at Dunkeld. 63 x 36.
Dated 1767.

Painted in 1767 to fit over the carved mantelpiece
at Blair Castle, where it still is. P.

Also the receipt for the payment for the
picture. P.

Austin, Miss. This lady owns a water-colour copy (from which,

8, Edward Street, by her permission, our illustration is taken)
Bath. of a painting by Zoffany of the Rosoman family

on their estate near Richmond. The original
was at one time at Laleham but since the death
of its owner has been lost sight of. The group
depicts a fishing-party, and the little girl
under the tree was Miss Austin’s grandmother.
The original was once exhibited during the
early part of Queen Victoria’s reign in some
provincial exhibition and was then styled “ A
Smug Citizen.” The water-colour drawing
is declared to be a very faithful copy of it.
When Miss Austin, on Dec. 20, 1918, gave the
information detailed above, she had reached
the advanced age of ninety-three.

Bagshaw, Henry Portrait representing a lady drawing the shadow
Bradshawe Isher- of a soldier on a white wall, while at the back

wood, Esq. of them is the figure of Cupid, perched on a

Oakes-in-Norton , pedestal, holding a candle. The lady is in a
Derbyshire . blue tunic and a yellow cloak.

The picture, which is said to represent an incident
in a play, was purchased in Bath ninety years
ago by Sir William Bagshaw.

WATER COLOUR COPY OF AN IMPORTANT] PICTURE BY ZOFFANY, REPRESENTING THE ROSOMAN FAMILY, UNDER THE TITLE OF

“A SMUG CITIZEN”

The original cannot be traced. The copy, made some years ago, is in Bath.

APPENDIX

Baker, G. E. Lloyd,
Esq.

Hardwick Court ,
Gloucester.

175

The Sharp family on a yacht on the Thames at
Fulham. The figures are as follows —

(1) Dr. John Sharp (1693-1758), the eldest
brother, Prebendary of Durham, Archdeacon
of Northumberland. He is in the right corner.

(2) His wife Mary, daughter of Dr. Dering, Dean
of Ripon. She is behind her husband.

(3) Anna Jemima, their only child, in green and
pink. She is on the right at the top.

(4) William Sharp, who is steering, and for whom
the picture was painted, surgeon.

He declined a baronetcy offered him by George
III for successful attendance on Princess
Amelia. He is at the top of the picture, wears
the Windsor uniform, and is waving his hat.

(5) His wife Catharine, daughter of Thomas
Berwick, Esq. She is in a blue riding-habit,
and is just below her husband.

(6) Mary, their only child, carrying a kitten on
her lap. She married the owner’s grandfather,
T. J. Lloyd Baker, and was the only person
in the family to leave descendants.

(7) James Sharp, a skilful engineer, represented
holding a musical instrument called a serpent.

(8) His wife Catharine, daughter of John Lodge.
She is wearing a lilac costume, and a black
lace shawl, and is seated by Mrs. William
Sharp.

(9) Catharine, their only surviving child, in
white muslin, with pink sash, and black feather
headdress.

(10) Elizabeth, Mrs. Prowse, the widow of George
Prowse, Esq., of Wichen Park, Northampton,
and Berkeley. She is seated at the harpsichord.
Her estate after her decease went to her hus-
band’s nephew, Sir Charles Mordaunt, and his
descendant sold Berkeley to Lord Bath and
Wichen to Lord Penrhyn.

( 1 1 ) Judith Sharp, sister of Mrs. Prowse, repre-
sented seated next to Jemima her sister, wear-
ing a brown riding-habit and holding a lute.

(12) Frances Sharp, her youngest sister, repre-

176

JOHN ZOFFANY, R.A.

sented in blue moire , and holding a piece of
music.

(13) Granville Sharp the philanthropist, repre-
sented handing a piece of music to Mrs. Prowse,
and close by him is a double flageolet.

There are also depicted in the picture the boat-
master, the cabin-boy, and Zoffany's favourite
dog, Roma, while other instruments represented
in the group are the oboe and the theorbo.

The church is that of Fulham, and on the right
can be seen the cottage with balconies belonging
to William Sharp, but usually inhabited by
Granville. It communicated by an under-
ground passage with Fulham House, where
William Sharp lived. George III and Queen
Charlotte on many occasions went to drink
tea with the Sharp family on their yacht in
order to listen to their singing and playing.
The cabin-boy was still living in the recollection
of the owner of the picture in 1848, and remem-
bered the work being done. The picture cost the
family eight hundred guineas. It was exhibited
at the Royal Academy in 1781, and again in 1879,
No. 27, and was at the Whitechapel Exhibition
in 1906, No. 148. P.

Portrait of the owner’s grandmother, eventually
the heiress of the Sharp family.

N.B . — Archdeacon Sharp was almoner to Queen
Anne.

Mrs. Battine of St. Hilary, Bexhill, did a copy of
this picture.

Baker, Sir George Portrait of John Wilkes, M.P., and his daughter,
Sherston, Bart. small figures, full-length. Wilkes is seated,
Lincoln. holding his daughter’s hand, and she is standing

at his right. Wilkes is in a dark blue coat
with scarlet revers , yellow vest and breeches.
Miss Wilkes is in a pink dress over a bluey
green underskirt. There is a dog represented
at the foot of the canvas. Canvas 50 x 39T
Exhibited South Kensington Museum. Exhibi-
tion of National Portraits, 1867, (654). P.

APPENDIX

1 77

N.B . — This is the picture about which Horace
Walpole in writing to the Countess of Upper
Ossory on November 14, 1779, stated as follows :
“ There, too, you will see a delightful piece of
Wilkes looking — no, squinting — tenderly at
his daughter. It is a caricature of the Devil
acknowledging Miss Sin in Milton. I do not
know why, but they are under a palm-tree,
which has not grown in a free country for some
centuries.”

See Toynbee edition, Vol XI. p. 53.

Bankes, Mrs. Picture believed to represent a Mr. Bankes with

Kingston Lacy , his wife and family, and to have been painted

Wimborne. at Kingston Lacy.

Baroda, H.H. The Group painted in 1768, representing Garrick and
Maharajah Gaek- Mrs. Pritchard in Macbeth , a performance
war, G.C.S.I. given for Mrs. Pritchard’s benefit (she died a

few months later). There were two paintings
made by Zoffany of this subject, one for
Garrick and one for Mrs. Pritchard. One
is in the Garrick Club ( see p. 140), the other
is this one, and from it the mezzotint was
scraped. In the Garrick Club painting Lady
Macbeth is in white and the hand holding the
dagger is held down. In the Baroda one the
dress is black and the hand held up {see the
print). This picture was at one time in the
possession of the Rt. Plon. Walter Long, and
was exhibited as follows —

B.I., 1859.

Grafton Gallery, 1897.

Whitechapel Gallery, 1910.

Baskerville, Colonel. Picture representing the Porter and the Hare.
Crowsley Park, Similar to that in the engraving by Earlom.

Henley-on-Thames. Declared to be either the original by Zoffany
or a contemporary copy. ( Vide Ehrich Gallery.)

Beachcroft, Miss S. J. Oval pastel and pencil drawing of Zoffany, with
11, Prince's Square, his signature, executed by himself, and has
Bayswater. never left the possession of the family. P.

178

JOHN ZOFFANY, R.A.

Miniature representing Zoffany in fancy costume.
This has been split by accident. The family
have attributed it to the pencil of Sir Joshua
Reynolds, but there is no special claim that
the President ever painted it. It is the work
of an artist of the eighteenth century, and
somewhat resembles the handling of Luke
Sullivan, but it might have been painted by
Zoffany himself. P.

Beachcroft, Miss Miniature painted by Zoffany of himself, repre-

Ellen. senting him after his return from his shipwreck.

11 , Prince's Square, He stated at the time of the shipwreck, lots
Bayswater. were cast respecting one man, who was to be

selected for food for the rest, and eventually
one sailor was actually killed, and it is said
that some of the others in the boat had to eat
his flesh to keep themselves alive. Zoffany
appears to have borne the marks of the terrible
time he went through in this shipwreck for
several years. The family state that the minia-
ture was painted immediately upon his return,
for his wife. P.

Bell, Mrs. Horace. A group representing three children. We have
12, St. Leonard's not seen this painting.

Road ,

Ealing.

Berlin. Group representing a lady and gentleman. Small

Kaiserliche Gallery, full-lengths in a landscape. The lady is in a

blue and white striped dress, with wide lace
sleeves, and is seated ; the gentleman stands
beside her with his legs crossed. He is in a
rusty brown coat, waistcoat and breeches, his
hat and stick are in his left hand, his right rests
on the back of the seat. Canvas, 27 x 35 -
The picture was purchased by Mr. Martin
Colnaghi in May, 1895, sold by him to Mr.
Humphry Ward, and by the latter sold to the
Berlin Museum.

It was exhibited at the Royal Academy in 1908.

APPENDIX

T 79

Be van, Mr.

Bevan, Miss.

33, Burton Court ,
Chelsea.

Bischoffscheim, Mrs.

Blackiston, Rev. Dr.
Trinity College ,
Oxford.

Portrait of Dr. Thomas Hanson of Canterbury,
a well-known philanthropist. Sold to the
Gallery by his son, John Hanson Walker of
Chelsea.

This picture has been engraved. See under
Fleischmann picture.

A life-sized portrait of Mrs. Bevan’s grandfather,
John Lumsden of Cushine, Aberdeenshire.
He was a Director of the East India Company,
and the picture was painted in India. He is
represented as seated on a red-stuffed chair,
and holds his left hand up to his chin. His
face is clean shaven, his hair long and powdered.
He wears a brown coat, blue and yellow striped
waistcoat, and white cravat.

Small full-length portrait of a man in green,
evidently in a Quaker’s costume, holding a long
walking-stick in one hand, and a black hat in the
other. In the distance is a landscape and a
large tree.

The portrait is said to represent a Mr. Russell, or
a Mr. Bevan. 29 x 24T

Small full-length portrait of Garrick, evidently
impersonating a character in a play. He is
dressed in a buff-coloured coat and breeches,
with a red waistcoat and white stock. He
wears a three-cornered black hat, and holds
his left hand up to it, apparently saluting. On
the left of the figure is a large garden-seat, in
the Chinese Chippendale style. In the back-
ground are trees.

Purchased at Christie’s a few years ago. Ex-
hibited at the Shakespeare Exhibition at White-
chapel 1910, No. 12.

Group representing William Dent, Hon. East
India Company’s Service and his brother, John
Dent, Captain, Hon. East India Company’s
Service with a native orderly, a bailiff and a
labourer. 84 x 60.

i8o

JOHN ZOFFANY, R.A.

Companion picture representing Mrs. William
Dent (Louisa, second daughter of Sir C. W.
Blunt, third Bart.), and her two elder children,
Sophia Louisa Dent (grandmother to the owner),
and Charles William Dent. 48 x 48.

They were both painted in India with Indian
landscape background, horses and cattle, in
about 1790 or 1791.

The portrait of William Dent represents him
in a plum-coloured coat with yellow breeches.
He is pointing to an Indian servant who is
digging, and appears to be showing his pro-
perty to his brother, who is in red and white
uniform. Behind him stands another Indian
attendant holding a shield, and at the extreme
left of the group is the estate bailiff in white
muslin. In the background is represented
Mr. Dent’s residence in India.

The group of Mrs. Dent and the two children
represents them seated under a large tree.
She is in white with a cloak of sea-green colour
edged with orange. In the background is a
lake and a view of the house.

Blunt, Capt. C.D.M.
Adderbnry Manor ,
Banbury,
and

Blunt, Miss J. LI.

Portrait group representing Suetonius Grant
Heatly (elder brother of Patrick Heatly), with
his sister Temperance, afterwards the wife of
Captain William Green, R.N. Both are seated
in an apartment with an Indian pipe-bearer
standing behind, and either a head-servant
(native major-domo) or an important visiting
servant, standing, bending in front of them,
and holding a long and elaborate staff in his
hand. The lady is in white, and holds a book,
the man holds the mouthpiece of his hubble-
bubble. 40 x 45.

Suetonius Grant Heatly was the eldest son of
Andrew Heatly, of Newport, Rhode Island,
America, and of his wife Mary, daughter of
Suetonius Grant and Temperance Talmage.

Suetonius Heatly was born 1751, and died in
Bengal in 1793. He was Magistrate of the

Boothby, Miss.

15, Carlyle Square ,
Chelsea.

APPENDIX 181

Province of Dana : and a judge in the East
India Company’s Service. He died unmarried.

His sister Temperance (Mrs. William Green),
and her husband, afterwards settled at Utica,
N.J. in the United States, where they still
have many descendants.

(Her sister Mary Heatly, who married Captain
James Tod, was the mother of Colonel James
Tod, the Historian of Rajasthan, and great-
grandmother of the present owners of these
pictures.)

The Heatlys were all Loyalists in the War of
Independence. They left the country, but
Captain and Mrs. Green went back to America
(U.S.A.), after the War. 40 x 45.

The picture was sold to its owner by Agnews. P.

A portrait representing Patrick Heatly, second
son of Andrew Heatly of Newport, Rhode
Island, America, merchant, and of Mary
his wife. He is seated in a landscape, on rocks
(a building up behind), with an Irish red setter
dog. He wears a green coat, with yellow
breeches, white vest and hose. He is shading
his eyes with his beaver hat. He is supposed
to be looking out to sea, watching the ship
which takes his sister Temperance (of whom
he was very fond) away from India to America,
with her husband, Captain W. Green. P.

Patrick Heatly was in the East India Company’s
Service, and after he settled in England was of
the East India Company’s secret Council. He
was born in 1753 (in America), and died in 1834
(in England). He lived in Hertford Street,
Mayfair (36 or 39 I believe — J.H. B.). He
married Miss Anne Carey, but they had no
children. 37! x 31^.

Large group of seven figures in the open air.
The Duke of York is in the centre seated.
On his right stand Harry St. John with Sir
William Boothby and two greyhounds. On
his left is Lord Palmerston. In front of him

182 JOHN ZOFFANY, R.A.

is Murray, and to the left of these two Lord
Lucan and Topham Beauclerk. P.

N.B. — There is said to be a replica of this picture
at Windsor Castle in a corridor.

Boothby, Seymour, Portrait of Sir William Boothby the General
Esq. on horseback. P.

Bradney, Col., C.B.
Oueen Victoria Rifles,
Fovant ,

Salisbury.

Brentford.

St. George's Church.

Bridewell PIospital.
New Bridge Street ,
Blackfriars, E.C.

Bridgeman, William
C. Esq., M.P.
i 3 , Mansfield
Street,
Portland
Place.

Portrait group representing Sir John Hopkins,
great-grandfather of the owner, Lady Hopkins,
his wife, two sons, William, born 1751, and
Charles, born 1761, and three daughters, Mary
Anne, born 1753, Elizabeth 1755, Amelia 1757
(one of the three becoming Mrs. Bradney, the
owner’s grandmother) with Dr. Boutflower.

The group is represented in a room having
a large window. There is a round table on
which is a tea equipage. One lady is playing
on a harpsichord and another turning over
the music. This latter is Elizabeth, afterwards
Mrs. Bradney.

The picture is at Talycoed Court, Monmouth, and
is believed to have been the group exhibited
in the Royal Academy in 1769. The ages
of the children agree almost exactly with
the apparent ages of the children in the picture.
41 x 33. P.

A painting of the Last Supper, included in which
are portraits of the artist and his wife. P.

Full-length portrait of Sir Richard Glyn (1769),
President of the Hospital.

A group of persons in a room. Colonel Polier,
a Swiss, who was afterwards murdered by his
native servant, is represented ordering some
fruit from two native attendants. Colonel
Martin, a Frenchman, from whom a house
called Martiniere took its name, is explaining
the drawings and plans of this house, which he
was about to build on the river-bank, near to
Lucknow, to Major Wombwell, who is sitting
near to him. The plans are held by a native.

Coll.

of the Marquis of Bristol

GENERAL HON. WILLIAM HERVEY, 4 th SON OF JOHN
He died 15 January, 1S15

LORD HERVEY.

APPENDIX

183

Brighton, Corpora-
tion of.

Bristol, The
Marquis of.
Ickzcorth,

Bury St.
Edmunds.

Zoffany is also represented seated before an
easel, and on the wall are several other pictures,
also the work of the artist.

The picture, which is a very large one, is said to
be dated 1788. P.

Portrait of Dr. Richard Russell. Green coat,
reading a book. 49 x 39. P.

Whitechapel Exhibition, 1910 (321).

Lady Mary Fitzgerald (1726-1815) seated. Cos-
tume, puce-coloured dress, white satin cloak
over the shoulders, and white wool scarf round
the neck with a band of violet ribbon round the
throat. On the right wrist is a bracelet with
a miniature. P.

This was Mary, daughter of John, Lord Hervey,
by his wife Mary, daughter of John Nicholas
Lepel, wife of George Fitzgerald of Turlough
Park, Mayo. She was burnt to death at the
age of eighty-nine. (33.)

Lady Caroline Hervey \ob. 1819 at the age of
eighty-three). Seated figure in pink costume,
with black lace over-bodice, white lace sleeves.
She wears a miniature on the right wrist,
which may, perhaps, represent Lady Mulgrave,
and a glove on the left hand. P.

This was Caroline, fourth daughter of John,
Lord Llervey, by his wife Mary Lepel. (49.)

Lady Emily Hervey. Full-face figure, leaning
over a balustrade, blue costume, black lace over
the powdered hair, the hands in a muff. P.

This was Lady Emily Caroline Nassau, daughter
of John, Lord Hervey, by his wife Mary Lepel.
She died unmarried in 1814 at the age of
eighty-three. (57.)

General the Hon. William Hervey (1732-1815).
Figure in uniform, with the right hand on the
hip, and the left pointing downwards. Oval.
P.

This was William, fourth son of John, Lord
Hervey, by his wife Mary Lepel. (114.)

Group representing Lord and Lady Mulgrave,

184

JOHN ZOFFANY, R.A.

Lady Hervey, Augustus, third Earl of Bristol,
Mr. George and Lady Mary Fitzgerald.

Lord Mulgrave is in a blue coat, Lady Mary
Fitzgerald in a blue dress, Lady Mulgrave in
a white dress with pink apron, Mr. George
Fitzgerald in a puce coat, Lord Bristol in naval
uniform, and Lady Hervey in a pink dress.
The group represents Captain John Augustus
Hervey taking leave on his appointment to the
command of a ship. 39! x 49. P.

R.A., 1891 (97).

Lepel, Lady Mulgrave. Seated figure in blue
costume, with lace over the shoulders, and a
lace cap on the head. The right hand holds the
end of the lace fichu, the left a blue bag which
rests on the lap. P.

This was Lepel, daughter of John, Lord Hervey,
and Mary Lepel. She married in 1743 Con-
stantine Phipps, first Lord Mulgrave, and
died in 1789.

A lady, name unknown. Seated figure, in puce-
coloured dress, trimmed with fur, and having
a fur muff. Painted about 1760, and attributed
by some critics to Zoffany.

Frederick Augustus Hervey, fourth Earl of Bristol,
Bishop of Cloyne and Derry. Seated figure, in
black gown with white bands, the right hand has
the fourth finger upwards. There is a ring on
the little finger, the left hand holds a book open
at the title-page with an engraving. Oval. P.
George William Hervey, second Earl of Bristol.
Figure standing in peer’s robes holding a coronet
in the left hand beside a table. On the chair
near by rests the Privy Seal Bag.

This picture has been engraved in mezzotint by
Watson.

Richard Savage Lloyd and Miss Cecil Lloyd
of Hintlesham Flail, Suffolk. Miss Lloyd
is seated on a white garden-seat and Richard
Savage Lloyd standing by, amid park-like
scenery. 30 x 24.

Broke, Edward, Esq.
Ufford,

Woodbndge,

Suffolk.

Lady Mary Fitzgerald

Coll, of the Marquis of Bristol

LADY MARY FITZGERALD, DAUGHTER OF JOHN, LORD HERVEY, AND WIFE
OF GEORGE FITZGERALD, OF TURLOUGH PARK, MAYO
She was burned to death 9 April, 1815, aged 89

APPENDIX

Browne, Rev. C. C.
Murray.
Hucclecote
Vicarage ,
Gloucester.

Buccleuch, The
Duke of.

2, Grosvenor Place ,
London.

Buckinghamshire,
The Earl of.
Camperdown
House ,
Dundee.

Bulwer, The Family

OF THE LATE SlR

Henry.

185

Portrait of Jonathan, the old gardener at Clare
Hall, to Mrs. Prowse of Wichen Park, North-
amptonshire. The lady was the sister of
Granville Sharp, and is also represented in Mr.
Lloyd Baker’s picture. She was the great-
grand-aunt to the wife of the owner. The
portrait of the old gardener is said to have been
painted on the door of a travelling chaise, while
Zoffany was waiting to have the opportunity
of painting the portrait of his mistress.

Group representing two persons. Supposed to
be Sheridan and Mrs. Robinson (Perdita). The
man is in a brown coat, green breeches, white
stockings, black shoes, and has a black hat.
The lady is in a pink under-dress, with a white
muslin skirt over it. She is on a low seat near
the ground, and is listening to him ; he is upon
a higher seat, or upon a stile, near to a tree,
and apparently is either reading or reciting
from a book in his hand. P.

Bought in 1868 at Christie’s from the C. K.
Sharpe Collection. Exhibited in 1867 as a
Romney. 49 x 39.

Sir William and Lady Mary Duncan. Lady to
the left in white, seated in red chair. Man
standing to the right in white wig, black coat
and breeches and white stockings, red drapery
over table in centre between figures, and falling
over globe on stand. Pilasters in centre with
looped-up curtains and books below. View of
trees and park to the left. Small size. Not seen.

Group representing Dibdin, his second wife
and his daughter. He is seated at a spinet,
and has, apparently, been transcribing a song
with music, as he has a pen and paper in his
hand. He is turning round to greet his wife,
who is entering the room, perhaps with the
idea of asking him to come out for a walk,
because she holds his hat in her hand. With
her is her daughter. P.

1 86

JOHN ZOFFANY, R.A.

In the catalogue of the Whitechapel Gallery,
item 93, appears a note respecting this picture,
to the effect that Dibdin, according to an old
playbill of the Beggar's Opera , May 16, 1767,
accompanied Miss Buckley upon a new instru-
ment, perhaps the spinet.

Bute, The Marquis of. He is believed to have a portrait of the children

of the Prime Minister, Lord Bute.

Calcutta. Portrait of Governor J. Z. Holwell, Governor

Government House. of Fort William in Bengal, 1760. Lent at one

time to the Victoria Ademorial Hall.

N.B. — There is said to be another picture of the
same Governor at Delhi, possibly by Zoffany.
Probably neither are by Zoffany, see p. 99.

Calcutta.

Judges' Library.

Calcutta.

St. John's Church.

Portrait of Sir Elijah Impey, represented standing.
The picture is inscribed “ Zoffany 1782 ” but
is believed to have been painted in 1783.
Perhaps not by Zoffany, see p. 99.

Painting of the Last Supper, see various details
separately given. P.

Calley, Brigadier- Portrait of Mr. Chase, the well-known raconteur.
General John.

Burderop Park ,

Swindon.

Carlisle, The Earl of. Garrick as Abel Drugger with Burton and
Castle Hozcard, Palmer in the Alchemist , Act II. scene vi.

York. 41^ x 39.

R.A., 1770.

R.I., 1814 (80); 1840 (81).

Whitechapel, 1906 (125); 1910 (32).

Grafton, 1897 (97).

Guelph, 1891 (361).

Foote as Major Sturgeon in Mayor of Garrett.

39! x 5°-

R.A., 1764.

R.I., 1814 (99); 1840 (80).

Grafton, 1897 (76).

Whitechapel, 1910.

Bought of Michael Bryan.

APPENDIX 187

Foote and Weston in Devil Upon Two Sticks,
Act III, Scene ii. 40 x 50.

R.A., 1769.

R.I., 1814 (94); 1840 (82).

Whitechapel, 1910 (10).

Grafton, 1897 (79).

Guelph, 1891 (317).

Bought of Michael Bryan.

Cartwright, Mrs. Water-colour group representing John Wombwell

1, Camp den Hill and a friend in India (attributed to Zoffany).
Terrace, Whitechapel, 1908 (165).

Kensington, IF. Also a portrait of a Persian lady who lived with
John Wombwell and whose daughter married a
Mr. Cartwright.

Charteris, Hon. Evan. Portrait of Thomas King as Lord Ogleby.
9677, Mount Street, Small full-length standing in a landscape, pink
Berkeley Square. costume, richly laced waistcoat, three-cornered
hat under his arm, white wig. Canvas 14 x 11

R.A., 1908.

Portrait of a man in a red costume, with a long
deep greenish-coloured waistcoat, white stock-
ings, and black shoes, standing near to some
trees in a landscape. This part of the picture
is evidently the work of Wilson. P.

Clarke, Colonel
Stephenson.
Bordehill,
Cuckfield.

Portrait of Mr. John Clarke, of the Rookery,
Lower Tooting, painted between 1780 and
1 795 - W T e have not seen this portrait.

Cockburn, Mrs. or Portrait group representing the grandfather and
Miss. grandmother and mother of the owner’s mother,

29, Crajton Road, all members of the family of Jewell. We have
Acton. not seen this painting.

Portrait of William Eden, first Lord Auckland.
Small full-length seated in his studio. It
originally belonged to his daughter, the Hon.
Mrs. Colvile.

Colvile, Lady.

1 88 JOHN ZOFFANY, R.A.

Congreve, Lieut. -
General, V.C.
13 th Corps ,
yd Army.

Coote, Eyre.

West Park ,
Damerham,
Salisbury.

Coote, Sir Algernon.
Bally fin,

Queen's Co.,
Ireland.

Craddock &

Barnett (Messrs.)
10, Dudley Road,
Tunbridge
Wells.

Crawford, The
Earl of.
Heigh Hall,
Wigan.

Portrait of Sir William Congreve, F.R.S., Bart.
1772-1828.

Inventor of the life-saving rocket, being shown
round the ramparts of Woolwich by his father,
Lieut.-Colonel Sir William Congreve, Bart.,
who was then in command.

Portrait of Sir Eyre Coote.

Small portrait of James Boswell, in a wig, wearing
a light grey coat, showing the head and upper
part of figure only, possibly cut from a much
larger picture.

On the back of the panel on which the canvas is
mounted is written in old ink “ J. Boswell, by
Zoffany.” A similar inscription is written in
pencil with the initials “ W. J. A.” which refer
to Sir William James Alexander. On the
frame is written “ Fisher, Leadenhall Street.”
P.

Sir W. J. Alexander is stated to have formed his
collection about 1850, and on his death he left
a portion of it to his niece, Mrs. Leicester Hib-
bert, who resided in Tunbridge Wells, and the
picture was purchased in the sale of her goods
after her death. There appears to have been a
family connection between the Alexanders
and the famous collector George Hibbert.

Standing portrait representing Henry Duncombe,
uncle to the first Lord Feversham, a personal
friend of John, first Lord Muncaster, great-
grandfather to the present owner, and from
whom the picture descended.

Costume, light buff-coloured coat, breeches, hat
and stock black. The figure is represented
standing in a brown olive-toned landscape, a

Crosse, Mrs. Warren.
Creswell Gardens ,
South Kensington

Cunliffe, Mr. A. P.

9, Arlington Street ,
S.W.

Curzon, The Earl.

1 , Carlton House
Terrace , W.

(For the Calcutta
Memorial Build-
ing-)

Daniell, Mr.

James W.

7, Royal Crescent,
Bath.

Dashwood, Mrs.

Wilton House,
Shenley,

Herts.

APPENDIX 189

few inconspicuous red poppies being the fore-
ground. 38! x 29.

Exhibited at the Birmingham Exhibition, July
1900 (81); New Gallery 1898 ( 1 5 1 ).

N.B. — The family tradition states that Mr. Dun-
combe is leaning against Lord Muncaster’s
tomb. There is certainly a large block of
stone of a monumental character near to the
figure, but there is no inscription or other evi-
dence to show that it is a tomb. P.

Half-length portrait of Mr. Charles Dumergue,
one of Zoffany’s executors, wearing a scarlet

. coat, and having powdered hair.

Portrait of three children in a group, names un-
known, blowing bubbles. The boy in the
middle is in scarlet with a large white muslin
collar, the other two children are in white
with pink sashes. Engraved in colours by
Martindale. Bought from Messrs. Tooth.

Group representing Warren Hastings and his
wife and her ayah bequeathed by Miss Winter
to whom it had passed from Mrs. Warren
Hastings. The man is in white with a purple
coat and holds his hat in his hand. The lady
is in a yellow costume and wears also a double
row of pearls. The ayah stands behind her
under a tree. In the distance is their house
and a bodyguard of troops with elephants.

Superb representation of Love in a Village,
Shuter, Beard and Dunstall. It belonged to
Beard, and came to its present owner through
nieces, direct from its original possessor.

Very large group representing different members
of the Auriol Family. In the centre of the
group are two ladies, Charlotte, afterwards
Mrs. Thomas Dashwood, in green, and Sophia,
afterwards Mrs. John Prinsep, in gold satin,
represented seated at a round table drinking
tea, while behind are two native servants,
who appear to be pouring out the tea and hand-
ing it. There are tea-cups and saucers on

190

JOHN ZOFFANY, R.A.

the table, and two silver ornaments. Near by
is Thomas Dashwood, second son of Sir James,
of Kirklington, Oxford, in purple coat, white
vest, black breeches and shoes and white
stockings, seated at another table playing
chess, and on the opposite side of the table
is his companion James Auriol, wearing a green
coat, white vest and breeches, green stockings
and black shoes, standing receiving a letter
from a native servant. Another native servant
stands close by.

At the opposite side of the picture are three men,
two standing and one seated, and behind one
of them is a native servant in pink costume,
holding a pipe. The standing figures are
Charles Auriol, in red uniform with white
facings, white vest and breeches and black boots,
and John Auriol in purple coat and white vest,
black breeches, white stockings and black shoes.
The seated figure is John Prinsep, the other
son-in-law, and he wears a brown coat. P.
There is a copy of this picture belonging to Mrs.
Praed at 108, Gloucester Place, Portman Square.
Davies, General H. F. Portrait of Warren Hastings. 28 X22.

R.A., 1879 ( I2 )-
Whitechapel, 1906 (238).

Davies, W. J. Portrait of Zoffany by himself. Standing figure

The Friars' 1 House , in sage-green coat, waistcoat and breeches,
Hereford. white neck cravat and white stockings and

black shoes. He is leaning upon a maul-
stick, and in the other hand carries a palette
set with colours and a sheaf of brushes. Back-
ground brown. Canvas 40 x 18. P.

Perhaps the one at the R.A. in 1771.

De Castro, J. Paul, Esq. Portrait of Daniel De Castro, East India Mer-
1, Essex Court , chant, married August 6, 1766.

Temple , E.C. Portrait of Sarah Judith De Castro, wife and

niece of above, oh. 1824.

Desart, The Earl of. Large portrait of Colonel the Hon. William
Desart Court , Cuffe, M.P. for Kilkenny, represented standing.

Kilkenny , N.B. — It hangs in the entrance hall, see Georgian

Ireland. Mansions in Ireland.

APPENDIX

Desborough, Lady.
Panshanger,
Hertford.

191

George, third Earl Cowper, Countess Cowper,
Mr. and Mrs. Gore and the two Miss Gores.

Lord Cowper is standing in a green coat, pink
waistcoat and breeches; Lady Cowper is in
a pink dress ; her father, Mr. Gore, is playing
the violincello; Mrs. Gore in a grey gown!
Miss Emily Gore, in blue, playing the harp-
sichord and the youngest in white brocade.
Canvas 37 x 30. P.

Countess Cowper was the daughter of Charles
Gore, Esq., of Southampton. Her parents
took her to Italy for her health, where the
family resided for a long time. Mr. Gore is
supposed to have been the original of Goethe’s
“ travelled Englishman ” in Wilhelm Meister.
Mrs. Delany, in one of her amusing letters,
mentions the meeting of Lord Cowper and
Miss Gore at Florence, “ when little Cupid
straightway bent his bow.”

They were married at Florence, and on that
occasion Horace Walpole condoles with Sir
Horace Mann on the prospect, as he would
lose so much of the society of his great friend,
Lord Cowper. Both Lady Cowper and her
husband were in high favour at the Grand-
Ducal Court of Tuscany, and the former was a
great ornament of the brilliant (but by no
means straight-laced) society of the day. Miss
Berry speaks in very high terms of Miss Gore,
who resided with her married sister. Three
sons were born to the Cowpers in Florence.
{Panshanger Catalogue , p. 308.)

Painted at the Villa Palmieri, Florence, which
belonged to George, third Earl Cowper.
He is standing up in the picture ; Lady Cowper
is in a pink dress; her father, Mr. Gore, is
playing the violincello; Mrs. Gore and her
youngest daughter are in grey, and Miss Emily
Gore is playing the harpsichord. This picture
was given to the sixth Earl Cowper by
his brother, the Hon. Spencer Cowper, who
bought it at Florence in 1845 for £20. It was
strongly suspected that it was stolen from the

192

JOHN ZOFFANY, R.A.

Villa with many other objects of value when Lady
Cowper died there at an advanced age in 1826.
II. Nat. Loan Exhibit, Grosvenor Gallery No.
80, p. 94

Whitechapel, 1908 (157).

There is also another picture at Panshanger
attributed to Zoffany.

Drummond, G., Esq. Portrait of Andrew Drummond. The portrait
Drummond's Bank , of Mr. Drummond is a large oval one repre-

London. senting him seated, holding his crutched-top

walking-stick with one hand and his hat with
the other. He wears a wig, and his black-
and-white dog is beside him. They are both
on a bench under a tree. 89 x 70. P.

B.I., 1855.

R.A., 1872 (274).

This picture has been engraved.

A group of the Drummond family.

The picture represents Andrew Drummond,
the fifth son of Sir John Drummond, by his
wife Margaret, daughter of Sir William Stewart
of Innernytie. This Sir John was the grand-
nephew of Lord Maderty, and brother of the
fourth Viscount Strathallan.

Andrew Drummond married in 1716 Isabella
Strahan, and by her had two children, John
Drummond, of Stanmore, M.P., and Isabel,
wife of Captain Peters. Andrew Drummond,
who was the founder of Drummond’s Bank,
died on February 2, 1769, at the age of eighty-
one. His wife pre-deceased him, and died
on February 13, 1731.

The picture gives the portraits of three genera-
tions. Andrew Drummond himself is repre-
sented seated. In one hard he holds his
gold-headed walking-stick, in the other his
snuff-box and hat, and inside the latter is
represented his silk pocket-handkerchief. The
stick is still to be seen at the Bank, in the Bank
parlour. He used it in his famous walk from
Glasgow to London. Seated beside him on
the right is his daughter-in-law Charlotte,

APPENDIX

*93

daughter of Lord William Beauclerk, and wife
of his only son, John Drummond. She has
a costume of pale yellow and cream-coloured
material over a blue petticoat. Beyond her
stands their daughter Charlotte, afterwards
married to the Rev. Henry Beauclerk, the
sleeves and over-dress of her costume being
deep rose-coloured satin over a white under-
dress. On the extreme right of the picture
stands her brother George, holding his hat,
in which is a bird’s nest, and with the other
hand exhibiting to his sister an egg from the
nest. He afterwards married Martha, the
daughter of Thomas Harley, the son of the
third Earl of Oxford. P.

Mr. John Drummond the M.P. is seen standing
on the left of the picture talking to his youngest
son John, who is being held on to a pony by a
groom, dressed in the Drummond grey-coloured
livery. Near by, on horseback, is Mr. John
Drummond’s daughter, Jane Diana, who was
afterwards married to Mr. R. Bethel Cox. She is
wearing a light blue riding-habit and yellow vest.

The figure of the old gentleman, Mr. Andrew
Drummond, who has his dog by his side, is
practically the same as that in the full-length
portrait of him by Zoffany, which also belongs
to the same owner. The picture was painted
at Stanmore in Middlesex, and is one of
Zoffany’s happiest out-of-door conversation
pieces. In the extreme distance in the centre
of the picture, the town of Harrow-on-the-Hill
can be seen lightly indicated.

The group is peculiarly important, because of
the presence in it of the old gentleman who
appears alone in the other picture. 63 x 41.

Another portrait of Mr. Drummond in a coat
trimmed with gold lace and holding a snuff-box.

Drummond, Maldwin, He also possesses another version by Zoffany
Esq. of the portrait of Andrew Drummond, the

Cadland, same portrait as the one in London.

Southampton. Picture representing some beggars, stated to

i 9 4

Durham, Earl of.

. Lambton Castle
Fencehouses,
Durham.

JOHN ZOFFANY, R.A.

have been drawn from life near Stanmore.
There is a woman in red seated near the road
nursing a baby, two other figures are standing
near, one of them being an old man. 30 x 36.

Exhibited at the British Institution in 1840.

Garrick and Mrs. Cibber in the Farmer's Return.

, Garrick is in bluish-grey costume, with yellow
breeches, and wears brown rough boots. Mrs.
Cibber is in green with white apron and fichu
and white cap with blue ribbons. The maid is in
similar costume, and has red ribbons in her
cap, the boy is in green. The interior is a
cottage, Garrick is smoking a pipe, Mrs. Cibber
holding a jug. P.

Exhibited at the Royal Academy, 1762.

No. 10 in Lord Durham’s catalogue.

Garrick and Mrs. Cibber as Jaffier and Belvidera
in Venice Preserved. The scene is Venice
at night, with water, moonlight, and a lighted
lamp on the pavement. Garrick, holding a
dagger, is in deep blue with a yellow vest,
Mrs. Cibber, kneeling before him, is in a
greenish-blue costume, elaborately trimmed
with black.

Exhibited at the Royal Academy, 1763.

No. 9 in Lord Durham’s catalogue. P.

Mr. and Mrs. Garrick at tea at Garrick’s villa
at Chiswick. Dr. Johnson is seated on a
chair apart from the group, and wears a
blue costume, trimmed with gold lace, and
a wig. Mrs. Garrick is at the tea-table, and
is in white costume with a hat. There are two
dogs near her. Garrick in violet costume
stands behind her. Mr. Bowden is sitting
near, and is in blue with a yellow vest, his
three-cornered hat lies on the ground, and a
third dog is near to it. George Garrick is
fishing, and wears a red coat. The scene is
on the banks of the Thames, and there are
trees and houses in the distance.

APPENDIX

x 95

N.B . — According to one account, the lady is
said to be Mrs. Thrale, and not Mrs. Garrick,
and according to yet another she is declared
to be Mrs. Bowden.

No. 7 in Lord Durham’s catalogue. P.

Shakespeare’s Temple at Chiswick, sometimes
called “ Pope’s Villa,” with Mr. and Mrs.
Garrick. Mr. and Mrs. Garrick stand on
the steps of the temple. He wears a white
coat, blue breeches, a long blue vest, and a
stick in his hand, she is in blue and holds a fan.
A child is also standing on one of the steps,
and by the side of the temple is the figure
of a servant who is bringing in some food.
A man stands near the river-bank, and a very
large St. Bernard dog is seated in the fore-
ground. Is this, perchance, Dragon, the dog
to whom Hannah More addressed an ode ?

No. 8 in Lord Durham’s catalogue. P.

The above four pictures are said to have been
bought by the second Earl of Durham at
Garrick’s sale for £25 each.

Dysart, The Earl of. A group of six men, said to be members of the
Ham House. Tollemache family — in the smoking-room— is

attributed to Zoffany.

Edgcumbe, Sir
Robert.

Quay House ,
Newquay.

Portrait of Edward Pearce (1725-1810), great-
grandfather of the owner, represented in brown
coat and waistcoat, the latter showing a lining
of rose pink, pale buff breeches, and black
top boots. Canvas 25 x 18L P.

Edwards, Mr. F. Portrait of Beneram Pundit, the Vakeel, or Minister

of the Rajah of Berar. 33b x 24.

The original painting executed at the request of
Warren Hastings (and until now in the pos-
session of a member of the blastings family),
as a record of his gratitude and friendship for
a man who rendered him great service during
the Benares Insurrection. Hastings had a great
affection for the picture and it was always
hung in his dining-room.

i cj6 JOHN ZOFFANY, R.A.

“ Beneram Pundit and his brother have shewn
an uncommon attachment to me. You will
like them for it.” — Hastings' Letters to his Wife.
“ When I was at Benares in 1780, I bestowed a
piece of land in Gazeepor on Beneram Pundit.
... If . . . the family have been deprived
of this property I will entreat you to put them
in the way to obtain the restitution of it.” —
Hastings' Letter to Sir Charles D'Oyly.

An account of the services rendered by Beneram
Pundit will be found in selections from the
State Papers of the Governor-General (Warren
Hastings); Vol. II., pp. 165-167. Mention
also is frequently made to Beneram Pundit in
Hastings' Letters to his Wife.

Picture entitled “ The Porter and the Hare,”
depicting two schoolboys reading a tablet
attached to a hare which is being carried by a
porter. The picture is signed “ Air. Zoffany
Pictor,” and is probably the original. 30 x 25.
P.

R.A., 1769 (213).

Portrait of a man unknown, bought as a portrait
of Ozias Humphry but not representing him.
26 x 21.

Picture of Garrick as Sir J. Brute. 30 x 24.
R.A., Winter Exhibition, 1884 (55).

N.B.— Lord Normandy exhibited a picture with
a similar title at the Grafton Gallery in 1897.

Group representing two men seated over a
table on which is a punch-bowl, and smoking
long clay pipes. Behind the two figures is
W alton-on-Thames . represented a picture hanging on the wall,
and part of another one. The group is
evidently a part of a much larger picture, from
which it has been cut. The foot of the table
is missing, and part of the shoe from one man’s
foot, while the unusual perspective proves
that there were originally more figures in the
group. It is a very full rich colour, and

Ehrich Gallery.
New York.

Essex, The Earl of.
Cassiobury Park.

Fairbairn, J. Brook,
Esq.

Ardwick,

APPENDIX

x 97

Farren, Mrs.
The Mount ,
Inchbrook,
Stroud.

Fawkes, Admiral Sir
W lLMOT.

Steelcross House ,
Eridge,

Sussex.

Fisher, Rev. F.
Leycester.

{Address unknown.)

Fleischmann, Louis,
Esq.

59, Brook Street.

Florence.

The Uffizi Gallery.

Freshfield, Douglas,
Esq.

Wych Cross Place ,
Forest Row ,
Sussex.

originally belonged to the owner’s father,
the late Sir Thomas Fairbairn, but there is
no record concerning the place where he
obtained it.

Portrait of William Farren, her great-grandfather,
in fancy costume. He was the father of
William Farren the actor, and grandfather of
the third William Farren, also an actor, the
last of whom is said to have been the best,
Sir Peter Teazle, who was ever seen on the
stage.

Portrait of Miss Fenton, daughter of William
Fenton of Carr House, York, whose sister
married the great-grandfather of the present
owner, Mr. Lee.

Miss Fenton is represented as a Vestal Virgin
holding up her veil with her left hand, and
having in her right hand a vase with a handle.
She wears sandals, and in the background
is a purple curtain and a column. She after-
wards became Mrs. Ployle. The picture has
never been out of the possession of the family.
Circa 36 x 27.

Two groups by Zoffany, both painted between
1770 and 1790, and lent to an Exhibition at
Bath.

(1) Peter Friell and a friend.

(2) Mrs. Friell and her sister.

Portrait of Dr. Thomas Hanson in mulberry-
coloured costume, seated under a tree, and
holding a walking-stick. Circa 36 x 24.

Japan Exhibition, 1910 (15). P.

There is a portrait in Berlin of the same man.

Portrait of Zoffany in a fur robe. Reproduced
in Museo Fiorentino Ritratti di Pittori.

Portrait of a woman unknown, twenty to thirty
years old, in a pink dress open in front, with
what appears to be a sprig of jasmine fastened
on the bodice. Her hair is dark, and has
pearls entwined in it. She has blue eyes.

198

JOHN ZOFFANY, R.A.

On the back of the picture is the following
inscription—

“ Susanna Trusson gives this her picture to
Mrs. Ann Lynn by her desire and that if
she wished to part with it, to give it to some
of Susanna Trusson ’s family, either brother
or sister, 10 July, 1790.”

Oval, 12 x 10. We have not seen this.

Scene from Love in a Village , representing Foote,
Shuter and Dunstall. 50 x 40.

The portrait was bought by the owner’s grand-
father, circa 1830, for £1000, and was lent to
the Portrait Exhibition at South Kensington
in 1867.

Item 614, R.A., 1767 (?).

23. Scene from the Clandestine Marriage (1768-
1769). King as “ Lord Ogleby,” Mrs. Badde-
ley as “ Fanny Stirling,” and Baddeley as
from the Club catalogue.) “ Canton.”

This picture was painted by the express com-
mand of George III, after witnessing Mrs.
Baddeley ’s performance. Purchased in 1851.

Engraved by Earlom.

101. Thomas Weston (1737-1776), Comedian.
As Billy Button in the Maid of Bath. Small
full-length, brown coat, pink w T aistcoat.

A comedian distinguished by his breadth of
humour, by-play, and absorption in the busi-
ness of the scene. Garrick had a high opinion
of his ability, and specially as “ Abel Drugger,”
Garrick’s own part. As “ Scrub,” Beaux
Stratagem , it is reported Weston’s humour
was too much for Garrick’s equanimity as
“ Archer.” Weston died early a victim to
habitual intemperance.

104. Scene from Speculation , Covent Garden,
1 795 . Munden as “ Project,” Quick as “ Aider-
man Arable,” and Lewis as “ Tanjore.”

Painted by desire of His Majesty King George
III. Quick’s portrait is repeated in the picture
behind him.

Garle, John Acton,
Esq.

Chipstead,

Surrey.

Garrick Club.
(The numbers and
critical remarks are

APPENDIX

*99

1 1 6. Thomas Knight (1764-1820), Actor and
Playwright, as Roger in The Ghost. Small
full-length, wearing a white smock.

Of a Dorsetshire family of good position. Intro-
duction to Macklin, led him to adopt the stage.
Chiefly connected with Covent Garden Theatre.
Excellent in coxcombs and rustics, associated
with Lewis in management of the Liverpool
Theatre, of which he was part lessee. His
line of business had much in common with
his contemporary “ Edward ” or “ Little
Knight.” After his retirement he took up
the life of a country gentleman. Knight
died at Manor House, Woore, Shropshire.
His wife, Margaret Farren, was sister of the
Countess of Derby.

R.A., 1796.

120. David Ross (1728-1790), Actor and
Manager. As Hamlet. Small full-length,
black velvet suit, holding a book. P.

Of Scottish extraction. Educated at West-
minster, pupil of Quin, engaged by Garrick,
a good personality and pleasing address dis-
tinguished him in the “ fine gentleman,”
and he had every requisite for the stage save
application. Management of the Edinburgh
Theatre landed him in difficulties. Indolence
and high living contributed to his troubles.
Churchill sums him up fairly —

“ Ross (a misfortune which we often meet),
was fast asleep at dear Statira’s feet.” Buried
in St. James’ Piccadilly, James Boswell posing
as chief mourner.

The story of the young man whose conscience
was smitten by witnessing Ross’s performance
of George Barnwell (very effective), and who
for many years is reported to have sent the
actor annually a ten-pound note in recognition
of the donor’s reformation, is not a mere green-
room tale, but a fact.

Grafton Gallery, 1897 (93) when belonging to
Irving.

200

JOHN ZOFFANY, R.A.

124. David Garrick (1717-1779), as Lord
Chalkstone. Small full-length, holding a
crutch, red waistcoat.

Garrick introduced this character in his dramatic
satire Lethe , for Mrs. Clive’s benefit, Drury
Lane, March 27, 1756.

B.I., 1865 (176) 13.

135. David Garrick (1717-1779). (Full face). P.

378. Scene from Venice Preserved , Act IV.

Garrick and Mrs. Cibber as “ Jaffier ” and
“ Belvidera.”

384. Thomas King (1730-1805.) As Touch-

stone in As You Like It. ( See No. 28.) In
harlequin dress.

386. Scene from Macbeth , Act II. Garrick
as “ Macbeth ” ; Mrs. Pritchard as “ Lady
Macbeth.” Engraved. P.

447. Charles Bannister (1738-1804). Actor

and Singer. Father of Jack Bannister. Pre-
sented by William Banting.

449. Scene from the Village Lawyer. John
Bannister as “ Scout,” Parsons as “ Sheepface.”
Treated by de Wilde. ( See No. 114). Pre-
sented by William Banting.

475. William Parsons (1736-1795).

As old Man in Lethe.

N.B. — An anonymous author, writing in 1824
on “ British Galleries of Art,” refers to several
of Zoffany’s pictures which were then in
Mr. Mathews’ theatrical gallery, and are
now in the Garrick Club. The picture of
King and Mrs. Baddeley he describes as
“ truly exquisite, merely as a work of art, but
when regarded as including the portraits of
two most accomplished artists in their way,
doubly valuable.” Further on, he speaks of
it as painted in “ every part with great care
and skill.” Writing about the group of Garrick
and Mrs. Pritchard, he says that, “ the coun-
tenance of Garrick is highly expressive and
characteristic, but,” he adds, “ there is a
singular want of truth and propriety in the

APPENDIX

201

Garrick, George.
(A descendant of),
in London.

Glasgow, Corpora-
tion of.

Glenconner, Lord.
34, Queen Anne's
Gate.

Goldman, The Hon.
Mrs.

Walpole House ,
Chiswick.

attitude of the lower limbs.” He comments
unfavourably upon the costumes worn at that
time upon the stage, saying that Macbeth
was attired in a suit that would form an excel-
lent model for a Lord Mayor’s State footman.
The same writer alludes very favourably to
Zoffany’s picture of “ Garrick and Mrs. Cibber,”
while the group of “ Quicke, Lewis and
Munden,” he characterises as admirable, and
says that the expression of Garrick in his
picture of “ Lord Chalkstone ” is given “ with
great spirit and force, and shows in a very
striking manner the comic powers of Garrick’s
countenance.” He also refers briefly to
Zoffany’s portrait of Ross in the same gallery.

Group representing a scene in The Provoked
Wife , by Vanbrugh. Sir John Brute (David
Garrick), is masquerading in female attire
when the “ Watch ” attempt to arrest him.
Sir John knocks down one, and lays about him
on the rest.

The watchman as well as Sir John Brute are
all portraits, and in the order in which they
stand are (from the left), Vaughan, Hallet,
Clough, Parsons, Watkins and Phillips. The
picture passed from David to George Garrick
and has never left his descendants. P.

It was engraved by Finlayson as after a picture
by Zauffelly — an error on the part of the
engraver. The print is very rare.

Group representing a family party, or “ the
Minuet.” From the McLellan Gallery, bought
by Glasgow in 1854. 39 x 49.

Portrait of Miss Stephens the actress, afterwards
Lady Essex. 12 x 9%. P.

A group of three figures, a father and two sons,
in a garden, the boy on the right, flying a kite.
The father wears a long blue coat and breeches
and red waistcoat ; the boy beside him a brown

202

JOHN ZOFFANY, R.A.

coat and pale yellow breeches, and the boy
flying the kite in similar costume. The names
of the persons are unknown. The picture
was left to its present owner by a Mr. Fried-
lander, who bought it from Mr. Martin Colnaghi.
He acquired it at Christie’s, June 1900, for £105.
Exhibited by Zoffany at the Society of Artists
in 1764, No. 141, when it was described
as a family group. It is an exceedingly fine
work.

Graham, Sir Reginald Family group representing Sir Bellingham
FI., Bart. Graham, fifth Baronet (1729-1790) seated,

Norton Conyers , his son Bellingham in a red coat, afterwards

Melmerly, sixth Baronet, standing near, and Elizabeth,

Yorks. his daughter, who married John Smith in 1765,

and Catherine, another daughter, who married
Henry Francis Fulk Greville in 1766. They
are all under a tree in the park, which has ever
since been known as the Zoffany tree.

391 x 49. P.

R.A., 1878 (230).

A sketch of Sir Bellingham Graham, fifth Baronet.
( i 729 - i 79 °). _

A sketch of Mistress Ellis the Housekeeper at
Norton Conyers in 1780.

A clock by Rimbault with the face painted by
Zoffany in the early days of his coming to
England. On it in a panel are five men’s
figures, one at a forge, one knife-grinding,
one at an anvil, etc. There is a windmill in
the distance. The men’s arms move with
the minutes, the windmill with the hours. P.

Greenwich Hospital. Group representing the death of Captain James
Gallery in the Cook at Owyhee, February 14, 1779. No. 57.

Painted Hall. Presented by J. K. Bennett, Esq., executor

to Mrs. Cook the widow, in 1835.

The group represents the scene when Cook
had landed, accompanied by Lieutenant
Phillips of the Marines and several of his men,
and endeavoured to obtain possession of the

Greene, T. W., Esq.
22, Park Square East ,
Regent's Park.

APPENDIX

203

Haffety, William,
Esq.

The Ring of Bells,
Rotherham,
Yorkshire.

Halifax, Viscount.
88, Eaton Square.

Harris & Sinclair.
47, Nassau Street,
Dublin.

Heriz-Smith, Joseph,
C. T., Esq.

Slade,

Bideford,

Devon .

King of Owyhee whom he intended to hold
as a hostage until the boat which had been
stolen from his ship was restored, but a large
concourse of the natives pressed upon him,
and obliged him to retreat to the shore, while,
turning to restrain the fire from the boats, he
was stabbed from behind by one of the chiefs,
and immediately afterwards despatched by
another. P.

Picture attributed to Zoffany, and believed to
represent Captain Cook and his family. It is
now being exhibited at the Rotherham Museum.

It represents a group of persons seated on a
flight of steps, holding various objects illustrative
of circumnavigation — one a packet of sealed
papers, another a log, a third a square, a fourth
a drawing-board. In the distance can be
seen a ship in full sail. 53 x 34. P.

Portrait of a Lord Craven. 24 x i8|. Not seen.

Fine clock with figures painted by Zoffany,
musical movement. P.

Portrait group representing Thomas Somers
Cocks, the banker (1737-1796) and Richard
Cocks, his brother (1740-1821), seventh and
eighth sons of John Cocks of Castleditch.

The picture shows two small full-length figures
in a landscape, one seated on a block of stone
under a tree, holding a newspaper in his hand,
at which he is pointing, the other stand-
ing, resting his left hand on his brother’s
shoulder, and holding his cocked hat behind
his back. Both of them have long coats with
velvet collars, white stockings and buckle
shoes, and the picture is inscribed with the
names of the sitters and with the words “ Zof-
fany pinxit ” in a later hand. 27J- x 35 L P.

Portrait group representing the Rev. John Cocks
( 1 73 1— 1793) and James Cocks (1734-1804),

204

Hesketh, Mrs.
Everard.
Beachcroft,
Court Road ,
Eltham.

JOHN ZOFFANY, R.A.

the third and fifth sons of John Cocks of
Castleditch.

The scene is the interior of a room. On the
right the elder brother is seated, with his left
arm resting on a round table, and holding a
book in his right hand. He is in clerical
attire with silk gown, wig and bands. Oppo-
site to him stands his brother, in a suit of
dark blue velvet with gold buttons, white
stock, buckle shoes and white stockings. He
is leaning his right arm on the back of a chair
which, like the one in which his brother is
seated, is covered in a chequered material, and
he holds a three-cornered hat and a stick in his
left hand. There is a picture hanging upon
the wall, which appears to represent a group in
India, or else a classical subject. The principal
figure is that of a woman holding a child.
The picture is inscribed with the names of the
sitters, and with the words “ Zoffany pinxit ”
in a later hand. Canvas 28 x 36. P.

The above two pictures were exhibited at the R.A.
Winter Exhibition in 1891 (Nos. 8 and 16).

Photographs of the pictures belong to Mr. Edward
Cocks, of 47, Wilton Crescent.

Portrait representing Joseph Cocks, grandfather
of the owner, represented in blue velvet, reading
a book.

Portrait representing the Rev. Philip Cocks, sixth
son of John Cocks of Castleditch (1776-1797).

Group representing Zoffany and his children. The
artist is seated in about the centre, and wears a
blue coat with a white collar. It depicts him
in old age. One of his daughters in white is
playing on a harpsichord, another, also in white,
is playing a harp near by. The two younger
children are represented one at each end of
the group, but their figures are only slightly
sketched in, and have never been completed.

In the rear is the figure of the old nurse, Mrs.
Ann Chase, who died in 1810 at the age of

APPENDIX

205

Hill, Arthur F., Esq.
140, New Bond Street.

Hill, Lady.

4, Ovington Gardens.

eighty-one, and was buried in the same grave
as Mrs. Zoffany. In her arms she is carrying
one of the children. The tradition in the
family is somewhat complex respecting this
picture. By some it is thought that the child
in the nurse’s arms is an imaginary representa-
tion of the little boy who died as an infant, by
others it is stated that it is the youngest girl,
afterwards Mrs. Oliver, and that the third
girl is twice represented in the picture, first
of all on the left, where she is being reprimanded
for treading on her sister’s dress, and the other
on the right, where she is just leaving the room,
it having been stated that she was dismissed
from the apartment in disgrace. There are
certainly representations of five children in
the group, and Zoffany had but four living
at the same time.

The group was painted for the family and has
never left its possession. Circa 30 x 35. P.

Portrait of Mrs. Zoffany in a black dress, with
a white bow, wearing a white tulle and satin
cap, and having very white hair. Her arms
are folded, and rest upon what appears to be
a white cushion. Circa 25 x 20. P.

Companion portrait of Lady Doratt, daughter of
Zoffany, represented in black dress with a white
collar, having a blue band in her hair, and wear-
ing large earrings. She has her hand up
to her face. P.

N.B. — The same owner possesses Zoffany’s
“ Patent of Nobility ” already referred to and
illustrated in this book. P.

Portrait of Dr. Arne at one time in the possession
of Mr. Littleton. Illustrated in the Musical
Times in 1900, in the catalogue of the Musicians’
Exhibition, and in the Burlington Magazine.

Portrait of Mrs. Everitt. Head to the waist,
powdered hair, blue dress with fichu, white
lace cap. Oval, 13 x 8.

Originally purchased from Agnew’s.

206 JOHN ZOFFANY, R.A.

Holden, The Rev. R.
Nuttall Temple,
Nottingham.

Hope, Mrs.

39, Thurloe Place,
London, S.W.

Horne, Mrs., Sen.
The Lodge,
Drinks ton,
Bury St. Edmunds.

Hughes, Colonel

H. B. L.

Kinmel Park,
Abergele,

North Wales.

Hutchison,
Mrs. K. G.

Hylton, Lord.
Ammerdown,
Radstock.

Portrait of the Right Honourable Charles James
Fox. Three-quarter length. Blue costume. A
landscape with temple in background. 50 x 40.

S.K., 1867 (747). P.

Portrait of David Garrick. Brown coat, scarlet
revers, grey powdered hair, holds a pen in his
hand. Oval, 21 x 18.

Clock with figures painted by Zoffany. P.

Portrait of her grandfather, Thomas Horne, D.D.,
whose son, also a Thomas Horne, D.D., married
Cecilia Clementina Louisa, Zoffany’s daughter,
in 1799. Fie is represented in a black gown,
wig and bands, standing in a library, surrounded
with books, and is pointing to one which is
open on the table near by. 57 x 46.

Portrait of Queen Charlotte. Life-size figure,
seated. Costume, whitish brocade with coloured
flowers and stripes of brown trimming. Hair
powdered, adorned with pearls. Right hand
on the back of the chair. There is a crown
on a red-draped table behind the Queen. She
is wearing the pearl necklace which now belongs
to Her Royal Highness, the Duchess of Cum-
berland, four rows of pearls close round the
neck, and three graduated rows below with
four large drops.

The chair is gold, with a red back. In the rear
of the portrait is a column and a red curtain.
60 x 39. We have not seen this.

Picture representing Baddeley as “ Moses ” in
The School for Scandal.

Whitechapel Gallery, 1910 (122).

R.A., 1781.

Portrait of Samuel Squire, son of Thomas Squire
of Warminster (1714-1766), Clerk of the Closet
to George, Prince of Wales, afterwards George
III, Dean of Bristol and Bishop of St. Davids.
Three-quarter figure, seated to the right, full

APPENDIX

207

Impey, Edward, Esq.
The Corner House ,
Steeple Ashton ,
Trowbridge.

India Office

face, episcopal robes and wig, represented as
turning over the leaves of a Bible. 51 x 41.

Large group representing Sir Elijah and Lady
Impey, with their three children, ayahs and
servants, one child being depicted as dancing,
another in the arms of her ayah, and the third
by her mother. The children are all in native
dress, the attendants playing musical instru-
ments. 48 x 36. P.

Portrait of Lady Impey, full-length, seated, in
evening dress, with a dog in her arms.

Sketch for the head of the portrait of Sir Elijah
Impey, now in the National Gallery.

Portrait of Asaf-ud-daula, Nawab Wazlr of
Oudh. Three-quarter length, seated figure,
the right hand resting upon one knee, the
left pressed against the side. Costume, muslin,
with necklaces and armlets of pearls and gems,
the red turban is also ornamented with jewels.
51 x 41. No. 109. Whitechapel, 1908 (8).

The following note is at the back of the canvas —

“ John Zophany painted this picture at Lucknow,
a.d. 1784, by order of His Highness, the Nabob
Vizier Asoph U 1 Dowlah, 1 who gave it to his
Servant Francis Baladon Thomas.”

Francis Baladon Thomas was a surgeon-major
on the Bengal Establishment, and also surgeon
to the Lucknow Residency. In 1785 he had
a quarrel with Mr. Bristow, the Resident, from
whom he had demanded payment for medical
attendance. This led to his being brought be-
fore a Court-martial and dismissed the service.

Portrait of Hasan Raza Khan. 2 He is seated on
a sofa, with his right hand on his sword, and
his left holding the stem of a hookah. The
costume is of muslin with a rich sash, and a
plain red turban. The note on the back of the
picture is as follows —

“ John Zophany painted this picture at Lucknow,
a.d. 1784, by desire of Plussein Reza Caun,

1 I- I .

208

JOHN ZOFFANY, R.A.

Ireland, National
Gallery of.

James, Mrs. W.
Coton House ,
Rugby.

Jervis, Mrs.
Doddington Hall ,
Lincoln.

Johnston, Captain
Campbell.

West Wood,
Ascot.

Keate, The Late
Mr. George.

Nabob Suffraz U 1 Dowlah, who gave to his
friend Francis Baladon Thomas.” ci x 41.
No. hi.

Whitechapel, 1908 (4).

Head of Charles Macklin, Irish actor, represented
in the part of “ Shylock.” 9x7.

Bought at Christie’s in 1888.

Portrait of Garrick.

Bought of William Permaine, 1903.

Group representing an old lady in a rose silk
skirt and white over-dress seated to the right
holding out her hand to a small child — perhaps
her grand-daughter — of about two years old.
The child is in white and running towards
the old lady. Near by stands a lady in green
with a blue cloak on her arm, perchance the
child’s mother. She is wearing a pearl neck-
lace. The picture was purchased from Mr.
Martin Colnaghi.

Small group of mendicants, representing an old
man seated, a woman standing near by holding
a baby, and another child at the back. 36 x 30.

The picture was endorsed, by Mr. Edward
Delaval, in 1814, as being the work of Zoffany.

Portrait of Hester Maria Johnston, daughter
of the fifth Lord Napier, and great-grand-
mother of the owner, with her little son, after-
wards Sir Alexander Johnston, who married
Louisa, the daughter of Lord William Campbell.

The picture is a very large one, and represents
a tall woman, wearing a kind of bonnet or
hat with long strings to it, and carrying a basket
of roses in one hand, while with the other she
is scattering similar flowers. By her side
stands her son, who is in knee-breeches with
white stockings, shoes with rosettes, and has
a ruff about his neck.

Steevens bequeathed to him Zoffany’s portrait
group of Garrick and Mrs. Cibber.

APPENDIX

209

Kennedy, Mrs. Portrait group representing Mr. and Mrs. Peter

x\lexander Wetten of London Style House, Chiswick,

(nee Wetten). near neighbours and close personal friends

Lyceum Club. of Zoffany’s. They were the grandparents

of the owner of the picture. Mr. and Mrs.
Wetten both died at Chiswick, and lie in the
Wetten vault at Kew. ( See p. 45.)

The man has a pink vest, yellow breeches and
brown coat, and holds a hoe. The lady is
in blue and white and holds a bird. Another
bird is being brought to her by a servant who
wears a black hat. Near by is a young soldier
in blue uniform with white facings. In the
distance a dog in a kennel, trees, and a rick of
hay. 80 x. 55.

Unfinished picture of the “ Tiger Hunt ” in
India, declared to have been painted for Warren
Hastings. 50 x 40.

Small picture, believed to represent a meeting
of the Royal Academy with the King in the
69, Grosvenor Street, foreground, wearing a light blue coat and the

Garter ribbon, and represented as looking
at one of the pictures and talking to a lady.
N.B. — There is some doubt as to whether this is
by Zoffany.

Ker, Miss
Ladies' Empire Club ,

Kimberley, The Earl
of.

Kimberley House ,
Wymondham ,
Norfolk.

King, His Majesty
The.

Buckingham Palace.

Portrait of Lady Wodehouse (1769). She is
wearing a shot opal-coloured dress with prim-
rose sleeves and sash. She has a tulle veil
powdered with silver stars on her hair, and some
pearls.

Portrait of George III. In scarlet uniform, with
white waistcoat, wearing the ribbon and Star
of the Garter. Painted in 1771. 64^ x 53I.

Portrait of Queen Charlotte. Seated at a table
her arms resting on a crimson cushion. Cos-
tume blue silk dress trimmed with lace, and
black scarf. 1771. P.

R.A., 1882 (268). Engraved by Sayer. 65 x
5 2 i-

N.B. — The above two pictures are in the East
Gallery.

210

King, His Majesty
The.

Windsor Castle.

JOHN ZOFFANY, R.A.

Portrait of George, Prince of Wales, and Frederick,
Duke of York, as children in knee breeches.
The Prince in crimson, the Duke in blue,
x 79 i

B.I., 1827 (143).

Charlotte Augusta, Princess Royal, and William
Henry, Duke of Clarence, as children. The
Princess in a white and gold costume, the
Prince in blue with knee breeches. 51 \ x 79!

R.I., 1855 (122).

N.B . — The above two pictures are in the Throne
Room.

Frederick, Duke of York, second son of George II.
In red coat with blue facings, yellow waistcoat
and yellow breeches. 71 x 60.

Painted for George III. This hangs in the
corridor.

The Lapidaries. A portrait of Peter Dollond,
the optician, who is represented seated at a
bench beneath a window, holding in his hand
a lens. His assistant is standing behind him.

35 i x 2 ~b

B.I., (171).

International, 1862 (32).

This was exhibited at the Royal Academy in
1772, and has been engraved. The picture
is on the visitor’s landing.

Queen Charlotte and her two eldest children.
The Queen is in white satin and is seated in
Old Buckingham House, by her dressing-table.
Her reflection can be seen in the mirror. There
is a fine view from the open window. The
Princess Royal is in an oriental style of costume,
the Prince in Roman military dress. In the
picture is represented a large French clock,
which now stands in the corridor close by the
picture. 44^- x coj. P.

B.I., 1828 (121).

Queen Charlotte with her brothers, sister and
children. The Princess Royal is holding a
doll, the Prince of Wales standing on a seat.

;•

tjm

f fm v.

Coll, oj His Majesty the King

Lord Chamberlain's Department photo

THE DUKE OF CLARENCE AND THE DUKE OF KENT AS CHILDREN

APPENDIX

21 1

King, His Majesty
The.

Frogmore.

Kynaston-Mainwar-
ing, Mrs.

Oteley,

Ellesmere.

Princess Elizabeth as a baby is being held by
the Queen’s eldest sister, Christiana. Near
to the Queen stands her two brothers, Ernst
and Georg. 46 x 50.

R - A -> 1 773 ■

B.I., 1858 (155). P.

These two pictures are in the Grand Corridor.
There are also two other pictures at Windsor
Castle which were commissioned by Queen
Charlotte. One represents George III, Queen
Charlotte and six children, which has been
engraved by Earlom. They are in what was
termed Vandyck dresses. 46 x 50.

R.A., 1770.

The other one represents the Duke of Clarence
and the Duke of Kent at Buckingham House
as children, playing with a dog. 44 x 50.

Interior of the Florence Gallery. 47 x 59.

R.A., 1780 ; 1895 (95).

International, 1862 (133)-

R.I., 1814 (2).

B.I., 1826 (162). P.

“ The Life School ” in the Royal Academy — and
Key. 39 x 571.

R.I., 1814 (63).

R.A., 1895 (100) ; 1872 (2).

B.I., 1826 (158). P.

N.B . — A group of the family of George III,
Queen Charlotte, etc., was exhibited at

International, 1862 (93).

B.I., 1826 (125) ; 1827 (14°)-

George III and a family group was exhibited at

International, 1863 (94).

B.I., 1827(175).

Repetition of seated figure of George III at
Buckingham Palace.

Group representing a Grand Duke of Austria,
exhibited at Wrexham Exhibition in 1876,
No. 377. The picture is thus described by
the owner —

212

JOHN ZOFFANY, R.A.

“ There is a brown stone triumphal arch in the
rear, with carved figures and inscription upon
it. Near by is a standing figure, with dark
hair, eyes and lashes. Costume, dull plum-
coloured coat, long waistcoat and knee breeches,
white stockings, black shoes and buckles, hold-
ing a cane in the left hand, and showing the
point of the sword. The man wears a lace
cravat and ruffles. Near by is a second figure
of a man, who is seated on natural stonework,
and has one leg crossed over the other. His
hair is powdered and tied with a black bow.
He wears a blue coat with a red collar and
blue frogs, a long red waistcoat, braided and
ornamented with gold, a coat lined with white
satin, black satin knee breeches, white stock-
ings, black shoes and buckles, lace cravat and
ruffles. His cane is leaning in the crook of
his left hand, his sword-handle is shown, and
he has a three-cornered hat lying near him.
On the ground is a white spaniel dog.”

The background represents hills with sea and
lighthouse. 53 x 38L

Lane, John, Esq. Portrait of Zoffany himself as a young man. He
The Bodley Head , is wearing a red coat and yellow breeches,

Vigo Street. and is seated with his legs crossed. The

identity of the portrait with the rare engraving
of Zoffanv in the “ Museo Fiorentino,” evidently
drawn a few years later than this portrait,
renders the attribution at one time a matter
of conjecture, now a matter of certainty. The
features are almost identical with those in
the engraving. It may also be noted that a
book very similar to the one in the engraving
appears in the portrait. 50 x 35- p -
Portrait of John Maddison, of the Goldsmith’s
Company. He acquired his freedom by re-
demption in 1763. He became a member of
the Livery in 1767, and of the Court in 1771,
afterwards serving as Warden in 1780, 1781,
1782 and 1784, in which year he was Prime

APPENDIX

213

Warden. He died between 1795 and 1801.
He was Zoffany’s stockbroker, and stood as
security for him when he went to India (see
p. 81). The picture represents him in a red
coat and wearing the fur-trimmed black robes
appertaining to his office of Warden. It is
signed by Zoffany — a most unusual circum-
stance — and dated 1783. P.

It was exhibited at the Royal Academy in 1784.
Bought in London in 1919. 50 x 40.

A Drawing of Zoffany by himself. Signed and
dated 1761.

Lane, The Late Sir He had in his collection at one time a full-length
Hugh. portrait of Mrs. Yates the actress. It is believed

now to be in America.

See Shakespeare Exhibition, Whitechapel, 1910.
No. 7.

Lansdowne, Marquess Portrait of Macklin as “ Shylock,” in a group
of. representing what was probably his last appear-

ance at the age of ninety. The figure on the
extreme left in the group is that of the Earl of
Mansfield. 45 x 57. P.

R.A., 1884 (54).

N.P.G., 1867 (806).

Portrait of Mrs. Salusbury. Standing in a paved
chamber, with black silk dress with white
lace collar and white cap, over which is a thin
black veil, falling below the shoulders. In
her right hand, resting on the back of a chair
in dark velvet, is a parchment document with
red seal, in the left, a large white silk handker-
chief.

In the foreground is a brown and white spaniel,
to the right marble columns surmounted by an
archway through which can be seen a flight
of steps leading to a garden. On the left hangs
the portrait of a gentleman in a blue coat and
red vest. Canvas 50 x 39. P.

The picture was found at Tully Allan, where it
had been taken by Lady W. Osborne Elphin-
stone, whose mother, Lady Keith, was the

2I 4

JOHN ZOFFANY, R.A.

daughter of Thrale, and grand-daughter of
Mrs. Salusbury. In a letter from Mrs. Piozzi,
dated Weston-super-Mare, October 18, 1819,
she thus writes respecting this picture : “ My
mother’s portrait by Zoffany should go to Lady
Keith, who alone of my family can remember
her.”

Lascelles, Lord. Two portraits in the library, one representing
Chesterfield House , Miss Taylor, in a grey-green mannish costume,
Mayfair. holding a stick in her hand. Her hair is

dressed very high and pow T dered. 30 x 25.
The other representing Mrs. Hannah More in
a red dress with white mob cap, and with
folded hands. 36 x 28.

Portrait of Tom Law. Painted to the order of
the great-grandfather of the present owrner,
Ewan Law, before Tom Law went to America.
Information derived from Sir Algernon Law,
K.C.M.G., of 74, Brook Street.

Law, Miss Gertrude.
Oakhurst,

The Common ,
Midhurst ,
Sussex.

Lee of Fareham, Lord. Portrait of a gentleman, name unknown. P.
Chequers'’ Court , Bucks.

Leggatt, Messrs.

St. James Street.

Portrait of Admiral Lord George Anson standing
in an apartment before a hemisphere. 19! x
13. P.

From Martin Colnaghi’s sale, October 1908.

Locker-Lampson, Portrait of Benjamin Stillingfleet, represented
Godfrey, Esq., M.P. as an elderly man in drab coat with ruffles
Rowfant , and small grey wig. 42 x 33.

Sussex.

Locko Park. There is a picture attributed to Zoffany in this

Near Derby. house, which at one time belonged to Shep-

( IF. Drury-Lozce collection), herd’s Gallery. It is believed to be illustrated

in a back number of The Connoisseur .

Longman, T. Norton, Portraits of a brother and sister named Harris,
Esq. painted at the ages of fourteen and sixteen

Shendish, years. The sister married the great-grand-

King's Langley , father of the owner of the picture. P.

Herts.

Coll, of Lord Lee of Fareham

By kind permission of “ The Connoisseur'

PORTRAIT OF A COUNTRY GENTLEMAN, NAME UNKNOWN

APPENDIX

215

Lovelace, The
Countess of.

Wentworth House ,
Chelsea Embankment ,
London.

Lucas, Seymour, Esq.
Hampstead.

McCalmont, Sir
Hugh.

Mackenzie, Lady
Muir.

Portrait of Lord Wentworth with his three sisters,
afterwards Lady Milbanke, Lady Lamb, and
Lady Scarsdale. 50 x 39.

Lord Wentworth is in red with black and gold
robes over his costume. He holds an engraving
in one hand and a book in the other. His three
sisters and a dog are near to him. In the
distance is a view of London.

He is said to possess a head by Zoffany.

Portrait of a man in a white coat, seated at a
round table, covered with a white cloth and
having a breakfast-service upon it. He is a
Mr. Phipps, and the portrait was left to his
college friend, Mr. Barton, the great-grand-
father of Miss Barton, who is half-sister to
the owner. The man is represented holding
a book in his hand, and on it is the inscription
which probably refers to some joke of the
period, “ All eggs under the grate,” that is
to say “ Alexander the Great.” P.

Group representing two Generals in uniform,
General Sir James Pulteney Murray, seventh
Baronet and Sir John Murray his half-brother,
eighth Baronet, children of Sir Robert Murray,
the sixth Baronet.

Sir James was Secretary-at-War and Adjutant-
General of the Forces on the Continent in
1793. He married Henrietta, Countess of
Bath in her own right, and in consequence
assumed the name and arms of Pulteney. He
died without issue in 1811.

Sir John was Lieut. -General, and married the
only daughter and heir of the second Lord
Mulgrave. He also died without issue, and
was succeeded by his brother as ninth Baronet.
They are seated in a room near to a table, one
is in red uniform with blue facings and white
breeches, the other is in a reddish-brown coat
and white breeches. The latter is pointing

2l6

JOHN ZOFFANY, R.A.

to a map. In the room is an important mantel-
piece on which is a black vase, and there is
also a sofa covered in gold-coloured material.

MacLeod of MacLeod. Portrait representing General Norman MacLeod
Dunvegan Castle, in uniform, twentieth Chief of the Clan. He was

Skye. born 1754, and succeeded his grandfather in

1772. It was during his time that Johnson
and Boswell visited Dunvegan Castle. In
1780 he raised the second battalion of the Black
Watch, 42nd Highlanders, and shortlv after
commanded the British troops against Tippoo
Sahib. P.

He returned to England in 1789, and died in 1801.
His second wife, represented in another picture,
is Sarah, the daughter of Mr. N. Stackhouse,
a member of the Council in Bombay. There
is also in this picture a child of about three.
Both were painted in India in about 1788,
and in the background of the man’s portrait
are elephants and tents, and an officer in uni-
form receiving a native lady of rank who has
just arrived in a palanquin. Further back
can be seen the Highland regiment.

Both pictures are 96 x 60.

Macpherson, Mr. W. Is believed to have some Indian portraits by
Late of the Indian Zoffany.

Civil Service.

( Address unknown.)

Mac Rory, S. M., Esq.
Ardmore Lodge,
Limavady ,

Co. Londonderry .

Group representing the Needham family of
St. Edmondsburv, Lucan, near Dublin. Said
to have been painted bv Zoffany in Ireland,
circa 1780. 54 x 42. Not seen by us.

Mr. Needham was a banker. The owner’s late
wife’s mother was Miss Needham, daughter
of the gentleman in the group.

The following is the description of the picture—
“ Mr. and Mrs. Needham are walking together.
They were the owner’s mother’s father and
mother, his grandparents ; also his great-
grandmother seated with children around her.”

APPENDIX

Manigault, Louis,
Esq.

Charleston ,

South Carolina.

Manning, Mrs.

New Croft ,

North End Road ,
Golder's Green.

Mansfield, The Earl
of.

Kenwood ,
Hampstead .

217

(1) Uncle Thomas Needham in green coat and
frilled collar.

(2) Aunt Rachel with a basket of flowers.

(3) Uncle Richard, who entered the Army, with
a dog.

Thomas Needham, was the eldest child of a large
family. There was a difference of twenty years
between him and the owner’s mother, who was
not born at the time the picture was taken.

The picture was, it is said, painted by Zoffany
when he visited Ireland, as the background
represents part of the extensive park at St.
Edmondsbury, where the Needhams lived.
The visit to Ireland took place, it is stated,
somewhere between 1778 and 1783.

Portrait of Ralph Izard, who was one of the delega-
tion from South Carolina to the first Congress.
It represents him as a boy, seated under a tree,
holding an open book, and with a dog at his
feet. It is dated 1771, and the signature of
Zoffany, with a word or two which cannot
be read, is to be found on a stone just below the
boy’s feet.

The picture is reproduced in C. W. Bowen’s
History of the Centennial Anniversary of the
Inauguration of Washington (B.M. K.T.C., 9.
b. 6. 1892) page 101, and there is some informa-
tion contained in the same book respecting it,
gathered from G. E. Manigault, Esq., M.D.,
of Charleston, S.C.

The present owner of the picture is the great-
grandson of Izard.

Portrait of Miss Bowers, who married in 1777
or 1778, Thomas Cook, a relation of Captain
Cook, and was the great-grandmother of the
present owner. She is wearing her wedding
costume. We have not seen this picture.

It is stated that there is a portrait of Lord Mans-
field, by Zoffany, in this house.

2l8

JOHN ZOFFANY, R.A

Marshall, Robert,
Esq.

31, The Waldrons ,
Croydon .

Martiniere, The.
Lucknow.

Martyn, Dr.

8, Gay Street ,

Bath.

Maryon-Wilson, Sir
Spencer, Bart.
Charlton House ,
Kent.

Group representing Mr. and Mrs. Hussey and
their daughter. They lived at one time at
Wargrave Hill House, Berkshire. Mr. Hussey
is in grey. Airs. Hussey is in white satin with
a lace cap. The child is holding a rose, and
is dressed in white with an underskirt of pink
and a pink sash. Background of trees in the
distance, “ a pretty picture, grey and silvery
in tone.” 48 x 39. P.

It was bequeathed to the owner by a friend, to
whose brother it was left by his godmother,
a certain Airs. Hussey, who many years ago
lived at Rustington in Sussex, but exactly
how her husband was related to the persons
depicted in the picture the owner does not
know, nor did his friend who left it to him.

Portrait of General Claud Alartin.

Group depicting the lady who passed as Alartin’s
wife, Goree Beebee with her son Zulficar
Khan or James Alartin. This canvas had a
bullet through it at the time of the Mutiny.
It has been patched up and a medallion of
General Alartin painted over the place which
“is quite in keeping,” Air. Sykes says, “with
the rest of the picture.” Circa 30 x 24.

Water-colour copy of a lost original by Zoffany
called “ A Smug Citizen.” P.

See under Austin for the same picture.

Portrait of David Garrick. 29! x 23K

Portrait of Air. Plot. 29J x 24K

Mathias, Duncan, Esq. Portrait of Gabriel Alathias, Assistant Keeper
440, Strand , of the Privy Purse, 1719-1804. He is repre-

London. sented seated, wears knee breeches, white

stockings, shoes with buckles, and has lace
ruffles at his wrists. He is represented resting
his arm on a table, and by his side is a dog.
On the table stands a bust by Nollekens, dated
1779, and representing his brother James T.
Alathias as author of the Pursuits of Literature.

Coll, of Major Otway Mayne

PORTRAITS OF ADMIRAL CUNNINGHAM AND HIS WIFE ANNE, DAUGHTER OF FRANCIS OTWAY
OF ASHGROVE, SEVENOAKS [circa 1774)

THE SCENERY REPRESENTS THE HOE AT PLYMOUTH WITH DRAKE’S ISLAND IN THE DISTANCE

APPENDIX

219

See as to the bust, Nollekens and His Times ,

L8 5-

N.B. — The picture is at present in the care of
his cousin, Mr. Robert Logan, 2, Knares-
borough Place, Earl’s Court, S.W.

Maugham, Somerset,
Esq.

6 , Chesterfield St .,
Mayfair , W.

Mayne, Otway, Esq.
Walton Lodge ,
Aylesbury.

Picture representing Garrick and Mrs. Cibber
as “ Jaffier ” and “ Belvidera ” in Venice
Preserved , Act IV. There is a somewhat
similar work in the Garrick Club, No. 378.

Garrick is represented in a blue coat, with a gold-
coloured waistcoat, Mrs. Cibber in a black silk
dress, with handsome black-and-white lace
bodice, and the scene is at night by the banks
of a canal in Venice. On the left side of the
picture is a tall street lamp, lighted. The
background shows San Giorgio Maggiore and
Santa Maria della Salute. Circa 40 x 50. P.

Purchased at David Garrick’s sale in 1823. This
representation is exceedingly well painted, and
is declared to be the original for which the one
in the Garrick Club was probably the sketch.
The costume of Mrs. Cibber is finely executed.

Portraits of Admiral Cunningham and his wife
Anne, daughter of Francis Otway of Ashgrove,
Sevenoaks, Kent. The lady is seated, and
looking through a telescope at a ship which
her husband, who stands near her, is pointing
out. Painted about 1774. 46 x 38.

Melville, Violet, Group representing the children of Henry, First
Viscountess. Viscount Melville : Robert, second Viscount

11 , Lowndes Street (1771-1851) ; Elizabeth, who married the Right
Hon. Robert Dundas, Lord Chief Baron of
Scotland, and died in 1852 ; Anne, who married
first Henry Drummond, who died in 1794, and
secondly James Strange, who died in 1840, she
also died in 1852 ; and Montagu, who married
George, Lord Abercromby, and died in 1837.

The elder girl is in pink, and is standing by a
globe, the youngest holds a map of Europe
in her hand, the third girl is seated at a desk,
copying a map, the boy is entering the room,

220

JOHN ZOFFANY, R.A.

with a satchel and some books, and on one of
the books is the inscription “ Robert Dundas,
his book.” The book-cases and the globe repre-
sented are still in the possession of the family.

Middleton, H. B., Esq. Nathaniel Middleton, Hon. East India Company,

Resident at Lucknow under Warren Hastings,
ob. 1807, represented seated with three Indian
officials in attendance. P.

Another portrait of him seated. Three-quarter
length.

Group of Robert Morse, ob. 1816, his daughter
Sarah, afterwards Mrs. Cator, William Cator,
ob. 1800, and Anne Frances Morse, after-
wards Mrs. Middleton, ob. 1823. Mr. Morse
is playing on the ’cello, his daughter, Anne, on
the harpsichord, the other daughter is turning
the music, and Mr. Cator stands near by. P.

Portrait of Lord Cornwallis delivering up a son
of Tippoo Sahib 1 to his uncle. 58 x 48.
Bought in London, circa 1815.

Munro-Ferguson, Rt. Group representing Mary and Agnes Berry
Hon. Sir T. C., as young girls, seated on a stone column under

K.C.M.G. a tree, playing with a large dog. One wears

a hat of white feathers, the other a hat of black
feathers. 71 J x 59. P.

Group representing William Ferguson, great-
grandfather of the present owner, commemorat-
ing amongst his friends his succession to the
estate of Raith in 1781. The men, including
the artist himself, are all grouped about a
tree, and are enjoying some wine. There are
glasses and a decanter on the round table,
and other bottles in a large wine-cooler near
by, which wine-cooler is still preserved at
Raith. One man is holding a snuff-box,
another a stick, and Zoffany himself a letter,
but the names have not been preserved of
Ferguson’s various friends. 39! x 49I. P.

Bradford B ever ell,
Dorchester.

Moor, Major E. C.
Great Dealings ,
Woodbridge,
Suffolk.

APPENDIX

221

William Ferguson was William Berry, and had
a brother Robert, the father of Mary and Agnes.
The mother of these two brothers was a sister
of Robert Ferguson, who made a fortune, and
in 1795 bought Raith from the Melville family.
Robert, who married a distant cousin of his
own, was in his uncle’s counting-house, but
at his death was only bequeathed a small annual
income, and a house in Austin Friars, whereas
William, his brother, who married an heiress,
a daughter of Ronald Crawfurd, succeeded
to the estate and assumed the name and arms
of Ferguson.

Portrait of Lady Dumfries, born Craufurd.

Portrait of Mrs. Ferguson and Mrs. Fullerton
seated at a spinet.

Small and curious portrait said to represent an
Admiral Forbes or a General Forbes. 35J x 27^.

National Gallery of Portrait of Charles Macklin, actor, in the part
Ireland.

Dublin .

National Gallery.

London.

National Portrait
Gallery.
London .

of Shylock (301).

Portrait of David Garrick (539).

Portrait of Thomas Gainsborough, in dull red
coat and white neckcloth, face clean-shaven,
natural hair, curled, powdered and gathered
into a queue at the back of the head. P.

The face nearly in profile to the left. Oval,
7l x 6 f-

Presented by the Misses Lane in 1896.

R.A., 1887 (19).

Portrait of Zoffany himself, painted in 1761,
purchased by the Trustees, February 1875.
Figure to the waist, face nearly in profile to
the left ; his hand rests upon the top of a book
or sketching-block, and between his fingers
he holds a double port-crayon. His hair is
long and curly. The coat is open at the throat.
2of x 16J. No. 399. P.

Sir Elijah Impey (1732-1809), Chief Justice
of the Supreme Court of India. Personal
friend of Warren Hastings.

Bequeathed by Sir Roderick Impey Murchison,

222

JOHN ZOFFANY, R.A.

Newborg, J. \I., Esq.
New York.

New York City.

McAlpin Hotel ,
Corner of 34/// Street,
Broadway .

Nollekens, Joseph,
R.A.. The Late.

Northwick Park
Collection.

Block lev,
Worcestershire.

Bart., K.C.B., F.R.S., and accepted by the
Trustees, February 1872. It is now (1919)
exhibited at the National Gallery.

Seated figure to below the knees, face almost
in profile to the left. 48! x 38L No. 335.

Constantine John Phipps, second Baron Mul-
grave, R.N., F.R.S. (1744-1792). Commander
of the Racehorse in 1773, on an expedition to
the Arctic regions. Created a peer in 1790.

Portrait purchased by the Trustees, May 1897,
representing Lord Mulgrave, full-length, in
naval uniform in the Arctic regions, holding
in one hand a long spear or harpoon, and in
the other his three-cornered hat. 49 x 39J.
No. 1094.

N.B . — The portrait of John, Earl of Sandwich,
in the Gallery, is after Zoffany. (45).

Portrait of Captain Money, represented leaning
on a piece of wood which rests between a tree
and the stem of another tree. He is wearing
his hat, has one hand up to his face, and with
the other is holding an open book. In the
distance is a scene with a cathedral very much
resembling Salisburv. P.

Attributed to Zoffany.

Group representing George III, Queen Charlotte,
and the Dukes of York, Clarence and Kent.
50 x 60.

R.A., 1770, and engraved.

This is perhaps a replica or a copy of the picture
about which Walpole made the following note
in his catalogue —

“ In Yandvck dresses. Ridiculous. A print of
it.” The original belongs to H.M. the King.

Smith tells us that he possessed two drawings
bv Zoffanv. “ Presentations.”

Group representing Garrick, Mr. Baddeley
and another actor who is in clerical attire.

APPENDIX

223

Nugent, Sir E. C., A group of persons represented in a room, from
Bart. which can be seen the Horse Guards Parade.

West Harling Hall , The old man is Robert, Earl Nugent, when

Norfolk.

Viscount Clare. Near by is his son by his
first wife, Edmund, Lieut. -Colonel in the First
Foot Guards, who died unmarried at Bath, in
1771. The child is Mary Elizabeth, his eldest
daughter by his third wife. She afterwards
married George, Marquess of Buckingham,
who inherited under the limitation the Earldom
of Nugent. Near to her stands Miss Mary
Nugent, Earl Nugent’s half-sister, usually
known in the family as Aunt Peggy. 50x42. P.

R.A., 1765.

O’Hagan, Lord,
Pyrgo Park ,
Havermg-atte-
Bower,
Essex.

Group representing Charles Towneley, the col-
lector, in his library with his marbles, which
are now in the British Museum. He is sur-
rounded by his books, and in conversation with
D’Hancarville, near whose chair stand Charles
Greville and Thomas Astle.

Nollekens writes of the picture as follows —

“ The best of the marbles were brought into the
painting-room to the artist, who made them up
into a picturesque composition according to his
own taste. The likeness of Mr. Towneley,”
he adds, “ is extremely good ; he looks like the
dignified possessor of such treasures. At his
feet lies his faithful dog Kam, a native Kams-
chatka, whose mother was one of the dogs
yoked to a sledge which drew Captain King
in that island.” 50 x 39. P.

R.A., 1790.

R.I., 1814 (92); 1849 (124).

Burlington Fine Arts Club, 1907 (25).

A group representing certain connoisseurs of the
period, six in number, Mr. Charles Towneley
resting both hands on his cane, Mr. Charles
Price, seated, Dr. Verdun holding a snuff-box,
and having a muff under his left arm, Dr.
Oliver, with his fore-fingers extended, Mr.
Richard Holt, represented as opening a curtain,

224

JOHN ZOFFANY, R.A.

and Captain Wynn, who is with his left hand
grasping the curtain. P.

Portrait of Coleman the younger : the Dramatist.
There is a playbill of The Provoked Wife on
the chair near to him. P.

Oldfield, Mrs.
Zoffany.

Coleraine House ,
Nassau St.,
Cavendish
Square.

Small miniature portrait of Zoffany, painted by
himself, given to her mother, Mrs. Oliver.

It represents him as a young man. He is wearing
a blue coat. It was evidently painted before
the last of his daughters was born. On the
reverse are five initials, “ J.M.L.C.L.,” com-
memorating his own name and that of his wife,
John and Mary, and three of his children,
Louisa, Claudina and Elizabeth. The hair of
the five persons was originally in the back of
the miniature, but that has disappeared, and the
miniature itself has been seriously injured.

Oldfield, The Rev.
Canon.

12, Wetherhy
Gardens , A. IF.
and Bur rough's Hill,
Salisbury.

Portraits of Beau Wilton and of Lady Chambers.
Painted in India at the end of the eighteenth
century.

Oswald, R., Esq.
Auchincruve ,
Ayr.

Portrait of Mrs. Oswald of Auchincruve. In a
blue dress, trimmed with lace, painted about
1770. Full-length, seated. P.

A r .B. — There is a legend in the family that
Zoffany attempted to paint Mr. Oswald, her
husband, into the picture. He discovered this
and objected, eventually making Zoffany cover
his image with a cloud.

The lady died in London, in 1780, and her body
was brought down and buried in the vault in
Scotland. It is said that Robert Burns, find-
ing the funeral retinue in the public-house he
was in the habit of frequenting, and being re-
fused admission, vented his spleen by writing
a most scurrilous poem entitled “ Dweller in
yon dungeon dark,” in which he abused her
to his heart’s content.

Coll, of Lord O'Hagan R arliam photo

PORTRAIT OF GEORGE COLMAN THE YOUNGER

(1762-1836)

APPENDIX

225

Oxford.

Ashmolean Museum.

Parma.

The Picture Gallery .

Parry, Sir Hubert,
Bart.

Highnam Court,
Gloucester.

She was, however, it is stated, a most estimable
lady. The husband’s portrait cannot be found.
It is said to be in America, and that he ex-
changed portraits with Benjamin Franklin in
Paris. Both Mr. and Mrs. Oswald were
buried in the vault, close to the Kirk at Auchin-
cruve. Raeburn also painted a portrait of
Mr. Oswald.

Two small whole-length oil sketches of Gar-
rick as Abel Drugger, made either from life,
or immediately after the return from the
theatre, for the picture now belonging to Lord
Carlisle.

Concert of wandering Minstrels. Nine persons,
three seated and the others standing. One is
a woman who bears a tambourine. One of
the men carries a staff and a collecting bowl,
the others musical instruments and music.

The picture was for some time known under the
title of the “ Blind Minstrels,” but the present
catalogue questions the authority of this title,
and points out that but one of the minstrels
appears to be blind, and even about him there
appears to be some doubt, as his eyes are only
partially closed. The picture was painted for
the Duke Ferdinand de Bourbon. It was
deposited in the gallery in 1821, re-claimed in
1851, kept in the ducal storehouse till 1865,
and then re-deposited in the gallery. Panel,
0,37 x 0,46. No. hi. P.

A portrait of Duke Ferdinand de Bourbon.
Panel, 0,86 x 0,19. No. 346.

Picture representing the cabin of the Norfolk
bound for Manilla in 1762, when it was the
flagship of Admiral Sir Samuel Cornish, and
of Kempenfeldt his Flag-captain. Both these
persons are represented in the cabin, and in the
background, seated, is Thomas Parry, secretary
of the expedition, an ancestor of the present
owner. 68 x 56. P.

226

JOHN ZOFFANY, R.A.

Pepys, Captain A.,
Knowle House ,
Budleigh Salter-
ton.

Perceval, Mrs. C.
Spencer.

24, Chester Square.

Group representing the owner’s great-grandfather,
Colonel Blair, with Mrs. Blair, their two
daughters and an ayah. Mrs. Blair is in white
satin with pale blue over-dress, white head-
dress, fichu and powdered hair. She and her
husband are seated on a sofa. To the right is
a daughter in white with rose-coloured sash
and shoes, who is the owner’s grandmother.
She is playing with a kitten which the ayah
has in her arms. On the left is another
daughter in white satin with greyish-yellow
over-dress, seated before a square piano which
has music upon its desk.

There are three pictures upon the wall of the
room depicting Indian scenes. 38 x 53. P.

Painted in India in 1789.

R.A., 1885 (29).

Group representing Mr. and Mrs. John Burke
of Carshalton, with their son and two daughters.
Zoffany, the artist, is in yellow, and is seated,
and holds the youngest child (Elizabeth) on
his knee. She is in white with red shoes, and
her sister Mary, who stands near with a fish-
ing rod in her hands is in similar costume.
In his hand Zoffany holds a silver snuff-box.
'Phe bov, John, has his foot on a basket which
contains fish. Mrs. Burke (Mary) stands near
to her husband who is seated and reading a
newspaper. He is in a brown coat and yellow
waistcoat. P.

Physicians, College Portrait of Dr. William Hunter, lecturing at a
OF desk. He has an anatomical model in his

London. hand. Presented by Mr. Bransby Cooper in

1829. 5 1 x 4 1 -

Portrait of Sir Richard Jebb in lavender-coloured
coat and black gown. 30 x 25.

Presented by the Rev. R. F. Hallifax in 1827.
S.K., 1867 (618).

Picture representing Dr. Wm. Hunter delivering
a lecture on anatomy at the Royal Academy
to a group of students. 41 x 31. P.

APPENDIX

Players’ Club.
New York.

Poona, Government
House.

Portland, The Duke
of.

Welbeck.

Prideaux Brune,
Colonel.

io, Grosvenor Gar-
dens.

227

See Lucas’ London Revisited , p. 26.

Presented by Mrs. Baillie in 1823.

International Exhibition, 1862 (36).

Whitechapel Exhibition, 1006 (27).

R. A., 1871 (265).

S. K., 1867 (506).

Portrait of Thomas Doggett. Full-face to the
right, full-length, wearing a cocked hat.
25 x 30.

Portrait of Garrick as Abel Drugger. Engraved
in mezzotint by J. Dixon.

Portrait of Madhava Rao Sindhia (see p. 96).
This has also been attributed to an artist of
the name of Welsh, but various contemporary
allusions refer to it as by Zoffany. It was
copied by Mr. Cecil Burne for the late Principal
of the School of Art in Bombay for the Victoria
Memorial Trustees, and our photograph is
from his copy as the original is too dark to
photograph well. It is suggested that the
portrait at Government House is the original
by Zoffany and the replica in the Temple ( see
p. 96) by Welsh.

Portrait of Charles John Bentinck (1708-1779),
youngest son of William Bentinck, Earl of
Portland. Half-length figure of an old man
in a wig. No. 27 in the Welbeck collection.
Mr. Bentinck married Lady Margaret Cadogan,
whose sister was the wife of the second Duke
of Richmond. P.

N.B . — There are three replicas in existence of
this picture. One is in the collection of
Count Bentinck at Middachten.

A second is in the collection of Mr. Henry A.
Bentinck at Indio.

A third is in the collection of the Duke of Rich-
mond at Goodwood.

Picture representing John Wilkes and Serjeant
Glynn (after whom Colonel Prideaux Brune’s
father was named). The family seat is Glynn,
near Bodmin.

228

JOHN ZOFFANY, R.A.

Prothero, F. E., Esq.
The Hall ,

Du ns ter,
Somerset .

Pryce, E. S. Mostyn,
Esq.

Gunley ,

Chirbury,

Salop.

Queenborough, Lord.
39, Berkeley Square,
London.

Quiltf.r, Sir Cuth-
bert.

Bazedscy Manor,
Feli.xstozce.

(Once in the possession
of.)

Serjeant Glynn is seated by a table, and holds a
pen in his hand. Before him are certain papers,
one of which is endorsed “ Magna Charta,”
the other addressed to Mr. Serjeant Glynn,
and near by, at the edge of the table, is a
volume bearing the name Sydney on Gov.
Near to the table is a medallion of Hampden
inscribed with his name. Wilkes is standing
near to him, directing his attention to a paper
in his hand, endorsed “ Wilkes Esq., v. Earl
of Halifax,” and signed Reynolds. Both men
are rich’.y dressed, Wilkes having an embroi-
dered waistcoat, and Serjeant Glynn a waist-
coat with decoration of gold braid. Both men
are wearing lace ruffles and lace cravats. P.

Portrait of the owner’s great-great-grandfather,
Benjamin Collins, of Milford, Salisbury. Half-
length, life-size. Not seen.

Representation of a house in Lucknow with
native figures in the foreground. The picture
is set in a mantelshelf in the house. P.

Group representing three men, two women and
a child, all members of the Townshend family.
The child is resting by his mother’s knee.
She has a book spread open before her, from
which she has evidently been reading to him.
One man and a lady stand by an open window,
the man directing attention to the view. The
other two men stand behind the mother, one
of them resting his hands on her chair. A
bookcase and screen are near by. P.

Portrait of James Quin, the Actor (1693-1766).
Half-length standing figure, in scarlet coat and
white satin waistcoat. Right hand in pocket,
left hand resting in waistcoat. Grey wig.
Canvas 35 x 27.

This was sold at the Quilter sale at Christie’s,
July 9, 1909, Lot 98, 190 guineas (. see p. 166).

GROUP REPRESENTING SIR MATTHEW RIDLEY AND A FRIEND

APPENDIX

229

Reid, Mrs. Whitelaw.
New York.

Revelstoke, Lord.
3, Carlton House
Terrace ,
London.

Ribblesdale, Lord.
Cavendish Hotel,
Jermyn Street.

Rice, Admiral Sir
Ernest, K.C.B.
Silbertswold Place ,
Dover,

Kent.

Ridley, Viscount.

10, Carlton House
Terrace.

Group representing Mr. and Mrs. Ridgway.
Sold to her by Leggatt Bros., who obtained it
from Agnew’s.

Two pictures representing the Flower Girl and
Watercress Girl, said to represent Jane Wallis.
Both of which have been engraved. 49 x 40
each.

N.B. — These pictures at one time belonged to
Mr. Moberly Bell, the editor of The Times.
They were bought by Mr. Baring about four-
teen years ago from Colnaghi’s.

Portrait of Lunardi the balloonist (1759-1806)
giving a display at Windsor Castle.

Small full-length figure in uniform, standing in a
landscape, pointing with his left hand to a
balloon, which is seen in the sky hovering above
Windsor Castle. His right hand holds a three-
cornered hat, and rests on the muzzle of a gun.
On the collar of a black dog beside him is
inscribed his name. His uniform is a red coat
with green breeches. In the distance is a
group of persons, members of the Royal
Family, who are viewing the balloon. Bought
from Agnew’s. Canvas 38 x 28.

R.A., 1908. (This now belongs to Messrs,
Knoedler & Co.) P.

Portrait of a child (or woman resembling a child)
full-length in blue, carrying a bouquet of
flowers. 15 x 14.

Jane Austen (1775-1817) as a young girl in white
holding a sunshade.

Group of two men, one of whom, the standing
figure, is Sir Mathew Ridley. The other was
one of his friends. The picture was painted
in Italy. P.

230

JOHN ZOFFANY, R.A.

Rothschild, Miss Portrait of Sir James Cockburn, G.C.H., eighth
Alice. Baronet of Langton, Under-Secretary of State,

Waddesden Manor , 1806, Governor of Curacoa, 1807, and subse-

Bucks. quently of Bermuda, with his daughter and

only child, Mariana, who in 1834 was married
to Sir J. J. Hamilton, Bart. Langton is repre-
sented in the background of the picture. P.

From the bequest of pictures made to the National
Gallery 7 by Lady Hamilton in 1892 and removed
thence in 1900 as it was found that the Testator
had no power to bequeath them, and they were
ceded to the nine co-heiresses of Sir James
Cockburn and then sold.

Portrait of John Frederick Sackville, third Duke
of Dorset, and Mr. Petley at Riverhead House,
with their dog and horse, standing near to a
stone vase on a pedestal and under a large
tree.

Roundell, Colonel
Richard.
Gledstone,

Near Skipton-
in- Craven.

Portrait group representing Mr. Richard Roundell
{circa 1740-72), Mr., afterwards Sir Henry,
Dashwood, Bart., of Kirklington Park, Oxford
(1745-1828), the Hon. Thomas Noel, after-
wards second Viscount Wentworth {ob. 1815),
and Mr. Walter R. B. Hawkesworth, afterwards
Fawks (1748-92). Gentlemen Commoners of
Christchurch, Oxford, at the same time and
great friends.

The four men are in a garden on the banks of
the Isis, with a view of Oxford in the distance,
Mr. Hawkesworth on the right, Mr. Dashwood
in the middle, both in hunting dress, the other
two, of whom the tall one in the centre of the
group is Mr. Noel. Canvas 49 \ x 3 %b

In the above group Mr. Hawkesworth is in a
red coat, white breeches, brown hunting
boots and carries his hat and whip in his
hand. Sir Henry Dashwood is in a blue coat
with white breeches, brown gloves, hat and
whip. Mr. Noel is in a grey suit, with a claret-
coloured gown over it. Mr. Roundell is in a
buff coat with red breeches, and also wears a

Coll, of Mr. Thomas E . Yorke

GROUP REPRESENTING MR. JOHN YORKE AND HIS FRIEND, COLONEL

COORE FISHING

Coll, of M iss A lice de Rothschild

PORTRAIT OF THE DUKE OF DORSET AND A FRIEND. MR. PETLKY
AT RIVERHF.AD HOUSE

APPENDIX

231

Royal College of
Music.

London.

Saville, Major R. C.
Ladbroke House ,
Leamington .

Sayer, Lady.

Onslow Crescent.

claret-coloured gown, which appears to be
trimmed with velvet.

The scene is in a stone summer-house and there
is a round table, on which a bottle and some
glasses are introduced.

Portrait of Thomas Jackson (1715-1781) the
composer, in blue coat, holding in his hand a
piece of music. 29! x 24! .

Sold at Christie’s, March 17, 1916, and bought
by Mr. A. F. Hill, who presented it to the
College.

Picture entitled “ A Minuet,” representing two
figures dancing a minuet with three others
looking on, the background being the sea.
Circa 24 x 18. P.

Group of three persons in a garden, with the
family house in the distance, representing the
owner’s great-grandfather with his father and
mother. The young man is standing, and
wears a blue coat with gold buttons, bluish silk
stockings and a white vest. He holds his hat
in one hand, and a stick in the other. His
mother, who is seated next to him, is in a
brown silk gown, with a white muslin over-
dress, holds an open book in one hand, and
with the other nurses her small black Blenheim
spaniel, who is seated upon her lap. She wears
a high white cap and black mittens.

The old gentleman is seated near to her, and is
leaning one hand upon his hat, which is sup-
ported by his stick. He is wearing a blue coat
with white buttons and lace ruffles, white silk
stockings and black buckled shoes. P.

Another group of five persons, representing the
owner’s great-grandfather, with his wife and
child, her grandfather, also her great-great-
grandfather and a Madame de Pougens, who
was a Miss Sayer.

The old man and the lady are seated on the
branch of a tree, the young man and Madame

232

JOHN ZOFFANY, RA.

Seafield, The
Countess of.
Castle Grant ,
Strathspey .
(The pictures are at
Cullen House.)

de Pougens stand near by. The old man is in
black, with white silk stockings and black shoes,
has his hat resting upon his knee, and is holding
a stick in one hand. The lady seated next to
him is in white with a blue bow and a blue
hat, and yellow gloves. The baby on her knee
is in white with a red sash. At her feet sits a
black-and-white dog. Madame de Pougens is
in a white costume, and carries a black shawl
over her arm. She has a blue bonnet on her
head, and carries a blue parasol, and she wears
yellow gloves.

The young man, who is next to his wife, leaning
over her, is in a blue coat, pale blue vest and
brown boots. There is a view of a landscape
in the distance. P.

Portrait of James Saver, son of Robert Sayer
the print-seller, at the age of thirteen standing
by a stream, taking a fish off the hook. He
wears a blue coat with white buttons, yellow
breeches, black boots, and near by, on the
ground, lies his black laced hat and a fish
basket.

This picture was engraved in mezzotint by R.
Houston and published by Robert Sayer, his
father, in 1772. P.

Single portraits representing Sir Thomas Grant
and his wife.

Sir Thomas Grant was born in 1738 and died in
1 S 1 1 at the age of seventy-three. At different
periods he represented the counties of Murray
and Banff in Parliament. He was Lord Lieu-
tenant of Inverness from 1794 to 1809. At the
time of the threatened invasion by Bonaparte,
he provided arms and accoutrements for seven
hundred men of his clan and tenantry entirely
at his own expense.

His wife Jane was the daughter of Alexander
Duff of Hatton by Lady Anne Duff, the eldest
daughter of William, first Earl of Fife. They
were married in 1763, and she died in 1805.

APPENDIX

Shakespeare Memo-
rial Theatre.

Sherborne, Lord.

Shrewsbury Museum.

Simeon, Laura, Lady.
Swainston,
Newport,

I. of Wight.

233

She bore a very high character amongst the
family and neighbours. Not seen by us.

David Garrick and his wife playing picquet.
Garrick is in a white coat with green and gold
waistcoat, Mrs. Garrick in a rose-coloured
dress ornamented with white lace. 41 x 32.

Whitechapel, 1906 (176); 1910 (16).

The picture was presented to the theatre by Mr.
Algernon Graves, and had hitherto been known
as a Zoffany. Many critics are, however, of
opinion that it is the work of Allan Ramsay.

The Dutton family group, representing Mr. and
Mrs. Dutton, their son James, first Lord
Sherborne, who married Miss Coke, and their
daughter Jane, who married Thomas Coke, of
Holkham, afterwards Earl of Leicester. Mr.
Dutton and his son and daughter are seated
around a mahogany card-table, playing at cards.
Mrs. Dutton is seated by the fire-place reading,
but has for a moment put down her book
to look at her son’s cards, which he holds out
to her. There are pictures and a girandole on
the wall, and near the fire-place is a pole-
screen painted in flowers. The mantelpiece
is a fine carved marble one, and on it are
some ornaments and a bust. 39I x 50. P.

R.A., 1907 (143).

Half-length portrait of John Gwyn, R.A. Said
to be a native of Shrewsbury 7 , architect of the
English bridge in that town, erected in 1774,
and of bridges in Worcester and Oxford. He
died in Worcester in 1776, and appears to have
been about fifty-five years old when the portrait
was painted. The face only is finished, the
rest of the picture left in a more or less incom-
plete condition. 30 x 25. Not seen by us.

It is attributed in the catalogue to Zoffany.

Group representing a handsome room with a
card-table and two men playing cards. One
is stated to be Mr. John Simeon, and he is
wearing a plum-coloured suit, the other in

234

JOHN ZOFFANY, R.A.

uniform is his brother-in-law, Colonel Cornwall.
The picture was painted before 1794. The
room may possibly represent one of the rooms
at 60, Queen Anne Street, or perhaps in the
country house, Walliscote, near Reading.
36 x 39. P.

Sinclair, Henry, Esq.
Dalkey Lodge ,

Dal key ,

Dublin .

Smart, Mrs.

56, Leinster Square.

Smith, R. Oswald,
Esq.

23, Albemarle St.,
London, XV.

Spitta, Dr.

41, Vent nor Villas,
Hove.

Portrait of Marcus Saville Taylor of the Hon.
East India Company, painted by Zoffany in
India. Mr. M. S. Taylor was a friend of
Warren Hastings, and his portrait also appears
in Zoffany’s group of Colonel Mordaunt’s
Cock-fight ( see p. 94). P.

Family group, representing Mr. and Mrs. Hodg-
son and their family. He was a merchant of
17, Coleman Street, and of Bowles, Chigwell,
Essex, and great-grandfather of the present
owner. He holds in his hand a paper bearing
an inscription “ To the Commissioners of
relief to American Prisoners.” There is in the
background a mantelpiece, upon which is
represented a pair of black Wedgwood vases,
one of which is still in the possession of the
owner of the picture, and a centre-piece.
Circa 36 x 57.

Pair of portraits representing Colonel Campbell
and his wife. Purchased some years ago from
a dealer. Two copies of these pictures ap-
peared at Christie’s lately, but were withdrawn.

Colonel Campbell is in military uniform, a red
coat with black and white facings, white
breeches, and wears a wig. He has a fob
with some seals, which is rather a prominent
object in the picture. Mrs. Campbell wears
a white dress, and a white fichu with black
trimming, a blue sash and blue bows. Her
hair is brown, and she holds a book in her
hand.

This person is said to have a painting by Zoffany.

APPENDIX

235

Stallard, Mrs.
Arthur.

22, Campden
Grove ,
Kensington ,
W. 8 .

Steuart, Sir Douglas
A. Seton, Bart.
Touch ,

Cambusbarron,

Stirling.

Strachey, R. S., Esq.
Ashwick Grove,
Oakhill,

Bath.

Teignmouth, Lord.

Thayer, Mrs. B.
Boston, U.S.A.

Thomas, Mrs. R. D.
45, Thnrloe
Square.

Portrait of Richard Bird, Solicitor, born at
Chulmleigh, Devon, February 8, 1802, died
July 2, 1842.

Portrait in pastel said to have been executed from
a miniature by Zoffany. Recently presented
to the Victoria and Albert Museum.

Portrait of Miss Farren, afterwards Lady Derby,
standing near to a pedestal on which she rests
her hand. She is in a long, flowing costume of
satin and gauze. Full-length. P.

The Countess of Derby is represented as “ Her-
mione ” in the Winter's Tale, and is standing,
full-face, with her arm on a cabinet. The
picture was engraved in mezzotint by Fisher
and published by Sayer and Bennett, 1781.

Picture representing Colonel Martin’s Cock-
fight. Painted in 1786 in Lucknow for the
Nawab Wazir, and presented to Mr. Richard
Strachey by Ghazi-ul-Din-Hyder in 1817.

Portrait of the Nawab Wazir of Oudh ( see p. 80).
This was presented to Sir John Shore by the
Nawab himself. He had previously tried, but
wholly in vain, to bribe “ honest John Shore ”
by the offer of a vast sum of money. This
having been refused (see p. 93), Shore was
compelled to accept some gift, and therefore
selected this picture by Zoffany.

Portrait of a boy, bought from Agnew and said
to be by Zoffany.

Portrait of the Venerable the Rev. Matthias D’Oyly,
Rector of Uckfield, Sussex, Archdeacon of
Lewes, and Prebendary of Ely Cathedral, born
1743, died 1816. He was father of Sir John
D’Oyly, the Official Resident at Kandy, Ceylon,
who was created a Baronet in 1821, and died
unmarried in 1824. H e represented in black,
holding a hat and stick, and in the rear is a
view of Buxted, where many of his ancestors
were buried. Rectangular. Circa 30 x 20.

Portrait of Mrs. D’Oyly, Mary, daughter of
George Poughfer of Leicester. She married

236

JOHN ZOFFANY, R.A.

Tooth, Messrs. A. &
Sons.

155, New Bond
Street.

Travers, J. L., Esq.
Bredgar House ,
Bredgar,

Kent.

Trinity House.
Trinity Square ,
London.

Tweeddale, Marquis
of.

Tester ,

Scotland.

the Archdeacon of Lewes in May 1770. She is
represented standing, wearing a costume of
blue trimmed with white lace, and has a high
headdress ornamented with pearls.

Portrait of George, third Earl Cowper, in the act
of taking off his hat in smiling recognition of a
friend who is passing him. Painted in Flor-
ence. P.

Picture representing William Smith, M.P. for
Norwich, 1756-1835, as a boy, and his father,
Samuel Smith, then head of the firm which is
now Travers & Co., in which he was succeeded
by his son William.

The father is represented seated at a table,
holding a paper-covered book in his hand, and
b) his side, on the table, is a richly-bound
volume. The boy is looking towards his
father and is apparently engaged in sketching ;
one hand is upon an open sketch-book, and
with the other he appears to be dipping a
pencil into some Indian ink. Near by, on
the table, is a pair of dividers. The boy is in
a dark coat with lace frill at the neck and cuffs.
The father wears a richly ornamented waist-
coat trimmed with gold braid, a handsome
coat with gilt buttons, white stockings and
black shoes. The picture is referred to in a
privately printed work entitled Past and Present
in an old Firm, and there is a reference to
William Smith, M.P., in the Dictionary of
National Biography.

Portrait of the fourth Earl of Sandwich. See
copy of same in National Portrait Gallery.

Picture representing the Cock-fight at Lucknow.
Sold at Daylesford House sale, 1853, for 215
guineas to Colonel Dawkins, and at his sale in
1898 to the family of its present owner for
210 guineas through Agnew’s. 40 x 60.

B.I., 1862 (201).

Whitechapel Exhibition, 1908 (9).

(/)

ffi

r 0

HIW s'#

STREET, AND HIS SON WILLIAM (1756-1835), WHO SUCCEEDED HIM AS HEAD OF THE FIRM AND BECAME M.P. FOR NORWICH
(The business eventually became Travers & Sons, and under that name is still in existence.)

Photo by the courtesy of “ The Connoisseur ”
PORTRAIT OF WILLIAM LOCH

ATTRIBUTED TO ZOFFANY

APPENDIX

237

Unknown Owner.

Portrait of William Lock. Sold at Robinson and
Fisher’s, March 23, 1910. Lot 154. 50 x 40.

See Connoisseur , XXVIII. 319. Sold for

£50

Portrait of Robert Price of Foxley, Hereford.
Engraved by Basire in 1810.

Price married in 1764, Sarah, daughter of John,
first Viscount Barrington. He was the father
of Sir Uvedale Price, author of Essays on the
Picturesque . The picture was at one time in
the possession of his son, Major William Price
of the Third Dragoons, Vice-Chamberlain to
Queen Charlotte, and Master of St. Katherine’s
Hospital, who died unmarried in 1817.

Some of the Price pictures were sold at Christie’s
in May 1893, including one of Lady Caroline
by Reynolds, but the Zoffany w T as not included
in the sale.

Portrait of David Garrick in plum-coloured coat
with red vest, holding a plan in his hand,
which appears to resemble that of the Colosseum
of Rome. Probably painted after Garrick’s
return from Italy. He often mentions the
Colosseum in his letters. 29 J x 24I-.

Sold at Christie’s, item 78, March 17, 1916.

Portrait of Abraham Vickery, Esq., a Principal
Clerk at the Bank of England, in grey coat,
white vest and buff breeches, standing with a
paper in his hand ; his assistant behind a
counter on the left. 35 b x 271-

Portrait of George IV at the age of sixteen, in
brown coat, with blue surcoat, holding his
stick and hat. 35 \ x 27.

Offered at Christie’s on Friday, June 23, 1916.
Lot 77, and bought in.

Three portraits by Zoffany from the J. H. Leigh
collection, were sold at Christie’s, July 7, 1916.
They were not very important works, and were
described in the catalogue as follows —

238

Unknown Owner.

( Believed to be a Mr.
Campden).

Unknown Owner.
(In India.)

Unknown Owner.

OHN ZOFFANY, R.A.

“ (157) Mr. Garrick and Mrs. Pritchard in the
Tragedy of Macbeth , Act II, Scene iii. 39 x 49^.

Engraved by Valentine Green.

Garrick is in a red coat richly trimmed with gold
braid, Mrs. Pritchard in black, trimmed with
fur, and wearing pearls.

(158) David Garrick as Richard III with Norfolk.
The Battle Scene. 49 x 39.

Both actors are in richly striped and slashed
costumes.

(159) Portrait of Mrs. Pritchard, in blue decolletd
dress, trimmed with white lace, holding a
miniature in her right hand. 29^ x 24^.”

There was sold at Puttick & Simpson’s rooms,
April 25, 1917, a portrait group by Zoffany of
Sir John C. Lettsom and his family (see as to
Dr. Lettsom, Nollekens, I. 87).

There was sold at the Watson Taylor sale in
1832 a full-length miniature by Zoffany of
C. Anstey, the author of the Bath guide.

Portrait ofMary Bellamy, actress, sold at Christie’s,
January 1917, represented in yellow dress with
yellow sleeves, blue cape, headdress and scarf
and feathers, and holding a mask. Lot 248.
28^ x 23L

A portrait of Jacob Wilkinson, a Calcutta mer-
chant, in a green coat and grey vest, and with
a very ruddy face.

Sold at Christie’s to Peacock of Duke Street,
March 14, 1919. Lot 44.

The Lute Player, in a green coat. 29 x 24.

Sold at Christie’s, February 28, 1919. Lot 81.

Colonel Ffarrington in a plain coloured coat
holding his watch and a book, perhaps a music
score. 34 x 27^.

Sold at Christie’s, November 21, 1913. Lot 104.
Portrait of a sculptor in green coat resting his
right hand upon the sculptured head of an old
man. 29! x 24^.

APPENDIX

239

Unknown Owner.

Vansittart, D. N.,
Esq.

Shottesbrook
House .

Berks.

Verney, Harry L.,
Esq., C.V.O.

1 , Rutland Gar-
dens,

London.

Victoria and Albert
Museum.

Sold at Christie’s, July 13, 1901.

Portrait of Count Stacpoole holding a book. In
a blue coat, nearly full-face. 20 x 2;.
(^39 l8 *-)

Sold at Christie’s, February 1, 1902.

A young man with a black servant (£44 25.).

In the possession of Mr. E. B. Jupp in 1871,
there was a drawing of a man and dog by
Zoffany, with an autograph letter from Zoffany
to Messrs. Raikes & Co., January 26, 1798, and
an engraved portrait after Dance.

Portrait of Henry Vansittart, junior, of the Hon-
ourable Artillery Company’s Bengal Estab-
lishment (1771-1786). There is a photograph
of this picture at the India Office in room 86.

Portrait group of three figures, representing the
Hon. Charles Hope Vere, youngest son of the
first Earl of Hopetoun, great-grandfather of
the present owner, in the scarlet dress of the
Archers, with his bow and arrows beside him,
and a book in his hand. Married 1782. Lady
Christian Graham in lavender with white cap,
represented as reading the Gazette Extra-
ordinary, dated London, 1782, containing a
report of the battle of Gibraltar which was
the first naval engagement of the old gentle-
man’s son, who became Admiral Sir George
Hope ; and Lady Charlotte Erskine, afterwards
Lady Mar, in black, with white lace cap.

In the rear of the picture is a pole-screen with a
view upon it of the family seat of Blackwood.
This belongs to one branch of the family. The
little round table depicted in the front of the
group is in the possession of the owner of the
picture. P.

Drawing of two male figures attributed to
Zoffany.

240

JOHN ZOFFANY, R.A.

A man is seated at a table holding a drawing to
which his son has called his attention. The
son stands with his left arm resting on the
back of his father’s chair, black chalk, faces in
red. iOjA x nfV. Dyce collection. P.
There are some slight sketches on the reverse.

Vienna. Portrait of the Archduchess Maria Christina, born

Royal Picture 1742, married 1766 to Archduke Albert of

Gallery. Saxony, died 1798. She is represented seated,

and has a pet dog in her lap. Her arm rests on
a table on which is a Greek statuette of marble.
In her bracelet is set a miniature of her husband.
There is a curtain behind her, and a landscape
in the distance. 13 1 x 94. P. No. 1590.

Group representing four of the grand-children
of the Empress Maria Theresa, children of
of Ferdinand of Parma and Maria Emilia.

(1) Ludwig (1773-1803) called King of Etruria.

(2) Marie Antonie (1774-1841). Abbess of

the Ursuline nuns.

(3) Karoline (1770-1804), wife of Maximilian

of Saxony.

(4) Charlotte (1777-1825).

In the picture is represented a letter which is
addressed “ A L’Imperatrice Reine, Ma Dame
et Grande Mere.” Believed to have been
painted in 1778. 1,59 x 1,85. No. 1591.

Group representing the Archduke Leopold of
Tuscanv and his family. He was the son
of the Empress Maria Theresa, born 1747,
died 1792. His wife, Maria, was the daughter
of Charles III of Spain, born 1745, married
1765, died 1792. She had sixteen children,
of whom eight are in the picture.

The eight children are —

(1) Joseph (1776-1847).

(2) Leopold (1772-1795).

(3) Theresa (1767-1827).

(4) Karl ( i 77 i - i 847)>

APPENDIX

241

(5) Maria Klementina (1777-1801).

(6) Maria Anna (1770-1809).

(7) Franz (1768—182 ^) ; Emperor in 1792.

(8) Ferdinand (1769-1824).

3,25 x 3,98.

Portrait of the Emperor Joseph II.

Portrait of the Empress Maria Theresa.

Wallis & Son. Portrait group representing the Hunt Breakfast

The French Gallery, at Mr. Palmer’s house, Holme Park, Berks.

120, Pall Mall. The persons represented are as follows —

Sir Richard Aldworth of Stanlake Park, Berks, is
standing by the breakfast-table, holding his hat
and whip in his hand.

On the opposite side of the breakfast-table is
seated Mr. Robert Palmer, M.P., owner of the
house, and near by, on a chair, is his dog Tiny.

Sir Thomas Beauchamp Proctor, of Langley
Park, Norwich, is standing near to Mr. Palmer,
placing one hand upon his friend’s shoulder,
and resting the other on the chair on which
Tiny is seated.

On the other side of the chair stands Mr. Francis
Pym, M.P., of the Hassells, Bedfordshire. He
is reading a newspaper.

N.B . — Sir Richard Aldworth, Sir Thomas Beau-
champ Proctor, and Sir Francis Pym were all
three sons-in-law to Mr. Palmer.

Next to him, and seated on the extreme right of
the picture is the Duke of Bedford, while
immediately opposite to him, seated on the
extreme left of the picture, near to the standing
figure of Sir Richard Aldworth, is the Duke of
Grafton.

All the gentlemen are in hunting costume. On
the breakfast-table, which is covered with a
white cloth, is a large silver urn, a teapot, some
cups and saucers and other things.

The picture is a large one. 44 x 34 ! • p -

Standing portrait of William Burton, represented
out of doors under a tree, leaning his arm on a

242

JOHN ZOFFANY, R.A.

stone pedestal. Opposite to him is a small
statuette, and near to his feet is a fragment of
sculpture, representing three figures and a
broken column. He is in a rich costume,
trimmed with gold braid, and with lace ruffles,
and holds his hat in his hand. P.

(This now belongs to Agnew’s.)

Wallop, Hon. Frederic. Group representing Mr. and Mrs. Palmer and
Bachelors' Club , their daughter, afterwards Mrs. Landon, of
and 39, Eaton Terrace , Dorney Court, Bucks. She is represented
London. having a drawing lesson from her father.

Mrs. Palmer wears a blue silk dress, and is
busily engaged in needlework. They are all
seated at a round table. 36 x 28. P.

Sold at Christie’s, May 31, 1902 (£199 10s.)

Group representing Samuel Foote as Major
Sturgeon, standing with Sir J. Jollop. This
is evidently the original from which the mezzo-
tint by J. G. Haid was executed, published by
Boydell in 1765. 30 x 21.

Once the property of Sir Guy Laking.

Whitechapel Gallery, 1910.

Mr. Wallop has also a miniature by Zoffany.

Portrait of a gentleman unknown. Bust, three-
quarters to the left, wearing blue coat with
gilt buttons, striped waistcoat with lapel turned
back over coat, white neckcloth and frilled
shirt, hair powdered, face clean-shaven, blue
eyes, and fresh complexion ; light admitted
from the top right hand. Ivory 2 \ x 1 1
signed “ zoffany Pinxt. 1781 ” ; in gold locket,
with plaited hair and the initial F. at the
back. P.

Waters, Mrs.
Ails a,

IVendover.

This lady is believed to possess a portrait of a
lady by Zoffany, painted in India.

Watson, The Rev.
Wentworth.
Rockingham
Castle,

Uppingham.

Group representing three boys, Lewis, Henry,
and George, the latter being the grandfather
of the owner, the children of the first Lord
Sondes. They are depicted as playing under
a big tree, one boy having a curious sort of bat

of the late Mr. Asher Wertheimer

PORTRAIT OF THOMAS GAINSBOROUGH, R.A.

APPENDIX

243

Watts, Mrs.

Hanslope Park ,
Stony Stratford,
Bucks.

in one hand, and a cricket-ball in the other, the
second holding a squirrel, which the smallest,
who is in girlish costume, is feeding with nuts.
There is another bat, represented as lying on
the ground. P.

There appears to be no date to the picture, but
the children were born respectively in 1754,
1755 and 1768.

William Watts, Governor of Fort
Bengal, standing, in official

Wertheimer, Asher,
Esq., Exors. of.
New Bond Street.

Portrait of
William
costume.

Portrait of Mrs. Watts, called “ the Begum
Johnson,” was a Miss Crooke, and after the
death of Mr. Watts married a Bengal chaplain,
the Rev. W. Johnson. One of her daughters
became Countess of Liverpool. P.

Portrait of Mr. Watts represented in the act of
negotiating the treaty of 1757 with Mir Jafar
and his son Miran. This picture is reproduced
in S. C. Hill’s Bengal in 1756-57. P.

Zoffany was not in India in 1757, but it is stated
that Mr. Watts desired that this treaty with
which he was concerned should be introduced
into the picture.

Portrait of Gainsborough in grey coat edged with
fur, scarlet vest, dark breeches, and white
stockings. Seated figure, holding a crayon and a
drawing, and with books on a table by his side.
50 x 40.

Bought at Christie’s, May 10, 1912. P.

Portrait of Mrs. Garrick, dressed in a white satin
dress, blue waistcoat with silver braid and
buttons, and orange-coloured short coat, and
holding a mask in her hand. In her hair is
twisted a white scarf. 49 x 39.

Bought at Christie’s, May 19, 1911. P.

At one time he had also a portrait of Garrick.

Whitehead Frederick, Small oval portrait of the actor Parsons.
Esq. 10 x 7.

174, Belsize Road,

N.W.

Circa

244 JOHN ZOFFANY, R.A.

Whitney, Mrs. Payne. Portrait group representing five sporting gentle-
New York. men, Edmund, Earl of Cork, Mr. Bingham,

the Rev. Charles Digby, Colonel Cox, and the
Rev. Mr. Hume.

Grouped beneath a stone pedestal, on which is a
figure representing the river Tiber, and close
to a stone seat on which one of the gentlemen
(Colonel Cox) is seated. Three are standing
behind the stone seat, one of them (Mr. Hume)
leaning over its back, and holding his hat and
a whip in his hand. The middle one (Mr.
Digby) is holding out his hat, and the one near-
est the stone figure (Mr. Bingham) rests his
hands on the shoulders of the man in the middle.
The seated figure has his hat and whip by his
side, and rests one hand on the head of a dog.
There are two other dogs in the picture, both
of which are looking up at the youngest man
of the five (Lord Cork), who is holding out
his hand to one of the dogs, and with the other
holds his whip behind his back. He is the
only one of the five wearing his hat. In the
distance is a country landscape. 40 x 50. P.

Wilkinson, Rev. B. G. Portrait of his great-grandmother, and his grand-
The Rectory , mother as a babv. The mother, Mrs. Robert

Pimp erne, Bathurst, is seated on a sofa, holding the child’s

Blandford. hand, and behind stands an ayah with a tam-

bourine. The child was Catherine, who after-
wards married J. E. Wilkinson. Painted about
1800. Not seen bv us.

Williamson,

Dr. G. C.

Burgh House ,
Hampstead ,
London.

Portrait of David Garrick drawn in pencil and
wash. P. From the Garrick Sale in 1823.
Oval 8 x 61.

Willoughby de Broke, Group representing John, fourteenth Lord
Lord. Willoughby de Broke, his wife, Lady Louisa

North, daughter of Francis, first Earl of Guild-
ford, and sister to Lord North, and their three
children.

Coll, of Sir Wm. L. Young, Bari

THE CHILDREN OF SIR WM. YOUNG, isi BARONET AND GOVERNOR OF DOMINICA

APPENDIX

245

Winter, Miss,

The Late.
Nether Worton
Hall,

John, his successor.

Henry, afterwards sixteenth Baron, who married
Margaret, daughter of Sir John Williams,
and Louisa, who married the Rev. Albert
Barnard, Prebendary of Winchester, and be-
came mother of Robert John, seventeenth
Baron.

Lord Willoughby is in brown coat and breeches,
red waistcoat, heavily trimmed with deep gold
lace, white stockings, short white wig with side
curls, and is represented leaning against the
back of a chair in which Lady Willoughby is
seated, and shaking his finger at the second
child, who is standing at the left side of the
table and helping itself to a piece of hot
buttered toast.

Lady Willoughby is seated. She wears a blue
silk dress, powdered hair, large pearl earrings,
long white mittens, and blue and white ruffs
round her neck, and she is holding the youngest
child, who stands with one foot on the table,
against her right shoulder.

The third child is on the right, dragging a red
wooden horse on wheels.

All three children are in long white dresses,
short sleeves, blue or pink sashes, and red
morocco shoes. The table at which they are
seated has upon it a white table-cloth, a service
of tea-things and a large silver urn, which latter
is still preserved at Compton Verney. A fire is
burning in the open grate, and over the carved
chimneypiece is a landscape in the style of
Joseph Vernet. P.

Birmingham, 1903 (62).

Whitechapel, 1906 (31).

Portrait of Mrs. Warren Hastings, great-aunt
of the owner of the picture. Full-length.

A fine portrait, representing the lady in a blue
silk dress. It is illustrated in S. C. Grier’s

Steeple Aston, Letters of Warren Hastings, opposite p. 247
Oxon. (see p. 98).

246 JOHN ZOFFANY, R.A.

Wyndham-Quin, Lady Portrait group representing Mr. Charles Wyndham
Eva. holding his son, Mr. Thomas Wyndham, by

Castle Lewis, the hand. The father is represented in a black

Carrick-on-Suir. coat and white stock, and wears buckle shoes.

The boy, aged twelve, is in a green coat with
lace at the neck and sleeves. Not seen by us.
Portrait is 8 to 10 feet high.

Yarborough, The
Earl of.

17, Arlington Street.

Yates, Mrs. Park.
lnce Hall,
Chester.

Group representing Garrick in The Farmer's
Return. He is seated. A woman near by is
giving the news, and another woman and a boy
are listening in amusement. The scene is in a
kitchen. P.

Manchester Exhibition, 1857 (95).

Whitechapel, 1910 (28).

Group representing Shuter, Beard and Dunstall
in Love in a Village. One man is standing
smiling, listening to the second, who is bringing
in some information, the third lounges near.
There is a picture of the children of James I on
the wall. P.

Manchester Exhibition, 1857 (93).

BE, 1849 (54).

Whitechapel, 1910 (20).

R.A., 1768(F)

Group representing three men seated at a round
table, one of whom is Sir Wolston Dixie who
died in 1767. There are two candles on the
mantelshelf.

Yorke, Mr. Thomas
Edward.

Bewerly LI all,
Pate ley Bridge,
Yorkshire.

Portrait group representing Mr. John Yorke,
in a brown suit, seated on a rock by a stream,
holding a book. Between his knees is a large
black and white dog. Colonel Coore, of
Scruton Hall, Bedale, Yorks, stands on the left
in scarlet coat with green facings, white satin
knee breeches, and white silk stockings. He
is represented as having just landed a fish,
which he is taking off the hook. He wears a
black beaver hat. P.

John Yorke died in 1813, aged seventy-seven,
and appears in this picture to be about forty-
five or fifty.

Coll, of S ii Wm. L. Young , Bari.

SIR WM. YOUNG. AFTERWARDS 2ND BARONET AND GOVERNOR OF TOBAGO, AND ONE OF HIS SISTERS

APPENDIX

247

Young, Sir William, Group representing a man on horseback holding
Bart. a child in front of him. A boy is standing near,

35, Lower Seymour putting his hand in that of the child, and with

Street. the other holding a dog. There is a black

Portman Square. attendant close at hand. The persons who
are depicted are all members of the Young
family, the two children being brothers of
the second Baronet, The house in the back-
ground must be Delaford. 33 x 25. P.

A group of two children, a girl seated on what
appears to be a stone seat, holding some papers,
a boy is leaning over her, and apparently is
springing from a stone seat to be near her, and
she has her hand on his shoulder. The boy
was afterwards Sir William Young, second
Baronet and Governor of Tobago and the girl
is his sister Mary. 25 x 19. P.

Portrait of George III.

Picture representing the interior of a room in
19, Arlington Street, with two figures, one a
small boy, the grandfather of the present Lord
Zetland, and the first Earl, and the other Sir
Laurence Dundas, Bart. 40 x 50. P.

The chairs and fine bronzes on the mantelpiece
and the picture over it by Van De Capelle
represented in this painting are still in the
possession of the family, but the room is now
only a passage-room. Sir Laurence is in a
deep blue velvet coat and breeches and red
waistcoat. The boy is in white, with pink sash
and red shoes.

A Turkey carpet is on the floor.

There are writing materials on the table and
many pictures on the walls.

Zetland, The
Marquis of.
Aske ,
Richmond ,
Yorkshire.

INFORMATION TO HAND WHILST THE BOOK WAS PASSING
THROUGH THE PRESS

Beaufort, The Duke Queen Charlotte and two of her sons.
of. Grafton Gallery, 1895 ( I 43)-

Badminton, Portraits also of George III and Queen Charlotte
Glos. in Coronation robes are attributed to Zoffany.

Not seen by us.

Humble, C. Nugent, Group of several members of the Rice family.
Esq. Mr. and Mrs. Thomas Rice; their son, Mr.

Cloncoskraine, Stephen Rice, father of Thomas Spring Rice,

Dungarvan , First Lord Monteagle ; their daughter,

Co. Waterford. Christiana Rice, afterwards Mrs. Fosbery, and
the sons of Mrs. Rice by her first husband,
Mr. Collis. P.

Ingleby, H., Esq., At this house there was a portrait by Zoffany
M.P. representing one of Mrs. Inglebv’s ancestors.

3 1 , Crosvenor Place,

London.

Jones, If. Burton, Fine Drawing of Lord Heathfield. P.

Esq. Signed.

1 1 , Douglas House,

Maida Hill. London.

Munroe, Sir T. A Landscape with an Indian Family.

Lindirtis, Forfarshire. A Durbar with British Officers and Indians.
Normanby, Rev., Portrait of Garrick as Sir John Brute.

The Marquis of. Grafton Gallery, 1897.

Midgrave Castle,

Whitby.

Osborn, Sir Alger- Two portraits, Busts.

NON.

Chicksands Priory
Ramsden, The Late
Mr. Archibald.
Sligo, Marquess of.
Westport House,

Co. Mayo.

Smith, Mr.
Willoughby S.
Bench a ms, Harp
ford, Devon.

, Beds.

Portrait of a Lady. Canvas 30 x 25.

Said to have been signed.

Portrait of George Augustus, Third Viscount
Howe, killed at Ticonderoga, 1758. 48 x 30.

Portrait of Wm. Augustus, Duke of Cumberland,
third son of George III. Bust, circa 14 x 14.

Group representing Garrick as Lord Chalkstone
with two actors in Lethe. The figure of

- Garrick is identical with that in the Garrick
Club which we illustrate. The picture is an
important group.

2-jS

LIST OF PICTURES BY ZOFFANY EXHIBITED AT THE
GALLERIES OF THE SOCIETY OF ARTISTS, FREE
SOCIETY OF ARTISTS, AND ROYAL ACADEMY,
WITH SOME EXTRACTS FROM WALPOLE’S
CATALOGUES AND THE NAMES OF THE
PRESENT OWNERS SO FAR AS THEY
CAN BE TRACED

LIST OF PICTURES BY ZOFFANY EXHIBITED AT THE GALLERIES OF THE
SOCIETY OF ARTISTS, FREE SOCIETY OF ARTISTS, AND ROYAL
ACADEMY, WITH SOME EXTRACTS FROM WALPOLE’S CATALOGUES
AND THE NAMES OF THE PRESENT OWNERS SO FAR AS THEY CAN BE
TRACED.

Society of Artists.

1762. 138.

138*.

1763- i37-

138.

I 39*

140.

1764. 140.

141.

142.

1764. 143.
144.
H5-

146.

1765. 167.

Mr . Zaffanii.

Mr. Garrick in the character of the Farmer returned from
London. (Good, like the actors, and the whole better
than Hogarth’s. — Walpole.) [Earl of Durham .]

A Gentleman’s Head.

Mr. Garrick and Mrs. Cibber in the characters of Jaffier
and Belvidera. [Earl of Durham.]

Portrait of a Gentleman.

Ditto.

A Family. (Mr. Palmer, the actor, looking at his wife and a
little boy in her lap. — Walpole.)

Great Piazza, Covent Garden.

Mr. Foote in the character of Major Sturgeon, in The Mayor
of Garratt. (And Mr. Baddeley. — Walpole.)

(A very fine likeness, a picture of great humour. — Walpole.)
[Earl of Carlisle .]

A Family. (A boy flying a kite, the father sitting, and a
younger boy standing by him, and looking at the other. —
Walpole.) [The Hon. Mrs. Goldman .]

A Portrait ; kit cat.

Ditto ; three-quarters.

Small whole-length of a Lady.

Ditto of Mr. Moody in the character of Foigard. [Sir
Henry Irving ( the late)i]

A Lady Playing on the Glasses.

In Lincoln's Inn Fields ; Mr. Zaffanij.

Mr. Garrick’s drunken scene in the Provok'd Wife. [The
Garrick family.]

251

252

JOHN ZOFFANY, R.A.

168. A Family Piece. — (Dr. Nugent’s. — Walpole.) [*S/r E. C.
Nugent )

1766.

1767.

1768.

Portugal Row, Lincoln's Inn Fields.

198. Mr. Garrick in the character of Lord Chalkstone. [ The

Garrick Cluh.]

199. The Miser in the same entertainment.

194. A scene in Love in a Village. (Shuter, Beard and Dunstal

in the characters of Justice Wood, Hawthorne, and
Plodge, Act I. — Walpole.) [Mr. Acton Garle)

195. A Family.

(Special.) 138. Mr. Beard, Mr. Shuter, and Mr. Dunstal, a
scene in Love in a Village. [ The Earl of Yarborough .]

1769.

Mr. Zoffanii, Portugal Rozo, Lincoln's Inn Fields.

213. A Porter with a Hare. (A Boy reading the Direction,

another looking up, eating bread-and-butter. — W alpole.)
Ehrich Gallery .]

214. A scene in The Devil upon two Sticks. (The President and

Dr. Last fetching his shoes. P. Well, Doctor ! Dr. L.
I have left my shoes. — Walpole.) [Earl of Carlisle.]

215. A Nobleman’s Family. [Duke of Atholl . ]

216. A Portrait of a Child with a Dog. (A cradle. — Walpole.)

217. A Portrait ; small whole-length.

218. Ditto of a Gentleman.

219. Ditto of a Gentleman and his Son.

357. A small whole-length.

358. Ditto larger.

359. A Gentleman’s Family. ( Probably Colonel Bradney's

group)

Free Society.

Mr. Zaffanii , Lincoln's Inn Fields.

1766. 201. Their Royal Highnesses the Prince of Wales and Prince

Frederick as cupids, with a landscape on copper. [. H.M .
The King)

Royal Academy.

Johan Zojfanij, Frith St., Soho.

1770. 21 1. The Royal Family. (In Vandyke dresses, ridiculous — a

print of it. — Walpole.) [H.M. The King)

APPENDIX

253

212.

213.

I77 1 * 23°-

231.

232.
1772. 290.

291.

292.
1773. 320.

321.

368.

369-

1775- 352.

1780. 68.

163.

204.

The last scene of the second Act in The Alchymist. (This
most excellent picture of Burton, J. Palmer and Garrick,
as Abel Drugger, is one of the best pictures ever done by
this Genius. Sir Joshua Reynolds gave him £100 for it
D. Carlisle offered the latter twenty guineas more for it
Sir Joshua said, he should have it for the £100 if his Lord-
ship would give the £20 to Zoffani, which he did. — -Wal-
pole.) [Earl of Carlisle]

A Portrait of a Young Gentleman ; small whole-length.

His Majesty; half-length. (Very like, but most disagree-
able and unmeaning figure. — Walpole.) [H.M. The
King]

A Portrait of a Young Gentleman ; whole-length.

A Beggar’s Family. [Mr. M. Drummond]

The Portraits of the Academicians of the Royal Academy.
(This excellent picture was done by candle-light ; he
made no design for it, but clapped in the artists as they
came to him, and yet all the attitudes are easy and natural,
most of the likenesses strong. There is a print from it. —
Walpole.) [H.M. The King]

An Optician, with his Attendant. (Extremely natural, but
the characters too common nature, and the chiaroscuro
destroyed by his servility in imitating the reflexions of
the glasses. — Walpole.) [H.M. The King]

A Portrait of an Officer ; small whole-length.

Portrait of Her Majesty, in conversation with her two
brothers and part of the Royal Family. (And Lady
Charlotte Finch. — Walpole.) [H.M. The King]

A Portrait. (Prince Ernest of Mecklenburg. — Walpole.)

St. Cecilia ; three-quarters.

A Sybil ; three-quarters. (Style of the good painters but
affected. — Walpole.)

Florence.

The Repose, in the flight into Egypt. (Wretched. — Wal-
pole.)

Albemarle Street.

A room in the gallery of Florence, called the Tribuna, in
which the principal part is calculated to show the different
styles of the several masters. [H.M. The King]

Portrait of a Gentleman. — (J ohn Burke.)

Girl with Watercresses. [Lord Revelstoke]

254

JOHN ZOFFANY, R.A.

1781. 85.

I 75 -

223.

246.

1782. 1.

53 *

92.

44 -

1784.

98.

1790.

i 57 -

191.

W 95 -

283.

18.

W 9 6 -

85.

1 10.

125.

J. Zoffany, R.A.

A Gentleman’s Family. (Mr. Sharp, surgeon.) (The
Sharps in their barge, a musical family, who went every
summer on the river in a large vessel. The figures
are most natural, and highly finished, but a great want
of keeping on the whole. — Walpole.) [Mr. G. E. L.
Baker.]

Portrait of a Young Lady.

Ditto Gentleman.

A character in The School of Scandal. (Mr. Baddeley.)
[Mrs. Hutchinson.]

Portrait of a Gentleman. (Mr. Sympson, musician.)

A Conversation. (Mr. and Miss Wilkes.) (Horridly like. —
Walpole.) [Sir S. Baker, Bart]

A Character — (Morgi, in Viaggiatori Felici.) (In comic
opera. — Walpole.)

East Indies.

Portrait of a Gentleman. (Mr. Ma . This is all that

could be read in the catalogue copied from, the rest
cut off.)

Portrait of a Gentleman. (Mr. Maddison.)

Ditto. (Mr. Chase.)

Russell Place.

A Battle Piece against Hider Ally.

A Nobleman’s Collection. (Mr. Charles Townley, Mr.
Dankerville, Mr. Thomas Astle, Mr. Charles Grenville.)
[Lord O' Hagan]

Portrait of a Young Lady. (Miss C. Zoffany.)

Plundering the King’s Cellar at Paris, August 10, 1793.

7, Bennet Street, St. James's.

Mr. Townsend as the Beggar in the pantomime of Merry
Sherwood.

Mr. Knight as the Clown in the farce of The Ghost. [Gar-
rick Club]

Hyderbeg on his mission to Lord Cornwallis, with a view
of the granary erected by Warren Hastings, Esq., at
Patna.

APPENDIX

255

* 95 -

1797.

152.

i 798 *

167.

1800.

IOI.

224.

225.

522.

Susanna and the Two Elders.

Strand-on-the-Green, near Kezv Bridge.
A Beggar’s Family.

A Professor of the Harp.

Moses and Pharaoh’s Daughter.

Joseph and Mary on their Flight to Egypt.
Ditto.

Ditto.

LIST OF ENGRAVINGS AFTER THE WORKS OF
ZOFFANY IN THE BRITISH MUSEUM AND
ELSEWHERE, AND SOME REFERENCES TO
ENGRAVED PORTRAITS OF ZOFFANY

LIST OF ENGRAVINGS AFTER THE WORKS OF ZOFFANY IN THE BRITISH
MUSEUM AND ELSEWHERE, AND SOME REFERENCES TO ENGRAVED
PORTRAITS OF ZOFFANY.

From the British Museum Catalogues

Frontispiece to a work entitled Attempts to Compose Six Sonnets , by
Master Southbrook, 1797. Engraved by T. Stow. It represents one
Muse leading the boy to another.

“ The Watercress Girl,” said to be a portrait of Jane Wallis, engraved
by J. R. Smith, 1780. Mezzotint. 15 x 11.

There is also a print of this by T. Young, 1785.

Shuter, Beard and Dunstall as Woodcock, Hawthorn and Hodge in
Love in a Village , Act I, Scene vi, 1768. Engraved by J. Finlayson.
Mezzotint. 22 x 18.

The Towneley Marbles. Large mezzotint. By W. H. Worthington.
(S.K., G. 7 A.)

The Key to the same. The four persons represented are as follows —

Mr. Towneley seated apart from the rest. Opposite to him
Monsieur D’Hancarville standing, the Hon. Charles Greville
with his hand on the table, and near to him Mr. Astle, the Keeper
of the State Papers.

Plundering the King’s Cellar at Paris on August 10, 1793. R. Earlom.
Mezzotint. Published 1795.

The Porter and the Hare. A man holding a hare, speaking to two boys.
Engraved by R. Earlom. Published in 1774. Mezzotint. Published also
in colour by Saver and Bennett, 1780.

The Embassy of Hyder Beck to Calcutta, from the Vizier of Oudh by
the way of Patna, in 1788, to meet Lord Cornwallis. Engraved by Earlom.
Published in 1800. 21^ x i8f .

Key to the above picture, also published in 1800.

Colonel Mordaunt’s Cockfight at Lucknow in 1786. Engraved by
Earlom. Published in 1792. Mezzotint. 26J x 18L

The Life School in the Royal Academy. Zoffany is represented in a
corner holding a palette. Engraved by Earlom. Published in 1773.
(S.K., G. 7 C.) 28J x 19^

Key to the above with the names of the various Royal Academicians
represented.

259

26 o

JOHN ZOFFANY, R.A.

Tiger hunting in the East Indies in 1788. Engraved by Earlom.
Mezzotint. Published in 1802. 21 & x i8±.

Key to the above. Zoffany is seated in the howdah on one of the
elephants, and bareheaded, and with him is Sir John Macpherson.

There is also a key to the Tribuna picture. It represents a group of
connoisseurs looking at various pictures, and underneath are the names
of the persons represented, as follows —

Earl Cowper.

Sir John Dick.

The Earl of Plymouth.
Mr. Zoffany.

Mr. Stevenson.

The Earl of Dartmouth.
Mr. Lorain Smith.

Lord Mount Edgcumbe.
Lord Russborough.

Mr. Valentine Knightley.
Mr. Bianelli.

The Hon. Felton Hervey.
Mr. Gordon.

Mr. Patch.

Sir John Taylor.

Sir Horace Mann.

The Earl of Winchelsea.
Mr. Watts.

Mr. Doughty.

Mr. T. Wilbraham.

Mr. Bruce and
Mr. Wilbraham.

Bransby Parsons and Watkins as /Esop, old Man and Servant. En-
graved by Young. Published by Simpson, 1788.

PORTRAITS

Mrs. Baddeley. Engraved by Laurie. Published by Sayer in 1772.
Mezzotint. In two sizes, 13! x io£ and cut down to i2f x 9|.

There is also a vignette copy from this picture in stipple, engraved by
H. R. Cook. Published by Payne in 1814. 3! x 3§.

Mrs. Baddeley with Mr. King as Fanny Sterling and Lord Ogleby in
Colman’s Clandestine Marriage. Act IV. Engraved by Earlom. Pub-
lished by Sayer in 1772. Mezzotint. i6f x 2if.

Giacomo Bassevi. Performer on the violincello. Also called Cer-
vetto. A Centenarian. Born 1682, died 1783. Engraved by Picot.
Published in 1771. Represented holding his ’cello. Mezzotint. 13^ x

9 £-

George, second Earl of Bristol. Standing, in peer’s robes, holding
coronet. Engraved by J. Watson. Mezzotint. 19! x 14.

A second state of the engraving is known, with the purse introduced
on the chair.

Queen Charlotte. Represented nearly whole-length, leaning on a
console, on which is a vase of flowers. Engraved byr Houston. Mezzo-
tint. Published by Sayer, 1772. (S.K., Box 14.) i8f x 15 J.

Coll, of His Majesty the King Lord Chamberlain's Department photo ENGRAVED PORTRAIT OF HER MAJESTY QUEEN CHARLOTTE

PORTRAIT OF HER MAJESTY QUEEN CHARLOTTE BY lawrey (1772) after the original (with variations) belonging to his majesty the king

APPENDIX

261

There is a copy from this with the vase omitted. Published by
Sayer in 1773. Also a mezzotint, but engraved by Laurie. 14b x nf.

There is another copy half-length only. Engraved by Laurie. Mezzo-
tint. Published by Sayer in 1772. I 2 | X 9 f.

There is a fourth copy, published by Sayer and Bennett, but the
engraver’s name is not given, and it is three-quarter length, a small mezzo-
tint. 5§ x 4§.

George Coleman, Dramatist (1732-1794) as a young man. Engraved
by E. Smith, as a plate for Effigies Pceticce. Small line engraving. 4 x 3-f.

Sir William Chambers. Romney sculp. Published 1817 by C. G.
Dyer. Facsimile of signature. Full-length standing.

Andrew Drummond, founder of Drummond’s Bank (1688-1769).
Seated under some trees, with a dog beside him. Engraved by J. Watson.
Mezzotint. 19! x 15.

Elizabeth Farren, Countess of Derby (1759-1829). Represented as
“ Hermione ” in the Winter's Tale. Standing full-face, with her arm on a
cabinet. Engraved by E. Fisher. Published by Sayer and Bennett, 1781.
Mezzotint. 23 x 16.

Ferdinando I, inscribed “ Hispaniarum Infanti Regio et Corregio. Pinx.
Zoffany Sculp.” Large Fol. Very rare. Circa 1800.

Samuel Foote, Actor, with T. Weston, as the President and Dr. Last in
The Devil upon Two Sticks, standing in a room. Engraved by J. Finlayson.
Published by Zoffany in 1789. Mezzotint. (S.K., pp. 14.) i6f x 2i|.

The same actor as Major Sturgeon in The Mayor of Garrett. Standing
with Sir J. Jollop. Engraved by J. G. Haid. Published by Boydell in
1765. Mezzotint. (S.K., pp. 14.) 1 6 x 19^.

A Watch Paper. A copy from the last, if inches in diameter.
Engraver anonymous. Published by R. Sayer.

Thomas Gainsborough, R.A. Bust looking to the left. A photo-
gravure used on the title of Armstrong’s Gainsborough, published in 1898.

David Garrick as Abel Drugger in Jonson’s The Alchymist, Act II,
Scene vi. Holding a pipe, being a single figure from a group which
represents Garrick, Burton and Palmer. Mezzotint. Engraved by J.
Dixon. Published by R. Sayer in 1791. (S.K., pp. 14.) Also published

in 1771 and dedicated to Lord Carlisle. Engraved on the plate itself.
Ht x 11.

The same picture published by Colnaghi’s in 1825, an d engraved by
S. W. Reynolds. Mezzotint. i8f x 13.

The same actor in The Farmer's Return. Seated in a cottage with his
family. Engraved by J. G. Haid. Published by Boydell in 1766. Mezzo-
tint. 17 x i5f.

The same actor as Sir John Brute, in Vanbrugh’s Provoked Wife .

262

JOHN ZOFFANY, R.A.

A single figure from the group of Sir John with the watchmen. He is
represented whole-length in his wife’s clothes. Engraved anonymous.
Published by R. Sayer, 1769. It was also engraved by Finlayson and
published November 1, 1768. (S.K., pp. 14.) 3I x 3.

The same actor with Mrs. Cibber as “ Jaffier ” and “ Belvidera ” in
Otway’s Venice Preserved. He is offering to stab Mrs. Cibber who kneels
before him. Act IV, Scene ii. Engraved by McArdell. Published by
the same in 1764. Mezzotint. (S.K., pp. 14.) 17 x 2if.

A copy from the above engraved by Stayner in line, and published
by C. Sheppard. 8f x I2|.

Another copy from the same engraving by Wilson. Published by R.
Sayer. Mezzotint. 8^- x 13I.

The same actor with Mrs. Pritchard as “ Macbeth ” and “ Lady
Macbeth.” Act II, Scene iii. Engraved by Valentine Green. Published
by Boydell in 1776. Mezzotint. Two states known. i6f x 2i|.

A portrait of Garrick after Zoffany was lithographed by L. Dickenson.
To the right, collar open at throat, animated expression, full-face.

George III. Seated in an armchair, with a hat and sword on the table
to the left. Engraved by R. Houston. Published by R. Sayer in 1772.
Mezzotint. (S.K., pp. 14.) i8f x 15!.

The same picture engraved by Fritzsch. Inline. Published by Beren-
berg, 1779. i8| x 15$.

The same picture, but the table with the hat and sword omitted.
Engraved by R. Laurie. Published by R. Sayer in 1773. Mezzotint.

Hi x

The same picture, but published by Laurie and Whittle in 1794.
Engraver anonymous. Mezzotint. i2f x 9f.

The same picture, half-length only, in an oval frame. Engraved by
R. Laurie. Published by Sayer in 1772. Mezzotint. I2f x 9^.

The same picture, published by Sayer and Bennett in 1774. Engraver
anonymous. Small mezzotint. 5i x 4.

The same picture. A German book illustration in line, the bust
only. 4I x 2\.

Circular frame, with name on tablet. Engraved by Endner.

George III. Their most Sacred Majesties George III and Queen
Charlotte with His Royal Highness George, Prince of Wales, Frederick,
Bishop of Osnaburgh, Prince William Henry, Princess Charlotte Augusta
Matilda, Prince Edward, and Princess Sophia Augusta. J. Zoffany
pinxit 1770. Earlom sculpsit London, October 1770. Published as
the Act directs, January 1, 1771, by R. Sayer. The plate measures
23 J x 18J. This does not include the lettering.

Hanson Thomas. W. Dickenson fecit 1770. Zoffany pinxit 1767.

APPENDIX 263

Mezzotint. 16 x X2f print. A man seated under a tree, holding a stick
in his hand and his hat on his knee.

Warren Hastings (1732-1818). Bust, almost full-face. Engraved
by R. Brittidge, and published by him in Calcutta, 1784. Small line
engraving. 8f x 7f.

The same picture, but set within an ornamental oval frame. Anony-
mous engraver. Published by J. Murray in 1786, as a frontispiece to his
Memoirs Relative to the State of India.

John Heaviside, F.R.S., Surgeon to George III (1748-1828).
Represented lecturing, with his hand on a heart. Engraved by R. Earlom.
Published by Laurie and Whittle in 1803. Mezzotint. From a picture
belonging to J. Doratt, Esq. (S.K., pp. 17.) 17! x 14.

Sir Elijah Impey, Chief Justice of Bengal (1732-1809). Standing
full-face, in judicial robes. The picture is at Calcutta. A photograph of
it is at the India Office.

Hester Maria Thrale, afterwards Viscountess Keith, when twenty
months old, sitting on the floor by a cradle, fondling a dog. Oval.
Engraved by J. Marchi. Mezzotint. 17! x 14.

Thomas King, Actor (1730-1805). As “Puff” in Sheridan’s The
Critic . Holding papers and a cane. Engraved by J. Young. Published
by T. King in 1803. Mezzotint. Also there is an Earlom mezzotint
at South Kensington of this print, see Box 13. 20% x 17.

The same picture representing him at a window. Engraved in line
by J. Goldar. Published by Bellamy and Robarts, 1789. 6x4.

Edmund Keene, Bishop of Ely (1714-1781). Seated by a table,
resting an open book upon his knees. Engraved by C. Turner. Published
by the same in 1812. Mezzotint. 15I x 13I.

Robert Marsham, F.R.S. (1708-1791). Resting his head on his hand.
Engraved by W. C. Edwards. Published by C. Muskett of Norwich.
Line engraving, also an etching by Edwards drawn by Sands from a
picture by Zoffany. 7 x 5§.

John Moody, Actor, as Foigard in The Stratagem. Engraved by
J. Marchi. Published by J. Wesson. Mezzotint. i8f x 14.

Richard Neville Neville of Billingbear, Berks. By P. W. Tomkins,
I 8o3- 5f x 4f.

Another engraved by Basire, same picture, bust only. 5 x 4 b

Edward, third Earl of Oxford. Died 1755. Whole-length, standing
in a room, surrounded by his family. Engraved in stipple by Posselwhite
as a plate to Drummond’s Notable British Families , 1846. 10J x 9^.

Robert Price of Foxley, Hereford. Father to Sir Uvedale Price, Bart.
Died 1761. Bust to the right, oval, in a rectangular frame. Engraved by
J. Basire in line. Published by J. Nichols in 1910. 4! x 4.

264

JOHN ZOFFANY, R.A.

Simon F. Ravenet, Engraver. Resting his face on his hand. In
oval frame of masonry on pedestal. 1763. Engraved by Ravenet himself.
Line. “ Peiut par son Ami Zoffanii.” (S.K., g. 56.) 7J x 4|.

A reversed copy from the above, plain oval. Line engraving by an
anonymous engraver. 4 x 3^.

Reynolds, Sir J. Full-length with ear trumpet. Romney sc. Zoffany
pinxit G. W. Brightdel. 1817. W. Dickenson fecit 1770.

John Montagu, fourth Earl of Sandwich (1718-1792). From the
picture in the Trinity House. Engraved by Valentine Green and pub-
lished by him in 1774. Mezzotint. Four states known. (S.K., pp. 26.)
I 7t x 14.

James Sayer, son of Robert Sayer the print-seller, at the age of thirteen,
represented standing by a stream, taking a fish off the hook. Engraved by

R. Houston. Published by R. Sayer, 1772. Mezzotint. 1 8i x 14.
John Christopher Smith (originally Schmidt) Musician. Pupil of

Handel (1721-1795). Stipple engraving by E. Harding, representing him
seated at a table.

George Steevens. Shakespeare Commentator (1736-1800). Seated
at a table with two dogs. Engraved in stipple by W. Evans. Published
by S. Harding in 1800. 5 i x Li •

The same picture, half-length only, a plate for Dibdin’s edition of
Ames’s Topographical Antiquities , 1816. Engraved by T. Hodgetts.
Mezzotint. 8f x 6.

Benjamin Stillingfleet, Naturalist (1702-1771). Seated at a table,
holding a magnifying-glass, with his hand on a volume of Linnaeus.
Engraved by Valentine Green. Mezzotint. Two states known.
n| x 10.

The same picture engraved in stipple by Shipster. 3! x 3.

The same picture, bust only, used as a plate for Nichol’s Literary
Anecdotes , 1812. Engraved in line by J. Basire. 5 x 4J.

James Thornton, the King’s gardener at Kew. Engraved by R.
Houston. Published by R. Sayer in 1770. Mezzotint. io| x 9.
John Wilkes, bust only. Book Illustration. Engraved in stipple by

S. Freeman. 2| x 2f.

Miss Mary Wilkes, daughter of John Wilkes. Bust in oval. Engraved
in stipple by S. Freeman. Published by Longmans in 1804. 2^ x 2§.

Mrs. Catherine Wodhull. C.S. 124. 6-15. Rich Houston fecit

1772. Mezzotint. R. Sayer. 19^ x 14.

Mrs. Yates, Actress. Evans alludes to a portrait of her after Zoffany,
engraved by Watson, but whether by Caroline James or Thomas is not
clear. Houston also engraved a portrait of Mrs. Yates, as “ Electra,”
which is declared as after Zoffany.

APPENDIX

265

Portraits of Zoffany

Subject Painter

Zoffany, John, R.A., painter, 1733-1810.

1 . Half-length right profile ; vignette from

a crayon drawing. Published W.

Daniell, 1814. G. Dance.

Soft ground etching.

2. Nearly whole-length to right, seated, in

furred gown, holding skull and hour-
glass. One set of plates from portraits
of painters in the Uffizi Gallery.

Printed in colours. Mezzotint.

6J x 5. J. Zoffany.

3. Same picture. “ Bozzolini del.”

Line. 8f x 6f . J. Zoffany.

Engraver

W. Daniell.

C. Lasinio.
G. Vascellini.

Zoffany’s portrait is believed to be one of those in the representation
of the Society for the Encouragement of Art, distributing their annual
premiums, painted by John Barry, R.A., Professor of Painting to the
Royal Academy, in the room of the Society of Arts, and etched in May 1791 .

Zoffany’s portrait appears in the engravings of the Royal Academicians
after H. Singleton. Engraved by C. Bestland, 1802. According to the
Key, Zoffany is No. 22, one of two men whose heads are on a level with
the top of Benjamin West’s chair. The two are together, and Zoffany
is the elder one, and the further one from the chair.

Zoffany’s portrait appears in a collection of Italian engravings of
eminent painters, issued both plain and coloured, the latter being of
extreme rarity. His portrait is No. 65 in the third volume (B.M. 209, C3),
and is labelled Giovani Zoffani Pittore. He is represented in a grey
gown trimmed with sable fur; there is a landscape background, and near
to the artist is a skull and some yellow books. He is holding an hour-
glass in his hands.

It has been stated, but without any authority, that Zoffany’s portrait
appears in the painting called “ Garrick in the Green Room, after Hogarth,”
by W. J. Ward. Published by Southgate in 1829. I* is improbable that
this print was after Hogarth at all, and it is quite unlikely that it should
include Zoffany. Garrick is the principal person in the group, and he
is surrounded by various actors, Baddeley and others.

LIST OF PICTURES BY ZOFFANY THAT HAVE BEEN
EXHIBITED FROM TIME TO TIME

LIST OF PICTURES BY ZOFFANY THAT HAVE BEEN EXHIBITED

FROM TIME TO TIME

The greater part of this information is extracted, by kind permission, from the in-
valuable works by Mr. Algernon Graves, notably from A Century of Loan
Exhibitions. The remainder is taken from the catalogues of the Royal Academy
and other Exhibitions.

British Institution.

1814.

2. Tribune of the Florentine Gallery.

Lent by King George III.

79. Mr. Cuffs.

Lent by King George III.

80. Garrick as Abel Drugger, etc.

Lent by Earl of Carlisle.

81. Macklin as Shy lock.

Lent by Sir G. Beaumont.

88. Garrick in Provoked Wife , etc.

Lent by Earl of Mulgrave.

94. Foote and Weston in Devil on Two Sticks.

Lent by Earl of Carlisle.

99. Foote and Jacob in Mayor of Garratt.

Lent by Earl of Carlisle.

120. Garrick, Bransby and Aicken in Lethe.

Lent by Sir G. Beaumont.

124. Parsons, Bransby and Watkyns in Lethe.

Lent by Sir G. Beaumont.

163. The Royal Academy.

Lent by King George III.

Additions to Third Catalogue

1814. 92*. Mr. Townley’s Gallery, with D’Hankerville, Mr. Astell,
Hon. Charles Greville, and Charles Townley.

Lent by — Townley.

131*. Time clipping wings of Cupid.

Lent by John Birch.

269

121 .

2J0

1826.

1827.

1840.

1849.

i 855*

J 5 8 -

162.

140.

H3-

H7-

I 5 I -

I 7 I *

I 75*

80.

81.

82.

101.

54-

59-

124.

105.

118.

122.

124.

JOHN ZOFFANY, R.A.

Interior of Buckingham House, with Duke of Clarence
and Queen of Wiirttemberg.

Lent by King George IV.

Room in Kew Palace, with George III, Queen Charlotte, etc.

Lent by King George IV.

The Royal Academy.

Lent by King George IV.

Florence Gallery.

Lent by King George IV.

Room in Kew Palace.

Lent by King George IV.

George IV and Duke of York as Children,

Lent by King George IV,

The Royal Academy.

Lent by King George IV.

Florence Gallery.

Lent by King George IV.

Two Old Men.

Lent by King George IV.

The Royal Family.

Lent by King George IV.

Foote as Major Sturgeon, etc.

Lent by Earl of Carlisle.

Garrick as Abel Drugger, etc.

Lent by Earl of Carlisle.

Foote and Weston in Dr. Last.

Lent by Earl of Carlisle.

Mendicants in a Landscape.

Lent by Andrew Drummond.

Love in a Village, etc.

Lent by Earl of Yarborough.

The Farmer’s Return.

Lent by Earl of Yarborough.

The Towneley Gallery.

Lent by Charles Towneley.

Andrew Drummond.

Lent by G. J. Drummond.

Queen Charlotte, Prince of Wales, and Duke of York.

Lent by Queen Victoria.

Princess Royal and Duke of Clarence.

Lent by Queen Victoria.

An Indian Scene.

Lent by Capt. L. M. Strachey.

APPENDIX

I 3 I -

1856.

100.

LT)

145 -

I 55 -

128.

166.

1862.

201.

1863.

119.

1864.

128.

140.

1865.

176.

1867.

208.

Reading the Direction.

Lent by Eyre Coote.

An Indian Princess.

Lent by Capt. L. M. Strachey.

George III, Queen Charlotte and Family.

Lent by Queen Victoria.

Queen Charlotte and Brothers.

Lent by Queen Victoria.

Garrick and Mrs. Pritchard.

Lent by Walter Long.

Gainsborough.

Lent by Miss Clarke.

Colonel Mordaunt’s Cock-Match at Lucknow.

Lent by Colonel Dawkins.

A Child.

Lent by Rev. V. Edwards.

A Lady.

Lent by Rev. V. Edwards.

A Gentleman.

Lent by Rev. V. Edwards.

Garrick as Lord Chalkstone.

Lent by Dr. Hamilton.

Moody as Father Foigard.

Lent by Earl of Charlemont.

271

Suffolk Street.

1832.

i833*

x 834 -

89. Macklin, Miss M. Clarke and Bentley in Merchant of Venice.

Lent by D. Colnaghi.

47. J. Zoffany, R.A.

Lent by W. F. Ayton.

216. Mrs. Hartley (actress).

Lent by S. V. Bone.

154. J. Stackpoole.

Lent by W. Hutchins.

Manchester (Art Treasures).

1857. 93 - Scene from Love in a Village.

Lent by Earl of Yarborough.
95. Garrick in Farmer's Return.

Lent by Earl of Carlisle.
International Exhibition.

1862. 32. The Lapidaries.

Lent by Queen Victoria.

272

JOHN ZOFFANY, R.A.

36. Dr. Wm. Hunter demonstrating Anatomy.
Lent by College of Physicians.

93. Group of George IIPs Family.

Lent by Queen Victoria.

94. George III and Family Group.

Lent by Queen Victoria.

155. The Tribune, Florence.

Lent by Queen Victoria.

The Royal Academy Winter Exhibitions.

1871. 265. Hunter Lecturing. Oval, 30 x 41.

Lent by the Royal College of Physicians.

1872. 2. The Life School at the Royal Academy 39 x 57^.

Lent by Her Majesty the Queen.

274. Andrew Drummond. 89 x 70.

Lent by G. J. Drummond.

1875. 244. A Garden and Water Party near Molesey. 39 x 49.

Lent by T. J. Austen.

1876. 51. Richard Pocock, African Traveller, afterwards Bishop of

Ossory, then of Meath. In Eastern Costume. (1704-

i7 6 50 79 % x 5 2 i

Lent by F. Beilby Alston.

1877. 267. Thurston in the Merry Beggars of Sherwood , a play by

Leonard MacNally. 1784. 49 x 40.

Lent by Merthyr Guest, Esq.

He is represented kneeling, and has just written down in
chalk the words “ Such is my ability,” which gives the title
to the picture. (Since destroyed by fire. — G. C. W.)

273. A Scene from the Opera of The Decoy, or The Harlot's
Progress , by Potter. 1733.

Lent by J. T. Gibson-Craig, Esq.

The interior of a room, a register office. A man at a
table with papers. Another ragged man standing before
him. 41 A x 44L

1878. 230. The Graham family group. Sir Bellingham Graham, the

fifth Baronet, his son and his two daughters. 39^ x 49.
Lent by Sir Reginald Graham.

1879. 12 • Portrait of Warren Hastings. 28 x 22.

Le?it by Colonel H. F. Davies.

The Sharp Family Party. 45^ x 49L
Lent by T. Barwick L. Baker.

N.B. — In the catalogue all the thirteen persons are named
and described

27.

APPENDIX

273

1881.

1882.

1884.

34. Garrick and his wife on the banks of theThames. 42! x 52^.

Lent by Frances, Countess Waldegrave.

172. Reynolds, Bacon and Chambers.

Lent by Montague Chambers.

Half-length figures round a table on which is a plan.

46 x 56.

This represented Reynolds, Wilton and Chambers, and
was found to be signed by Rigaud. It was bought in 1895
at the Price sale by the N.P.G. — G.C.W.

41. Family Portraits.

Lent by George Lionel Dashwood, Esq.

Twelve small full-length figures, some seated and some
standing, in a landscape, under the shade of a large tree.
They comprise (beginning from the left) portraits of General
Auriol, Mr. John Auriol, Mr. Prinsep, Mrs. Dashwood,
Mrs. Prinsep, Mr. Dashwood and Mr. Auriol, besides five
native attendants. The two ladies are seated at a tea-table,
and Mr. Dashwood and Mr. Auriol are playing chess.
Painted in India, about 1784. Canvas 53 x 76.

268. Portrait of Queen Charlotte.

Lent by H.M. the Queen (from Buckingham Palace).

Charlotte Sophia, second daughter of Charles Louis
Frederick, Duke of Mecklenburg-Strelitz; b. 1744; m.
George III, 1761; d. 1818.

Three-quarter figure, seated to left; blue dress trimmed
with lace; pearl necklace, high headdress; leans right arm
on table, on which stands a vase of flowers; architectural
and curtain background. Canvas 64 x 54.

54. Macklin as Shylock.

Lent by Marquis of Lansdowne.

Charles Macklin or MacLaughlin; said to have been
born in 1690; first appeared as “ Shylock ” in February
1741, on which occasion Pope said of his performance —

“This is the Jew
That Shakespeare drew ” ;

wrote several plays himself; d. 1797.

This picture probably commemorates his last appearance
in the same character at the age of ninety. The figure
seated on the extreme left of the picture is a portrait of
the Earl of Mansfield. Canvas 45 x 57.

55. Garrick as Sir John Brute.

Lent by Earl of Essex.

274

JOHN ZOFFANY, R.A.

1885.

1887.

1888.

1889.

1890.

David Garrick, the celebrated actor; b. 1716; d. 1779.
Here represented in the character of “ Sir John Brute,”
in Act IV, Sc. i. of Vanbrugh’s comedy, The Provoked Wife.
Small full-length figure in a lady’s hat and gown. Canvas
30 x 24.

29. Portraits of Colonel Blair and Family.

Lent by Arthur Pepys, Esq.

Family group; Colonel and Mrs. Blair seated on a sofa;
to the right a daughter playing with a kitten held in the
arms of a native girl; on the left another daughter, seated
before a square piano with music upon the desk. Painted
in India, about 1789. Canvas 38 x 53.

19. Portrait of Thomas Gainsborough, R.A.

Lent by Mrs. Lane.

The celebrated landscape and portrait painter; b. at
Sudbury, Suffolk, 1727; was chosen an original member
of the Academy, 1768; d. 1788.

Small bust seen in front, profile to left; reddish coat
and waistcoat; dark background. Canvas 8x7 (oval).

17. David Garrick, in the character of Lord Chalkstone.

Lent by Edward Hamilton, Esq., M.D.

Small full-length, standing in front; embroidered coat
and waistcoat; the coat trimmed with fur; hat and wig,
white kerchief, black ribbon, and eyeglass; the right hand
rests on a crutch stick. Canvas 30 x 25.

1 5 1 . Portrait of A Gentleman.

Lent by Arthur J. Scott, Esq.

Small full-length figure, in shooting costume, leaning
on a gate, near a tree; his gun and hat in his left hand, his
handkerchief in his right; landscape seen to right. Canvas
29 x 24.

152. Portrait of A Gentleman.

Lent by Arthur J. Scott, Esq.

Small full-length figure, in blue and grey dress, standing,
resting his right hand, which holds his hat, on a pedestal;
landscape seen through a doorway behind, over which hangs
a curtain. Canvas 30 x 24L

50. Portrait of Thomas Hanson.

Lent by J. Hanson Walker, Esq.

Of Crosby Square, London, Danish merchant. Small
full-length figure seated to right in a chair under some
trees; his stick in his left hand, and his hat in his right;
red dress, white wig. Canvas 27^ x 36.

APPENDIX

275

1891. 8. Portrait Group.

Lent by Joseph C. T. Smith, Esq., of Shortgrove, Essex.

Portraits of Thomas Somers Cocks, the banker, b.
1737; d. 1796; and Richard Cocks, b. 1740; d. 1821 ; seventh
and eighth sons of John Cocks of Castleditch.

Two small full-length figures in a landscape; one seated
under a tree, holding a paper, at which he is pointing; the
other rests his left hand on his brother’s shoulder. In-
scribed with the names of the sitters and the painter.
Canvas 27^ x 35L
16. Portrait Group.

Lent by Joseph C. T. Smith, Esq.

Portraits of the Rev. John Cocks, b. 1731 ; d. 1793 ;
and James Cocks, b. 1734 ; d. 1804; third and fifth sons of
John Cocks of Castleditch.

Interior of a room; on the right the elder brother seated,
with his left arm leaning on a round table and a book in his
right hand ; opposite him his brother, in a suit of dark-blue
velvet, is standing, leaning his right arm on the back of a
chair, and holding a three-cornered hat and a stick in his
left hand. Inscribed with the names of the sitters and the
painter. There is a picture on the wall representing an
Indian group. Canvas 28 x 36.

1891. 17. Portrait Group.

Lent by Lady Sarah Spencer.

Two ladies seated facing the spectator in a landscape,
with a gentleman in a grey dress lined with red, standing
beside them with legs crossed; the elder lady, in a grey
dress, with large headdress, is looking at the younger
one, who is dressed in pink, with plumed headdress, and
is playing a mandolin. Canvas 35 x 27.

97. Portrait Group.

Lent by the Marquis of Bristol.

The persons represented are —

(1) Augustus John, third Earl of Bristol, b. 1724; Vice-
Admiral of the Blue, d. 1779; (2) Mary, daughter of
Brigadier-General Lepell; m. 1720, John, Lord Hervey;
(3) Lepell, their eldest daughter, m. 1743; (4) Constantine,
firsf Lord Mulgrave, and d. 1789; (5) Mary, their second
daughter, m. 1725; (6) George Fitzgerald, of Turlough,
and d. 1753.

The scene represents Lord Bristol taking leave of his
mother and sisters and their husbands.

276

JOHN ZOFFANY, R.A.

1892.

1893.

j 89 5-

Six small full-length figures; on the right, Lord Bristol
and his mother, Lady Hervey, who is seated, his two sisters
and their husbands on the left ; the open sea and a man-of-
war seen through columns in the background. Canvas
39i x 49-

99. Portrait Group.

Lent by Mrs. Roundell.

The persons represented are, beginning from the left—

Mr. Richard Roundell, b. about 1740, d. 1772; Mr.,
afterwards Sir, Henry Dashwood, Bart., of Kirtlington Park,
Oxford, b. 1745, d. 1828; the Hon. Thomas Noel, after-
wards second Viscount Wentworth, d. 1815; and Mr.
Walter R. B. Hawksworth, who afterwards took the name
of Fawkes, b. 1746, d. 1792 ; all four Gentlemen Commoners
of Christ Church, Oxford, at the same time, and great
friends.

Group of four full-length figures in a garden on the
banks of the Isis, with a view of Oxford in the distance;
Mr. Fawkes on the right, and Mr. Dashwood sitting in the
middle, are in hunting dress; the other two, of whom the
tall one in the centre of the group is Mr. Noel, are wearing
their gowns. Canvas 49! x 39^.

43. Portrait of an Actor.

Lent by W. E. Brymer, Esq., M.P.

Small full-length figure. Panel, 29 x 24.

48. Portrait of an Actor.

Lent by W. E. Brymer, Esq., M.P.

Small full-length figure. Panel, 29 x 24.

95. Interior of the Florence Gallery.

Lent by H.M. the Queen (from Windsor Castle).

Represents the famous Tribune in the Uffizi Gallery
at Florence, with portraits of distinguished English con-
noisseurs inspecting the pictures. The keeper of the
Gallery is showing Titian’s Venus to a group in the fore-
ground, while another group, on the left, is inspecting
the Cupid and Psyche. Canvas 47 x 59.

Exhibited in 1780 under the title, “ A Room in the
Gallery of Florence, called the Tribune, in which the
principal part is calculated to show the different styles of
the several masters.”

100. The Life School in the Royal Academy, 1772.

Lent by H.M. the Queen (from Windsor Castle).

APPENDIX

277

Represents the Academicians gathered about the model
in the Life School at Somerset House. All the Acade-
micians are present with the exception of Gainsborough
and the two lady members, whose portraits, however, hang
on the wall. Sir Joshua is nearly in the centre, ear-trumpet
in hand, conversing with Wilton and Chambers; Zoffany
himself sits on the left, palette on thumb, a pendant
to the standing figure of Cosway on the right. Canvas
39 x 57i

Exhibited in 1772 under the title, “ The portraits of the
Academicians of the Royal Academy.”

1907. 143. Family Group.

Lent by Lord Sherborne.

Portraits of James Lenox Naper (afterwards Dutton),
Esq., and his second wife, Jane, daughter of Christopher
Bond, Esq., their son, James, first Lord Sherborne; and
daughter, Jane Mary, married to Thomas Coke, Esq., of
Holkam, afterwards Earl of Leicester.

Interior of a room; Mrs. Dutton is seated near the fire
talking to her son, who is playing cards with his sister
seated opposite him; Mr. Dutton, also seated at the table,
is talking to his daughter. Canvas 39I x 50.

1908. 83. Portrait of Thomas King as Lord Ogleby.

Lent by the Hon. Evan Charteris.

Thomas King, the Actor and Dramatist, b. 1730; the
original Sir Peter Teazle in Sheridan’s School for Scandal ,
1777; ruined himself by gambling, and died in poverty,
1805.

Small full-length, standing in a landscape. Canvas
14 x 11.

90. Portrait of Lunardi, the Balloonist, giving a Display at
Windsor Castle.

Lent by Lord Ribblesdale.

Vincenzo Lunardi, the celebrated aeronaut; b. 1759;
made the first ascent in England from the Artillery Ground,
Moorfields, September 15, 1784; d. 1806.

Small full-length figure in uniform, standing in a land-
scape, pointing with his left hand to a balloon which is seen
in the sky hovering above Windsor Castle; his right arm,
holding his hat, rests on the muzzle of a gun; on the collar
of a black dog beside him is inscribed his name. Canvas
38 x 281-.

278

JOHN ZOFFANY, R.A.

91. Portraits of a Lady and Gentleman.

Lent by T. Humphry Ward, Esq.

Small full-lengths in a landscape; the lady in a blue
and white striped dress, with wide lace sleeves, is seated;
beside her, with his legs crossed, stands the gentleman
in a russet-brown coat, waistcoat and breeches; his hat
and stick are in his left hand, while his right rests on the
back of the seat. Canvas 27 x 35.

95. Portrait of Dr. T. Hanson, of Canterbury.

Lent by J. Hanson Walker, Esq.

Small full-length figure, seated to right in a chair under
some trees; his stick in his left hand, and his hat in his
right; red dress, white wig. Canvas 28 x 34L
1912. 155. Portrait of George Steevens.

Lent by Lieut. -Col. T. H. B. Forster.

The well-known commentator on Shakespeare, b. 1736;
d. 1800.

Half-figure, seated to left, head turned and looking at
the spectator, with one arm round a dog sitting on a table
beside him; his left hand is thrust into his coat; beside
him is the head of another dog. Canvas 32! x 27.

Wrexham.

1876. 377. Grand Duke of Austria, etc.

Lent by S. Kynaston-Mainwaring.

Edinburgh.

1883. 182. Mr. Buller.

Lent by Lord Elphinstone.

Grosvenor Gallery.

1888. 120. Parsons, etc., in The Kaiser (painted with R. Wilson).

39 x 49-

Lent by Sir G. Beaumont.

126. Garrick and King in Lethe (painted with R. Wilson).
39 x 49-

Lent by Sir G. Beaumont.

1890. 13. Tattersall’s in 1776.

Lent by E. Tattersall.

New Gallery (Guelph).

1891. 315 . Foote and Hayes in The i\Iayor of Garratt. 40 x 5°*

Lent by Earl of Carlisle.

APPENDIX

279

316. Garrick, Burton and Palmer in The Alchemist. 41 x 39.

Lent by Earl of Carlisle.

317. Foote and Weston in The Devil on Two Sticks. 40 x 50.

Lent by Earl of Carlisle.

1898. 1 5 1 . Henry Duncombe. 36 x 27.

Lent by Earl of Crawford.

Grafton Gallery (Fair Women).

1894. 172. Mary Anne Boyle.

Lent by Richard Davey.

Grafton Gallery (Fair Children).

1895. 143. Queen Charlotte and Two Sons.

Lent by Duke of Beaufort.
149. Lady with Child and Doll.

Lent by Lady Freake.

Grafton
1897. 60.

61.

64.

67.

72.

76.

78.

90.

93 -

97 -

97a.

112.

Gallery (Musical).

Garrick and Mrs. Pritchard.

Lent by P. and D. Colnaghi & Co.
Moody as Foiguard.

Lent by Sir Henry Irving.

Garrick as Sir J. Brute.

Lent by Marquess of Normanby.

David Garrick.

Lent by H. G. Hine.

Charles Frederick Abel.

Lent by Charles Davis.

Foote as Major Sturgeon.

Lent by Earl of Carlisle.

Foote and Weston as President and Dr. Last.

Lent by Earl of Carlisle.

Garrick and Mrs. Cibber.

Lent by Sir Henry Irving.

Scene from Hamlet.

Lent by Sir Henry Irving.

David Garrick as Abel Drugger
Lent by Earl of Carlisle.

David Garrick.

Lent by Joseph Grego.

David Garrick.

Lent by Sir Henry Irving.

28 o JOHN ZOFFANY, R.A.

120. Garrick and his Wife playing Picquet.

Lent by Shakespeare Memorial, Stratford-on Avon.

Birmingham.

1900. 52. A Lady. 29 x 24.

Lent by Mrs. Benson Rathbone.

61. Henry Duncombe. 35^ x 27.

Lent bv Lord Balcarres.

1903. 62. 14th Lord Willoughby and Family. 40 X 50.

Lent by Lord Willoughby de Broke.

Glasgow.

1902. 130. A Lady.

Lent by Arthur Kay.

132. A Family Party.

Lent by Corporation of Glasgow.

Whitechapel (Spring Exhibition).

1906. 120. Garrick and Mrs. Cibber.

Lent by C. Newton Robinson.

122. Baddeley as Moses.

Lent by Mrs. K. J. Hutchison.

125. Garrick as Abel Drugger.

Lent by Earl of Carlisle.

126 Garrick and Wife playing Picquet.

Lent by Shakespeare Memorial.

232. Family of George III.

Lent by Martin H. Colnaghi.

238. Warren Hastings.

Lent by General H. F. Davies.

280. Two Children and Dog.

Lent by T. Humphry Ward.

321 Dr. Russell.

Lent by Corporation of Brighton.

11. The Minuet, A Family Party.

Lent by Corporation of Glasgow.

23. William Hunter lecturing at the Royal Academy.

Lent by College of Physicians.

31. Familv of 14th Lord Willoughby de Broke.

Lent by Lord Willoughby de Broke.

49. Maria Walpole, Duchess of Gloucester.

Lent by Mrs. Morland Agnew.

APPENDIX

281

82a. Family Group.

Lent by W. C. Alexander.

85. Horace Walpole.

Lent by A. Kay.

91a. William Hunter.

Lent by College of Physicians.

93. Dibdin, Wife and Daughter.

Lent by Sir H. Bulwer.
no. Mrs. De la Vaux.

Lent by Rev. G. M. Livett.

1 14. William Macartney and Wife.

Lent by Rt. Hon. Wm. Ellison Macartney.

1 18. Family Group.

Lent by William Asch.

133. Miss Stevens (actress).

Lent by Sir Charles Tennant.

138. A Lady.

Lent by Edgar Speyer.

148. The Sharp Family on a Yacht.

Lent by G. E. Lloyd Baker.

157. Earl and Countess Cowper and Mr. and Mrs. Gore.
Lent by Countess Cowper.

There were two sets of numbers in this Catalogue.

Whitechapel (Mohammedan Exhibition).

1908.

A Mogul Prince.

Lent by Mrs. Selwyn.

Hasan Raza Khan.

Lent by India Office.

The Dashwood Family.

Lent by M. G. Dashwood.

Asaf ud Daula (Oudh).

Lent by India Office.

Colonel Moraaunt’s Cock-Fight.

Lent by Marquess of Tweeddale.

Lord Cornwallis and Son of Tippo Sahib.

Lent by Major E. C. Moor.

John Wombwell and Friends in India.
Lent by Mrs. G. A. Cartwright.

Whitechapel (Pageant).

1909. 12. Admiral Anson.

Lent by C. Newton Robinson.

8 .

32 .

165.

282

JOHN ZOFFANY, R.A.

Whitechapel (Shakespeare).

1910.

2. David Garrick in Costume.

Lent by Lord Aberdare.

3. Foote as Major Sturgeon.

Lent by Earl of Carlisle;

5. David Garrick.

Lent by Asher Wertheimer.

7. Mrs. Yates in Character.

Lent by Sir Flugh Lane.

10. Foote and Weston in The Devil on Two Sticks.

Lent by Earl of Carlisle.

11. Mrs. Pritchard.

Lent by J. H. Leigh.

12. Garrick.

Lent by Mrs. Bischoffsheim.

13. David Garrick in Costume.

Lent by Lord Aberdare.

14. Baddeley as Moses.

Lent by Mrs. Hutchison.

16. Garrick and his Wife at Cards.

Lent by Shakespeare Memorial.

18. Garrick as Sir John Brute.

Lent by Earl of Essex.

20. Shuter, Beard and Dunstall.

Lent by Earl of Yarborough.

25. Garrick and Mrs. Pritchard.

Lent by J. H. Leigh.

28. Garrick and Others in Farmer’s Return.

Lent by Earl of Yarborough.

29. Foote as Major Sturgeon.

Lent by Guy Laking.

32 Garrick, Burton, and Palmer.

Lent by Earl of Carlisle.

92. David Garrick as Don John.

Lent by Felix Wagner.

Whitechapel (Sports).

1912. 20. Tattersall’s in 1776.

Lent by Edmund Somerville Tattersall.

Burlington Fine Arts Club.

1907. 25. Charles Towneley in Library.

Lent by Lord O’FIagan.

APPENDIX

283

Franco-British.

1908. 64. Mrs. Morris of Haddo (more like Romney).

Lent by Thomas Baring.

72. The Flower Girl.

Lent by Thomas Baring.

Paris (Cent Portraits de Femmes).

1909. 50. Marchande de Cresson.

Lent by Thomas Baring.

Japan Exhibition.

1910. 15. Thomas Hanson.

Lent by L. Fleischmann.

Exhibition of National Portraits at the South Kensington

Museum, May i, 1867.

458. Queen Charlotte.

Lent from Buckingham Palace.

Three-quarter length, blue dress trimmed with lace,
leaning on a table on which stands a vase of flowers.
Canvas 65 x 54.

464. George III.

Lent from Buckingham Palace.

Scarlet coat, star and ribbon of the Garter. Sword
and cocked hat on table. Canvas 65 x 54.

505. Pennell Hawkins (1716-1792). Surgeon to George II. Sergeant-

surgeon with his brother, Sir Caesar Hawkins, to George III.
Surgeon to the Middlesex Hospital.

Lent by Sir Caesar Hawkins.

Plum-coloured coat, powdered wig. Canvas 27! x 2i|.

506. Dr. Hunter, lecturing in the Life School of the Royal Academy,

with a living model. Oval. Canvas 41 x 31.

Lent by College of Physicians.

518. Thomas Gainsborough, R.A. (1727-1788).

Lent by Miss Clarke and painted as a gift to Gains-
borough.

Small size three-quarter length to right. Canvas 9 x 7.
546. The Life School in the Royal Academy in 1778, with two nude
models. Canvas 58 x 40.

Lent from Windsor Castle.

582. The Sharp Family on their Yacht. Canvas 49! x 45.

Lent by Mr. T. B. L. Baker.

284 JOHN ZOFFANY, R.A.

614. Shuter, Beard and Dunstall in Love in a Village.

Lent by Mr. John Garle.

Edward Shuter, comic actor, oh. 1776, aged forty-eight.

John Beard, eminent vocalist (17 17-179 1). He was a
singer at the Chapel Royal, proprietor and acting manager
of Covent Garden Theatre, married, as his first wife, the
daughter of James, Lord Waldegrave.

Dunstall, comedian, ob. 1779. Canvas 50 x 40.

618. Sir Richard Jebb, M.D. (1729-1787). Physician Extraordinary to
George III.

Lent by College of Physicians.

Lavender-coloured coat, black gown. Canvas 30 x 25.

654. John Wilkes, M.P., and his daughter.

Lent by Sir Henry Baker, Bart.

Full-length, small-sized figures. Wilkes seated, holding
his daughter’s hand, who stands on his right, a dog at foot.
Canvas 50 x 39-L

703. George, third Earl Cowper, with his wife, Anne, daughter of Charles
Gore, and his three sons, George, afterwards fourth Earl, Peter,
afterwards fifth Earl, and Edward Spencer.

Lent by Earl Cowper.

Six figures in a room. Canvas 36 x 33.

747. The Right Hon. Charles Fox (1749-1806).

Lent by Colonel Holden.

As a young man, half-length, standing. Blue costume,
right arm leaning on a pedestal. Canvas 50 x 40.

806. Charles Macklin, Actor (1690-1797).

Lent by the Marquess of Lansdowne.

Believed to have lived to the age of 107. Represented
as Shylock playing before the Earl of Mansfield. There
are twelve figures in the group. Canvas 59 x 46.

ZOFFANY’S SALE CATALOGUE

A CATALOGUE

of a most Curious and Unique Assemblage of the

VALUABLE PROPERTY

of that Distinguished Artist

JOHAN ZOFFANY, ESQ., Dec 4 .

(Member of the Royal Academy )

Removed from his late Residence at STRAND-on-the-GREEN.

THIS COLLECTION

It is confidently affirmed will be found highly-deserving the minute
Attention of the liberal Amateur.

THE PAINTINGS AND DRAWINGS

Are of the best of this much-admired Artist, and include several highly-finished
PORTRAITS OF DISTINGUISHED PERFORMERS

Also a Selection

Highly Illustrative of the Costume and Manners of India, taken from the actual
Representation ; together with Some Fine Academical Studies ; also An Assemblage of
Curious Asiatic Armour and Weapons, Matchless Silver Hookers,

RICH INDIAN DRESSES, WROUGHT IN GOLD

AN ALCORAN IN VELLUM, SUPERBLY ILLUMINATED
UNIQUE PAGAN IDOLS, A GONG and numerous other ORIENTAL CURIOSITIES

A SMALL COLLECTION OF SHELLS
A FEW VERY SCARCE BOOKS
AND A SIDEBOARD OF MASSIVE PLATE

Which will be Sold by Auction, by

MESSRS. ROBINS

At their Spacious Rooms - PIAZZA, COVENT GARDEN
By Order of the Executors

On THURSDAY \ the yth day of MAY y 1811

and following day, at Twelve o’clock.

May be Viewed Two Days prior to the Sale , and Catalogues had.

287

288

JOHN ZOFFANY, R.A.

A CATALOGUE,

Etc., Etc., Etc.

First Day’s Sale,

Thursday, the 9TH Day of May, 1811.

Commencing at Twelve o’Clock.

Miscellanies.

lot.

1. Three Portfolios containing seventeen Prints, after the Antique and

Robinson’s China Navigation.

2. A ditto, with thirteen Fine Prints, after the Antique.

2*. Twenty-three Imitations of Drawings.

Hogarth’s Works, Fine Impressions.

3. Enthusiasm Displayed, and Frontispiece to Kirby’s Perspective,

Woollett, a proof.

4. Eight, The Bathos, Times, Sleeping Congregation, Receipt Tickets,

etc.

5. Before and After, Churchill, Wilkes, and Lord Lovat.

6. Gates of Calais, France and England, and Cockpit.

7. Three, of Paul before Felix, and Moses and Pharaoh’s Daughter.

8. Twelve, the Industrious and Idle Apprentices.

9. The Four Stages of Cruelty.

10. Six, the Harlot’s Progress.

11. Eight, the Rake’s Progress.

12. The Four Times of the Day.

13. The Four Election Prints.

Drawings in Chalk, Illustrative of the Country and
Manners of India. — By Mr. Zoffany.

14. Twenty-six various Sketches,

15. Two of Elephants and seven Sketches, Landscapes, etc.

16. Twenty-one, Elephants and Horses.

17. Six, Studies and Academy Figures.

18. Twelve ditto.

19. Six ditto.

20. Seven ditto.

APPENDIX

289

LOT.

21. Six ditto.

22. Six ditto.

23. Four ditto.

24. Four ditto.

25. Six ditto.

26. Nine, Colonel Martin and other Portraits, etc.

27. Seven, Natives of India.

28. Seven Views.

29. Four ditto.

30. Five, very fine, Natives of India.

31. Four, ditto, ditto.

32. Three, Elephants Fighting, and two Views.

33. Four Interesting Views, with a variety of Figures.

34. Six Views.

35. Three, fine, with numerous Figures.

36. Three, ditto, Buildings and Figures,

37. Six, ditto, Views.

38. Two, ditto, Ruins.

39. Three, ditto, ditto.

Books and Books of Prints.

40. Abecedario, Lezioni di Antichita Toscane, Histoire de la Peinture

Ancienne, La Certosa di Bologna.

41. Da Vinci on Painting and two on Architecture.

42. Chaucer’s Works, 1602, and Coke upon Littleton, 1684.

43. Orlando Furioso, Venetia, 1565; cuts.

44. Metamorphoses D’Ovide, Paris, 1676; plates.

45. Decamerone di Boccaccio, Londra, 1762.

46. Herodotus and Livy, in German, Francfort, 1593, Strasburg, 1590 —

and Livy, in Italian, Venetia, 1547.

47. Baldinucci’s Painters, eighteen volumes, Ferinze, 1767.

48. Rennell’s Bengal Atlas.

49. Kirby’s Perspective, two volumes.

50. Two Numbers containing twelve Portraits, from Holbein’s Drawings

in the King’s Collection.

51. Antichita di Verona.

52. Farnese Gallery.

53. One from Annibale Carraccio.

54. One from celebrated Pictures of the fine Italian Masters in the

Churches at Bologna,
u

290

JOHN ZOFFANY, R.A.

LOT.

55. Five of Dorigny’s Cartoons.

56. A pair of fine Drawings of St. Peter, from one of the Ancient Masters,

by Mr. Zoffany.

Unfinished Sketches. — By Mr. Zoffany.

57. Four Sketches, Lucretia, The Flight into Egypt, and two of an

Indian Boy with Two Heads.

58. Three Sketches, Susannah and the Elders, Contemplation, and a

Design of the Altar-piece of the Chapel at Brentford.

59. Two ditto, Return from the Tyger Chace, The Triumph of Reason,

French Revolution.

60. Two ditto, a Romantic Rocky Scene in Cumberland, and Townsend

in the Beggar.

61. The Rape of Europa, and a Student by Candlelight.

62. Mars and Venus, and the Crucifixion.

63. The Gypsies at Norwood, and Diana and Calista.

64. One of Indian Mythology, and a View in India, with Figures.

65. Finding the Body of Tippoo Sultaun.

66. Ditto, more finished.

67. A Gold Mine on the Coromandel Coast, and a Storm near Madras.

Pictures.

68. A Portrait of Marco Ricci, by himself.

69. An Italian Landscape, S. Rosa.

70. A ditto, with Banditti, ditto.

71. “ Take up thy Bed and Walk” Bloemart.

72. Portrait of Raphael , a very fine and accurate Copy, by Zoffany.

73. Virgin and Child, L. da Vinci.

Pictures. — By Mr. Zoffany.

74. The Holy Family attended by Angels; unfinished.

75. Susannah and the Elders.

76. The Burning of an Hindoo Woman; unfinished.

77. A Romantic View on the Indian Coast, ditto.

78. Finding the Body of Tippoo Sultaun.

79. A Scene in Piccadilly near St. James’s Church during a Fog and

hard Frost, exhibiting the various Amusements of the Populace
at that period.

APPENDIX

291

LOT.

80. The Portrait of Lady Preston, of Woodford, with the Servant, Horses.

etc.; nearly finished.

81. The Sacrifice of an Hindoo Widow upon the Funeral Pile of her

Husband ; unfinished.

82. Ditto, ditto, in a more forward state.

83. Latona, not finished, with the Punishment of the Lycian Peasants.

84. The Death of Gholaum Cawdor by Elephants, containing a numerous

assemblage of Figures.

85. A Scene in the Champ de Mars on the 12th of August, with a Portrait

of the Duke of Orleans.

86. The Inside of a Larder. Very fine.

87. A Groupe of Mendicants ; well-known characters.

88. Mr. Knight, as the affrighted Country-man, in the Farce of the

Ghost, very expressive and fine.

89. Mr. Townsend in the Beggar, full of expression and character, and

a striking resemblance.

90. A Florentine Fruit Stall; a most excellent groupe, very highly

finished, and one of his best performances.

91. “ As You Like It.” Air. King in Touchstone, and the celebrated

Mrs. Robinson in Rosalind. The countenances completely
finished in Mr. Zoffany’s happiest manner.

92. A Scene in “ Speculation,” with Portraits of Mr. Lewis , Mr.

Quick, Mr. Munden , and Miss Wallis. Mr. Zoffany’s well-known
ability in the representation of Theatrical Characters renders it
unnecessary to eulogize the present performance. The animation
and spirit which pervades the whole, declares his merits, and
makes it deserving the patronage of the distinguished personage
for whom it was painted.

93. The “ Provoked Wife.” The celebrated Picture of Garrick in Sir

John Brute, with portraits of Mr. Parsons , and other performers
of the day. Engraved.

94. The ioth of August — at the time of the Parisian Populace break-

ing open the King’s Wine Cellars; strongly characteristic of the
furor of the French Revolution, and the Outrages then committed.
This picture is engraved.

95. The Death of the Royal Tyger, with portraits— an accurate

Representation of the mode in which this dangerous Amusement
is at present practised in India. Engraved.

96. The March of a Native Indian Army ; completely illustrating the

different Casts of the Inhabitants by their Dresses, Employments,
etc., and with which Mr. Zoffany was so completely acquainted

292

LOT.

JOHN ZOFFANY, R.A

by his long Residence in India and by his attentive observation.
Engraved.

97. “ Love in a Village,” with portraits of Mr. Shuter, Mr. Beard ,

and Mr. Dunstal, in Justice Woodcock , Hawthorn , and Hodge — a
remarkable fine performance. Engraved by Finlayson.

End of the First Day’s Sale.

Second Day’s Sale,

Friday, the ioth Day of May, 1811.

Commencing at Twelve o’Clock.

Miscellanies.

1. A Mahogany folding Camera Obscura.

2. A mahogany rising Easel.

3. A mahogany Painter’s travelling box, with an oval Porphyry Colour

Stone , a ground glass, mullers and four pallets.

4. A Porphyry Colour Stone , fifteen inches diameter.

5. An Indian Fire Screen.

6. A fine Anatomical Model of a Horse on a Pedestal, with cupboard

under.

7. A curious Delft child-bed linen basket.

8. A dried Cat, very curious, discovered in Herculaneum, and a

Rhinoceros’s horn.

9. Four curious Mandrake Figures.

Curious Shells.

10. Two Melons, a Helmet, and one more.

1 1 . Two pair of Helmets,

12. Seven, various.

13. A pair of Imperial Pyramids, ditto Zebras, ditto Spotted Melons

ditto Baccinums, and two Iris’s Ears.

14. Fourteen, various.

15. Eighteen, ditto.

16. Fourteen, ditto.

17. A Cork Jacket, an Indian Lanthorn, and a Speaking Trumpet.

APPENDIX

293

Curious Asiatic Armour, Weapons, and other Valuables.

lot.

18. Two Musquetoons, with Swivels.

19. An Indian Bow and five Arrows.

20. A ditto and four Arrows.

21. A Shield of Buffalo’s Hide.

22. A transparent ditto, ornamented.

23. A curious Dagger, with Wooden Case, and a pair of Sandals

24. A singular Oriental Dagger, inlaid with Gold.

25. A curious two-handed Spear Sword, Silver mounted.

26. A Battle Axe, the head inlaid with Gold.

27. An uncommon two-edged Sword.

28. A reversed Oriental Scymetar.

29. A curious Scymitar, Silver handle.

30. A ditto, ditto.

31. A Steel Battle Mace of singular form.

32. A valuable Oriental Scymitar, handle inlaid and gilt mountings

33. Ditto, with Ivory carved handle.

34. A curious Asiatic Instrument for decapitation.

35. An Oriental Matchlock Gun, curiously inlaid with Gold.

36. A ditto, ditto.

37. A Kamschatska Dress made of Fishes Bladders.

38. A large Indian Feather Brush.

39. A Beautiful Suit of Persian Armour, richly and curiously inlaid

with Gold, consisting of a Helmet, with Chain Mail defence, and
singular Appurtenances; a pair of Garde-bras, a Breast and Back
Plate, and two Side Pieces.

40. An Embossed Suit of Persian Armour, richly and curiously inlaid

with gold, consisting of the same number and of a similar description
as the preceding lot.

41. A Rare and Curious Compleat Suit of Chain Mail Armour,

consisting of the Head Piece, Coat, and Trowsers.

42. A Gong, of very fine and deep tone.

43. Tandavaar Moortie, a form of Sieb ; a very curious carving in ivory.

44. Al-koran, a beautiful MS. on vellum, illuminated through, and with

a superb and highly decorated Title page, rare.

45. A Portrait of Sir Joshua Reynolds, a very fine and highly finished

Enamel, by Spicer.

46. An Ancient Roman Tesselated Slab.

47. A pair of very rare and large Horns, from the Buffalo of the South

of Africa, their Colour and Polish is natural and beautiful.

294

JOHN ZOFFANY, R.A.

LOT.

48. A pair of smaller Horns, from a Species of Antelope, very rare and

extremely Wild, called by the Natives, the Mufftee , their Colour
and Polish is natural, and they are also from the South of Africa.
Oriental Dresses and Superb Hookers.

49. A splendid Rajah’s Turban, with rich Gold Ornament, decorated

with Stones and beautifully enamelled.

50. A Chintz Outward Vest.

51. A Mazarine Blue Silk Chinese Jacket, with Gold Buttons.

52. A Pink Silk Outward Vest, with Gold Buttons.

53. A Lilac ditto, brocaded in Flowers, Silver and Gold, with Gold

Buttons, etc.

54. A Deep Pink Ditto, brocaded in Silver Flowers, Gold Buttons,

and a pair of Trowsers to correspond.

55. A Rich Yellow Ditto, brocaded in Silver Flowers, and Silver

Buttons.

56. A Very Rich and Splendid Vest, brocaded with Gold Flowers, on

a Crimson Ground, with Silver Buttons, and a pair of Trowsers,
with Flowers, Silver and Gold.

57. A pair of very elegant Gold and Silver Slippers.

58. A pair of ditto.

59. A pair of ditto.

60. A pair of ditto, with Ties.

61. Four Striped Muslin Oriental Vests and two pair of Trowsers.

62. Four Plain ditto.

63. Four Plain ditto.

64. Four Plain ditto.

65. Six ditto.

ZOFFANY’S LAST WILL

This is the Last Will of Johan Zoffany of Chiswick co.
Middlesex, Esq., dated 22nd April 1805.

Whereas on the marriage of my daughter Cecilia Clementina Eliza-
beth with the Rev. Thomas Horne, junior, of Chiswick, I advanced to
him the sum of £300, and transferred to Trustees the sum of £ 2000
Bank 3 per cent, consolidated annuities in trust for my said daughter
and their heirs and in default to revert back to me or my estate. And
whereas on the marriage of my daughter Maria Theresa Louisa with
John Doratt of Bruton Street, surgeon, I transferred to Trustees £2000
Bank 3 per cent, consolidated annuities in trust for my last mentioned
daughter and her heirs and in default to revert as aforesaid; also since
the marriage of my said daughter Maria Theresa Louisa I have paid to
the said John Doratt £300 to make my last mentioned daughter’s fortune
equal with that of her sister.

I give and devise unto my dear wife Mary Zoffany all that messuage
wherein I dwell in Chiswick with the coach-house, stable, garden and
appurtenances thereto belonging for the term of her life, if she shall so
long continue a widow, but not otherwise; also the use of all my house-
hold furniture, plate, linen, china, etc., and from and after her decease
or remarriage I direct the same to be considered as part of the residue
of my estate.

To Anthony Angelo Tremamando of Howland Street, S. Pancras, co.
Middlesex, Esq., and Charles Dumerque of Piccadilly co. Middlesex,
Esq., my Trustees and Executors twenty-five guineas each for a ring,
and all the residue of my estate whatsoever I devise unto them in trust
for the purposes hereinafter mentioned, that is to say, that immediately
after my decease they sell and dispose of (either by public auction or
private contract) all my messuages, tenements, lands and hereditaments,
except the house and furniture given to my said wife for her life or widow-
hood, and also the said house after the decease or remarriage of my said
wife and all such other parts of my estate as shall consist of money in
the public funds, so as to turn and convert all my property into cash and
the money arising from such sale shall be laid out in the purchase of

297

298 J O H N Z O F F A N Y, R.A.

some of the public stocks in the names of them my said Trustees or the
survivor of them, and that they do stand possessed thereof to pay the
rents, interest & dividends thereof unto my said wife Mary for the
term of her life she maintaining thereby our two unmarried daughters
Claudina Sophia Ann Zoffany and Laura Helen Constantia Zoffany so
long as they shall continue unmarried ; and after the decease or remarriage
of my said dear wife I direct that the said Trustees shall stand possessed
of such residue upon the further trust to pay unto my said two unmarried
daughters £300 each for their own use and £ 2000 bank 3 per cent,
consolidated annuities.

All the residue of such stocks, estate and effects shall be divided into
four equal portions for the benefit of my said four daughters.

I hereby appoint my said wife guardian of such children as are in
their minority and the said Trustees as executors.

Witnesses. — W. Ward, Newman Street; Robert Harding Evans and
James Fenoulhet.

Proved in London 24th Jan., 1811, by the executors.

TRANSLATION (FROM THE GERMAN) OF CHARTER
GRANTED TO JOHANNES ZOFFANY, BY THE
EMPRESS MARIA THERESIA, DEC. 4, 1776

TRANSLATION (FROM THE GERMAN) OF CHARTER GRANTED TO
JOHANNES ZOFFANY, BY THE EMPRESS MARIA THERESIA,

DEC. 4, 1776.

We Maria Theresia by the Grace of God Roman Empress, Widow,
Queen of Hungary, Bohemia, Dalmatia, Croatia, Slavonia, Galicia,
Lodomeria, Archduchess of Austria, Burgundy, Styria, Carinthia and
Kain ; Grand-Duchess of Siebenbiirgen, Margravine of Moravia, Duchess
of Brabant, Limburg, Luxemburg and Geldern, Wiirtemberg, Upper and
Lower Silisia, Milan, Mantua, Parma, Placentia, Anastella, Auschwitz,
and Zator, Princess of Suabia, Countess of Habsburg, Flanders, The
Tyrol, Hennegan, Riburg, Gorz and Grandisca; Margravine of the Holy
Roman Empire, of Burgau, Upper and Lower Lausnitz; Countess of
Namur; Lady of the Windisch Mark & Mecheln; Dowager Duchess
of Tuscany — declare publicly and make it known to all with this Charter
that although the Royal and Archducal Dignity and Highness in which
Almighty God in His Paternal Providence has placed Us, is already
adorned with exalted and noble men and subjects, We are nevertheless
most graciously disposed to raise to higher Honours and Dignities those,
who by their unfailing faithfulness, services and good Conduct towards
Our Royal and Archducal House, have distinguished themselves, in
order to stimulate others also, by means of similar rewards, to imitate
good conduct and perform noble deeds.

Now as We have graciously beheld, weighed and considered the
moral goodness and noble virtues, and especially the skill, together with
other praiseworthy attributes, with which Our dear and faithful Johann
Zoffany has been represented to Us to be possessed and, it having Come
to Our Knowledge in what manner he has devoted himself from his
youth upwards with indefatigable zeal and preeminently happy results
to the Art of Painting, and has gained for himself, because of the special
Works of Art, executed by him, the Entire approbation of all Competent
judges, and he also professing his readiness to continue his hitherto most
faithful sentiments, and most zealous application to the Fine Arts, to
Our greatest satisfaction, unto his death, and judging by his good qualities,
he can, may and shall do so. We have on careful consideration, good
advice and true knowledge, also by virtue of Our Royal and Archducal

301

302

JOHN ZOFFANY, R.A.

Sovereign Power shown Johann Zoffany the special favour of raising
him, as well as his legitimate issue and the heirs of their heirs of either
sex in direct line for ever to the Dignity of Nobility at the same time
We have also added associated and made him equal to the Confederation
Society and Community of others of the Holy Roman Empire as well
as to persons of noble birth of Our hereditary kingdom hereditary princi-
pality and lands and have most graciously conferred upon him the title
and honour of EDLER VON.

We raise to place in and deem them worthy of the rank of nobility.
We join them make them equal to and associate them with the Con-
federation Society and Community of others of the Holy Roman Empire
as well as with persons of noble birth of Our collective Hereditary Kingdom
Principality and Lands. We grant permit and suffer that they may
henceforth at all future times make use of call themselves bv and signe
themselves with the title and honour of EDLER VON ZOFFANY. We
intend determine arrange and wish that now and hereafter he Johann
Edler Von Zoffany his legitimate issue and the heirs of their heirs of
either sex each and every one shall in all honourable and noble matters
actions and occupations be considered honoured and called persons of
nobility have every honour dignity and privilege liberty right and justice
be admitted into spiritual offices chapters high and low functions and
fiefs according to the traditional custom of every chapter and like other
persons of our feudal association of tournaments and those of the Holy
Roman Empire furnish fees sit in judgment find verdicts and administer
justice be worthy clement and sympathetic. As a further testimony of
his elevation to the rank of nobility we have graciously granted to Johann
Edler von Zoffany the following coat of arms of nobility and have per-
mitted him to bear in it — a shield standing upright divided horizontally
through the centre, its upper field is red and adorned with a golden
chevron, in the lower field which is blue two bare arms stretched forth
from clouds holding between them a silver ring. Under the latter rises
on a small elevation a trifoliated silver sprig of clover. On the shield
stands an open nobleman’s tilting helmet, facing the right with a crown
and a golden ornament. On either side hang coverings, the one on the
right red and gold, the one on the left blue and silver artistically blended.
On the helmet stands a sprig of clover similar to the one described above,
between two divided buffalo horns, their mouthpieces turned outwards.
In front the upper divisions of the buffalo horns are white, the lower
ones blue, on the reverse side, the upper divisions are red, the lower
ones vellow. We grant and allow Johann Edler von Zoffany his legiti-
mate issue and the heirs of their heirs of either sex to use and enjoy the
coat of arms of nobility described above, and the red wax seal in all

APPENDIX

3°3

honourable and noble matters deeds and affairs in jousts and serious
encounters in fights assaults battles combats tournaments tilting fighting
knightly games and campaigns on banners tents seals signets jewels at
funerals on paintings and in all places and for all purposes to their honour
and need at their will and pleasure. And in accordance with our judg-
ment and desire the above mentioned is promulgated to all Electors and
Princes Spiritual and Temporal Prelates Counts Freemen Gentlemen
Knights and Bondmen. And herewith we most graciously order our
subordinate authorities inhabitants and subjects of whatever dignity office
standing or condition they may be by virtue of this charter to receive
consider admit recognise and esteem Johann Edler von Zoffany his
legitimate issue and the heirs of their heirs of either sex for ever and at
all times as already mentioned herebefore several times like others of
the Holy Roman Empire and the feudal lords and associates of tourna-
ments of noble birth belonging to our collective principalities and lands.
They shall not offend against the favours and privileges enumerated
above but shall use and enjoy them peaceably they shall nevertheless
defend protect deal with and wholly abide by them they shall not do
anything against them neither permit anyone to do so if they wish to
avoid incurring our severe punishment and disfavour in addition a penalty
of fifty marks of fine gold have of which every one shall irremissably have
to pay to our treasury and half to the offended party as often as he acts
criminally against these things. Such is our serious intention ratified
by the deed of this charter, sealed with our great imperial and royal
signet appended. Given at our capital and residential town of Vienna
on the 4th day of December in the year 1778 after the glorious birth of
Christ our beloved Lord and Saviour and in the thirty-seventh year of
our reign.

IMPORTANT PICTURES BY ZOFFANY SOLD BY
AUCTION BETWEEN 1819 AND 1910

IMPORTANT PICTURES BY ZOFFANY SOLD BY AUCTION BETWEEN

1819 AND 1910.

Date.

Auctioneer.

Owner.

Lot

No.

Title.

Purchaser.

Sale

Price.

s. d.

1819.

July 12

Robins

T. Harris

Townsend as Lame Beggar

Mayard

4 6

George Colman the Elder

15 6

Farebrother

Quarr Harris

Garrick painted for Colman the Elder

Dyson

10 0

i 837-

June 10

David Garrick

Foster

Mrs. Betterton

1844.

Mar. 25

John Linnett

Mrs. Fitzherbert

1855.

Mar. 17

Christie

Duke of Argyll

Duke of Hamilton, Dr. Moore and

Sir John with a Globe on a Table

6 6

1796.

May 7

Woolmer

106

Foote and Weston as President and

Brand

^8 17 0

Dr. Last

107

Foote as Major Sturgeon

^8 17 0

1810.

Feb. 24

Sir H. L. Gott

Duke of Cumberland on Horseback

— Windsor in distance — painted

by Lambert, the Horse by Sar-

r Baagley

1 5

15 6

torius

1811.

May 18

Doratt

Dr. William Hunter Lecturing

Bought in

210

0 0

1814.

July 8

M. Berry

Garrick as Chalkstone

3 6

1815.

Mar. 10

Mrs. Elliott as Maria as the Citizen

1819.

Mar. 8

Mathew Mitchell

Sequer

2 0

April 6

Duke of Hamilton

Dr. Samuel Johnson, Mrs. Johnson

Taylor

10 0

and servant

1823.

June 13

George Watson Taylor

Mrs. Elliott as Maria as the Citizen

Peacock

18 0

June 14

>1 ,, ,,

Mrs. Stevens and favourite Spaniel

Bought in

12 O

„

)} ,, »»

Dr. Johnson and Family

Rev. W. V.

8 6

Vernon Thwaites

June 23

David Garrick

Garrick and Mrs. Cibber, etc.

Sequer

5 o

Garrick as Farmer’s Return

12 0

Garrick as Lord Chalkstone

Wansey

10 6

Garrick as Sir John Brute

Eels

12 0

,, ,,

Mr. and Mrs. Garrick and Mr.

Sequer

7 0

Bowden

1 5 ,,

Shakespeare Temple, Mr. and Mrs.

7 0

Garrick at tea

1832.

Jan. 21

Williams

View of Charing Cross. Alderman

Pinney

0 6

Beckford with Remembrance

1838.

Mar. 30

M. M. Zackary

Garrick with a Mask

Farrer

0 0

1840.

July 4

Sir William Bolland

Mr. and Mrs. Garrick at Hampton

9 0

with two dogs

1849. April 16

James Watt

William Shenstone with distant

Norton

12 0

view of Seawaves. Dodsley Colin.

1867.

Nov. 30

C. Wollev

12th August

Graves

9 6

1883.

Mar. 3

Sacred Harmonic Society

Thos. Angus Arne

Partington

115

10 0

(450 p.)

1894.

June 9

Alexander Dennistoun

Garden Scene with Figures. 32 x 39

Agnew

10 0

July 7

Two Ladies with a Gentleman

Colnaghi

189

0 0

35 X 27

1896.

June 6

Walter Long

139

Garrick and Mrs. Pritchard.

105

0 0

40 X 50

1897.

May 8

Marquis of Normandy

103

Constantine John Phipps. 50 X 4c

10 0

’Mar. 19

104

Garrick as Sir John Brute. 40 X 50

0 0

1898.

193

Cock-fight at Lucknow from Warren

Agnew

220

10 0

Hastings’ Sale, 1853

1900.

June 25

Marianna Lady Hamilton

Sir James Cockbum and Daughter.

Colnaghi

15 0

36 X 28

May 31

Gentleman, two sons and dog

105

0 0

1902.

The Drawinglesson (Palmer Family)

A. W.

199

10 0

36 X 27

1903.

Nov. 28

Lady and Gentleman, three daugh-

J J

ters, two sons and negro page

)- Colnaghi 1-

420

0 0

40 x 50

/ 1

1904.

Mar. 19

130

Scene from The Decoy. 42 x 45

Gooden

105

0 0

„

June 11

Duke of Cambridge

Il8

Maria, Duchess of Gloucester

Agnew

420

0 0

35iX 27

1905.

Feb. 25

Two boys and Porter with Hare

Colnaghi

12 0

30 X52

1906.

Dec. 16

Sir Henry Irving

154

David Garrick. 30 X 25

Pyle

441

0 0

June 16

G. H. Tod Heatly

154

Suetonius Grant, Usher and two

Agnew

2 73

0 0

Servants. 40 x 45

1909.

July 9

”

Sir C. Quilter

James Quin. 35I x 27J

Samuelson

199

10 0

3°8

JOHN ZOFFANY, R.A.

The foregoing list of Zoffany’s pictures, which have been sold by
auction, is taken, by kind permission of Mr. Algernon Graves, F.S.A.,
from a forthcoming volume of his valuable work, Art Sales from the
Eighteenth Century to the early Twentieth Century , the first volume of
which was issued in the present year.

Note of a few other Pictures by Zoffany sold by Auction,
TAKEN FROM SLATER’S Art SALES.

Sotheby's, July 27-30, 1901.

Zoffany (Johann). Portrait of Margaret [“ This is very doubtful
owing to dates. Woffington retired about 1760 — or earlier ”] Woffington,
whole-length, in a black velvet dress with white sleeves, holding a long
white feather in her right hand, landscape in the background. 22 x 17.

£h 14 *-.

An oil painting, and apparently a copy.

Sotheby's, Dec. 9, 1901.

Smith (John Raphael). “ The Watercress Girl,” after J. Zoffany.

£3 9 l8 *-

(Proof before letters. Believed to be a portrait of a Miss Jane Wallis,
whose identity is not established. She is represented half-length, with
a basket on her left arm. She wears a hood and a cloak, and her hands
are clasped together. Published Sept. 9, 1780. About 15 x 11. See
Challoner-Smith, p. 1320, No. 200.)

Christie's, May 31, 1902. (68.)

Zoffany (Johann). “ The Drawing Lesson.” The Palmer Family,
of Dorney Court, near Windsor, in an apartment, seated round a table.
36 x 27. £199 105.

Christie's, Feb. 1, 1902. (104.)

Zoffany (Johann). A Young Man with his Black Servant. £44 2s.

Sotheby's, May 1 a?id 2, 1901. (386.)

Smith (John Raphael). “ The Watercress Girl,” after J. Zoffany.

Ll-

(Proof before letters. This is supposed to be a portrait of a Miss
Wallis, but the identity is not satisfactorily established. See Challoner-
Smith ’s British Mezzotinto Portraits, p. 1320. The print was published
in 1780, and measures some 15 x 11. “ The Watercress Girl ” is a

half-length figure, with a basket on the left arm.)

APPENDIX

3°9

Christie' s, July 4, 1901. (82.)

Houston (Richard, 1721-1775). Mrs. Yates, as “ Electra,” after
Zoffany. £3 1 5 s -

(There seems to be a portrait of Mrs. Yates as “ Electra,” by Samuel
Cotes, engraved by P. Dawe, and published in June 1771. The actress
made her first appearance in that character at Drury Lane Theatre on
Oct. 15, 1774. It is one of the parts in Voltaire’s Orestes. It seems that
Mrs. Yates had not been seen at Drury Lane for eight years. See
Genestre’s Some Account of the English Stage , Vol. V. p. 441.)

Christie' s , July 13, 1901. (30.)

Zoffany (Johann, R.A., 1733-1810). Portrait of Count Stacpoole
holding a book, 30 x 25. .£39 18s.

(Half-length, seated, the left hand holding a book. The Count is
dressed in a blue coat, upon which there is powder from his wig. Nearly
full-face.)

PICTURES THAT HAVE NOT BEEN TRACED WITH
CERTAINTY UP TO THE PRESENT TIME

PICTURES THAT HAVE NOT BEEN TRACED WITH CERTAINTY UP

TO THE PRESENT TIME.

Alexander, W. G., Esq.

Family group.

Exhibited at the Whitechapel Spring Exhibition, 1906, No. 82 a.

Ayton, W. F.

Portrait of Zoffany himself.

Exhibited in Suffolk Street in 1833, No. 47.

Austen, T. J.

Group representing a garden and water party near Molesey.
39 x 49. See under Miss Austin, p. 174.

Exhibited at the Royal Academy, 1875, No. 244.

Beaumont, Sir George.

Macklin as Shy lock.

Garrick, Bransby and Aicken in Lethe.

Parsons, Bransby and Watkyns in Lethe.

Exhibited at the British Institution in 1841, Nos. 81, 120 and
124, and two of them exhibited again at the Grosvenor Gallery in
1888, Nos. 120 and 126, on which occasion the two groups
from Lethe were stated to have been painted in conjunction with
R. Wilson, and each of them measured 39 x 49.

Birch, John, Esq.

Time clipping the wings of Cupid.

Exhibited at the British Institution in 1814, No. 13 1. Men-
tioned in the addition to the third catalogue.

Bone, S. V., Esq.

Portrait of Mrs. Hartley the actress.

Exhibited at Suffolk Street, 1833, No. 216.

Brymer, W. E.

Two portraits of actors, each 29 x 24.

Exhibited at the Royal Academy in 1893, Nos. 43 and 48.

313

314 JOHN ZOFFANY, R.A.

Charlemont, Earl of.

Moody as Father Foigard.

Exhibited at the British Institution, 1867, No. 208. This is
probably the picture that belonged to Irving.

COLNAGHI, THE LATE Mr. MARTIN.

Group representing George III and family. 39 x 49.

Bought at Christie’s, January 1897, and believed to have been
sold after Mr. Colnaghi’s death.

Portrait representing Woodward the actor, holding a mask.

Bought at Christie’s, July 1902, and believed to have been
sold after Mr. Colnaghi’s death.

Group representing Garrick standing in a landscape.

Bought by Mr. Colnaghi privately, August 1905. Present
owner unknown.

Coote, Eyre.

Group representing a scene called “ Reading the Direction.”

Exhibited at the British Institution in 1855, No. 131. It is
possible that this may mean the picture that is called “ The
Porter and the Hare.”

Craig, J. T. Gibson, Esq.

A scene from the opera of The Decoy , or The Harlot's Progress , by
Potter, 1733, representing the interior of a room in a register
office.

A man is seated at the table with papers. Before him stands another
man in rags. 41 4 x 444 .

Exhibited at the Royal Academy in 1876, No. 273.

Davey, Richard, Esq.

Portrait of Mary Anne Boyle.

Exhibited at the Fair Women Exhibition at the Grafton Gallery,
1894, No. 172.

Davis, Charles.

Portrait of Charles Frederick Abel.

Exhibited at the Musical Exhibition, Grafton Gallery, 1897,
No. 72, afterwards sold at Christie’s.

Edwards, Rev. V.

Portrait of a child.

Exhibited at the British Institution, 1863, No. 119.

Portrait of a lady.

Exhibited at the British Institution, 1864, No. 128.

APPENDIX

3*5

Portrait of a gentleman.

Exhibited at the British Institution, 1864, No. 140.

This was sold to him by Mr. Colnaghi, who bought it privately

Forster, Colonel T. H. B.

Portrait of George Steevens. 32 x 27.

Exhibited at the Royal Academy, 1912, No. 155.

Freake, Lady.

Group representing a lady with a child and doll.

Exhibited at the Fair Children Exhibition, Grafton Gallery,
1895, No. 149.

Hawkins, the late Sir Caesar.

Portrait of Pennell Hawkins (1716-1792), Surgeon to George II,
Serjeant-Surgeon with his brother, Sir Caesar Hawkins, to George
II, Surgeon to the Middlesex Hospital. In plum-coloured coat
with powdered wig. 27! x 20L

Exhibited at the Exhibition of National Portraits at South
Kensington, 1867, No. 505.

Hine, H. G., Esq.

Portrait of David Garrick.

Exhibited at the Music Exhibition, Grafton Gallery, 1897,
No. 67.

Irving, the late Sir Henry.

Portrait of Moody as Foigard.

Exhibited at the Music Exhibition, Grafton Gallery, 1897,
No. 61.

Kay, Arthur, Esq., of Glasgow.

Portrait of a lady.

Exhibited in Glasgow, 1902, No. 130.

Larkins.

Zoffany painted a portrait in India of William Larkins, Jr., the
Accountant-General of Bengal and friend of Warren Hastings,
but it cannot now be found.

Livett, Rev. G. M.

Portrait of Mrs. de la Vaux.

Exhibited at the Spring Exhibition at Whitechapel, 1906,
No. no.

316 JOHN ZOFFANY, R.A.

Macartney, the Rt. Hon. William Ellison.

Group representing William Macartney and his wife.

Exhibited at the Whitechapel Spring Exhibition, 1906, No. 114.

Rathbone, Mrs. Benson.

Portrait of a lady. 29 x 24.

Exhibited in Birmingham, 1900, No. 52.

Spyer, Sir Edgar.

Portrait of a lady.

Exhibited at the Spring Exhibition at Whitechapel, 1906,
No. 138.

Scott, A. J., Esq.

Portrait of a child. 29 x 24.

Exhibited at the Royal Academy, 1889, No. 151.

Portrait of a gentleman. 30 x 24L

Exhibited at the Royal Academy, 1889, No. 152.

Selwyn, Mr.

A Mogul Prince.

Whitechapel Mohammedan Exhibition, 1908, No. 2.

Unknown Owner.

Portrait group. 35 x 27.

Exhibited at the Royal Academy in 1891 by Lady Sarah Spencer,
and since sold by her.

Unknown Owner.

Portrait of Lady Travers.

Sold by Agnew’s to the Fine Art Society, which they are unable
to trace.

A portrait of Mrs. Orme.

Sold by Agnew’s to Mr. C. Fairfax Murray.

A portrait of Edward Gibbon.

Sold by Agnew’s to Sir G. W. Agnew, and by him sold, but it
is not known to whom.

A portrait of a child.

Sold by Agnew’s to Mr. L. H. McCormick.

A portrait of David Garrick.

Sold by Agnew’s to Lord Brassey, and which he gave away, but
does not know to whom it was given.

A portrait of Miss Ashley.

Sold by Agnew’s to Mr. E. Fischoff of 50, Rue S. Lazaire,
Paris, but which he has sold to some dealer in Italy.

APPENDIX

3*7

Ward, Mr. T. Humphry.

Group representing two children and a dog.

Exhibited at the Spring Exhibition at Whitechapel, 1906,
No. 280 — and since sold.

Wagner, Felix.

Portrait of David Garrick as Don John.

Exhibited at the Shakespeare Exhibition at Whitechapel, 1910,
No. 92.

Waldegrave, Countess.

Group representing Garrick and his wife on the banks of the Thames.
Exhibited at the Royal Academy, 1879, No. 34. 42^ x 52

till-*

NOTE

While these pages are passing through the Press our attention has
been directed by Dr. Lionel Oust to a curious statement made by Walter
C. Metcalfe in his Visitation of Worcester (Exeter, 1883), in the form of
an addition to the pedigree of Hastings there given.

This is to the effect that Warren Hastings’ second wife was the
daughter of Zoffany the painter ! !

Metcalfe, who could have had no reason for inventing such a state-
ment, gives no authority for it, but states it in definite form.

He gives Mrs. Hastings’ Christian name as Appolonia [ffc]. It was,
in fact, Anna Maria Apollonia, and she is always declared to have been
the daughter of Baron Chapuset (or Chapusset), by his wife, a lady named
St. Valentin.

The feminine form of the name was Chapusettin, and Mrs. Hastings’
mother is generally spoken of as the Baroness Chapusetin (or Chapu-
settin). Mrs. Hastings had a brother who is called Baron Chapuset.

The family is believed to have been one of those which quitted France
after the revocation of the Edict of Nantes, and the St. Valentins were
declared as being also of French descent. The Baroness Chapusetin
was living at Stuttgart in 1797, and her visit to Daylesford some time
afterwards, when she was seventy-seven years old, is often alluded to in
Warren Hastings’ letters.

She died at Stuttgart in 1807, “ preserving her senses to the last and
sending her blessing to her daughter.”

It is inconceivable that all those who have written about Hastings
should have fallen into so grave an error as to his wife’s parentage. Not
one of them, so far as we know, have alluded to Mrs. Hastings under
any other name than that of Chapuset (or Chapusetin). Metcalfe gives
the name of her first husband as Christopher Imhoff. He is usually
known as Christopher Adam Carl von Imhoff, and his two children by
Apollonia were Sir Charles Imhoff, who married Charlotte, daughter
of Sir Charles Blunt, and Julius Imhoff. Metcalfe reverses them, making
Julius the elder, but that according to Sydney C. Grier, who has care-
fully investigated all the details of the pedigree, is incorrect. The Baron
von Imhoff, after the divorce, married Louisa von Schardt, and by her had
several children, one of them being the well-known Amalie von Helwig.

319

320

JOHN ZOFFANY, R.A.

Hastings did not marry Apollonia until 1777 , although the divorce
from her first husband, Imhoff, had become operative two years before,
and we are expressly told that the bride was described in the register as
“ Miss Anne Maria Appolonia Chapusettin ” instead of Anna and
Apollonia as usually given. In the Appendices to Sydney C. Grier’s
Letters of Warren Hastings to his Wife and The Great Proconsul , all the
available facts concerning Warren Hastings’ first and second marriages
are set out with great fulness of detail and not a word is said concerning
any connection with Zoffany. Many of the statements are documented
and there seems to be no room left for doubt.

On the other hand, we do not know the name of Zoffany’s first wife,
nor the dates of her marriage or her death, and there is a persistent
tradition that she had a child by him, although whether son or daughter,
is never stated. If he married her in 1750 she could have had a daughter
of twenty-six by 1777 , but Sydney Grier says that the Baron and Baroness
Imhoff were married “ not later than 1765,” and “ the marriage may,” she
adds, “ have been even earlier.”

The earliest suggested date for Zoffany’s marriage is 1750, and his
daughter is hardly likely to have married at the age of fourteen or fifteen !

Apollonia is a well-known Christian name in Styria or in the Car-
pathians; not so well known in Germany and at Coblenz, but still quite
possible there, but the evidence against the possibility of Baroness Imhoff
as she w r as at first, having been the daughter of Zoffany seems to us to
be insuperable, and we can only imagine that Metcalfe, a most careful
and even fastidious genealogist, has in this statement been led astray.

Zoffany had no daughter by his second wife, who bore the name of
Apollonia. There is considerable confusion about the names of his
children owing to carelessness on the part of Mrs. Papendiek, but the
names are clearly set out in his will.

Even, however, if he had such a daughter she would have been far
too young to have been the wife first of Baron Imhoff and then of Warren
Hastings.

It must, however, be pointed out that Mr. Metcalfe is in error as regards
Hastings’ first wife, although for that there is some excuse as Gleig and all
subsequent biographers asserted that Hastings married the widow of a
Captain Campbell, and it was not till 1899 that this error was corrected.
In that year Mr. Hyde discovered in accidental fashion a bundle of papers
in the Calcutta Mayor’s Court Records which proved beyond doubt that
Mary Hastings was not the widow of Captain Campbell, but of a certain
John Buchanan. Even now there is great uncertainty as to her maiden
name, her age, and the date of her wedding. Her age was clearly not
that which is given on her tombstone.

INDEX

A., J. W„ 84
Abel, — , 22, 69
Academy of St. Luke, 55
Acton, 21

Adam, the brothers, 72
Adam, John, 158
Adam, William, 158
Adventure, 39

Aiton, — , the botanist, 135
Albemarle Street, Zoffany’s house in, 61, 66,
78, 80

Albert, Miss, 78 n. 3
Aldworth, Sir Richard, 155
Alefounder, John, 102
Alexander, Boyd, in
Alexander, Claude, in
Alexander, Sir Claude, in
Alicant, 94
Amelia, Princess, 51
America, 112
Amor, — , 25

Anderson Collection, the, 54
Angelo, Henry, 11 dan. 1 , 14, 15, 17, 119,
129 n. 1 , 136
Angelo, Mrs., 119
Antrobus, Sir Cosmo, 79, 166
Archer, John Wykeham, 84 n. %

Arctic Exploration, 40, 54
Arlington Street, an interior in, 156
Asaf-ud-daula, Nawab Wazlr of Oudh, 83,
85, 86, 87, 92, 93, 94, 95, 10 1, 104,
107, 108

Asch, — , 107, 117, 154
Ashmolean Museum, 13 jn. 1
Ashwick version of the " Cock Fight ”
picture, 85 sqq.

Asquith, Mrs. H. H., 76 n. 1
Astle, Sir Thomas, 122, 124
Atholl, 3rd Duchess of, 15, 153
Atholl family, 15, 19, 153
Atholl, John, 3rd Duke of, 15, 16, 153
Atholl Cairn, the, 16
Auchincruive, 159
Audinet, Philip. 5, 6
“ Aunt Peggy,” 19

Auriol family, the, no
Austen, Jane, 166
Austin Friars, 158
Avignon, 93

Bacelli, — , 67

Bach, Madame, nee Calli, 67, 69

Bach, Sebastian, 22, 67, 69

Baddeley, — , 14, 76, 140, 144, 146, 165

Baddeley, Mrs., 143, 144

Baillie, Captain William, 14

Baillie, Colonel John, 85

Baillie Guard, the, 85

Baker, Granville Lloyd, 70

Baker, Sir George Sherston, 73

Balcony House, Elysium Row, Fulham, 74

Ballyfin, 100

Banks, Sir Joseph, 38, 41, 42, 48, 126, 135

Banister, Charles, 19, 148

Bannister, John, 145

Bargello, the, 49

Baring, Thomas, 77

Barrington, Viscount, 17

Barry, — , 73

Barton, — , 163

Barton, Miss, 163

“ Bas Bleu Club,” the, 163

Basire, — , 38

Baskerville, Colonel, 20

Bass, Sir William, 156

Bath, 32

Bautebart, — , 69
Beachcroft, Miss Ellen, 128, 13 1
Beachcroft, Miss S. J., 127, 128, 13 1
Beachcroft, Mrs. Robert, nee Claudina
Sophia Anne Zoffany, 13 1, 133, 134
Beachcroft, Robert, 3, 13 1
Beachcroft, Samuel, 13 1
Beachcroft, Sir Melvill, 3
Beadle, Colonel J. P., 104
Beard, — , 140, 143
Beauclerk, Topham, 160
Beckford, — , 138
Bedford, Duke of, 156

322

INDEX

Bell, Moberly, 76
Bellamy, Miss, 8
Bellodi, — , 5

Bentinck, Lord Charles John, 164
Berrington, East Indiaman, 98
Berry, the Misses Mary and Agnes, 1 58, 1 59
Berry, Robert, 158 cfbw. 1
Berry, William, later William Ferguson
( q . v.), 157-8 <£• n. 1
Bevan, Mrs., 100
Bhac Begum, the, 93
Bhagalpur, 90
Bianchi, — , 63
Bingham, — , 156
Black Hole of Calcutta, the, 99
Blackwood, 75

Blair Atholl, 15, 16-17, 153, 156, 164
Blair, Colonel, hi
B lair, Miss, in
Blair, Mrs., in
Blaldston, Dr., 112
Blaquiere, — , 10 1
Bleackley, Horace, 74
Blue-Stockings, the, 163, 164
Blunt, Captain, in
Bolaine, Betty, miser, 135
Bologna, 55
Bombay, 96
Bonomi, Joseph, 72-3
Boothby, Miss, 53 n. 2
Boothby, Sir T., 166
Boothby, Sir William, 53 n. 2 , 54, 160
Borghese, Prince, 122
Boswell, James, 79
Boulone Begum, the, 106
Boutflower, Dr., 155
Bowden, — , 141 w. 1 , 142
Bowles, Chigwell, Essex, 154
Boydell, — , 147, 165
Bradney, Colonel, 19, 155
Bridgeman, William, 109, 112
Bridgetower, — , negro violinist, 117c bn. 2 ,
118

Brighton, 163, 166
Brighton portraits, the, 164
Brilliant, East Indiaman, 1 16 n. 4 , 125
Bristol, 2nd Earl of, William Henry, 162
Bristol, 3rd Earl of, John Augustus, 152
Bristol, 4th Earl of, Frederick Augustus,
Bishop of Derry, 163
Bristol, 4th Marquis of, 15 1-2, 162
British Museum, 142
Britridge, R., 98
Broad Street, Austin Friars, 158
Bronze, Nolleken’s servant, 136
Broughton, Delves, family, 78 n . 3
Browne, Lady, 77
Browne, Rev. C. C. Murray, 72
Bruce, James, 54, 62, 63

Bruere, Mrs., and her children, 107

Buccleuch, 7th Duke of, 146

Buckingham House, 22-3

Bulwer, Sir Henry, 152

Buon’ Fratelli, Convent of, Rome, 4

Burgess, — , 119

Burke group, the, 128

Burke, John, j6n. 3 , 157

Burke, Mrs. John, 157

Bums, Cecil, 97

Burns, Robert, 159

Burton, — , 26, 27

Burton, William, 165

Bute, 3rd Earl of, 17, 36

Butler, author of Hudibras, 48

Byron, 5th Lord, 73

Cadland, 20

Calcutta, 81, 90, 97, 98, 99, 105, 108
Calley, General, 76
Calli, Signora (Madame Bach), 67
Calvert’s Brewery, 2jn. 1
Calze, — , 23

Cambridge, H.R.H. the Duke of, 164

Canterbury, 135

Carden, — , 124

Carey, — , 99, 10 1

Carl ini, — , 31

Carlisle, 5th Earl of, 26 cfb n . 2 , 27, 139
Carlisle, nth Earl of, 14, 18, 146
Carnac, General, 94

Caroline, Queen, wife of George II, 21, 152

Carter, Mrs. Elizabeth, 163

Cartwright, Mrs., 112

Castle Howard, 26, 27

Cator, William, 111

Cator, Mrs., nee Sarah Morse, 111

Chamberlain, William, 138

Chambers, Lady, 112

Chandenagar, 94

Chapusetten, Anna Maria, Baroness Imhoff
(Mrs. Warren Hastings, q.v.), 97 n. 1
Chardin, — , 35

Charlemont, 1st Earl of, 15 n. 1
Charleston, S. C., 28
Charlotte, Princess, 26
Charlotte, Queen, 25, 26, 35 & n. \ 36, 37,
43, 51, 61, 69, 71, 100, 1 16, 164
Charteris, Evan, 14m. 1 , 144, 165
Chase, — , raconteur, 76
Chase, Mrs. Ann, 132, 135
Chiswick, 15, 68, 70, 159 et alibi
Christiana, Princess of Mecklenburg, 35, 36
Christie, — , auctioneer, 44
Chudleigh, Elizabeth (Duchess of Kingston),
152

INDEX

323

Chunar, 92
Churchill, — , xi

Cibber, Mrs., 10, 140, 14 1 n. 1 , 147
Ciccio, 1 ’ Abate (Soiimena), 3
Ciciez, Armand, 134
Cipriani, 32

Clare, Lord (later Earl Nugent), 19
Clare Hall, 72

Clarke, — , of Princes Street, 166

Clarke, — , 114

Clint, — , 1 51

Clive, Kitty, 158

Clive, Lord, 55

Clivedon, 158

Clytie, famous bust of, 122 <fc n 2 .

Coblenz, 4, 47, 48, 58
Cock, — , auctioneer, 13
Cockburn, Miss, 159
Cockburn, Sir James, 6th Baronet, 159
Cocks’ family, the, 160
Cocks, Thomas Somers, 160
Coke, Miss (Lady Sherborne), 154
Coke, Thomas, of Holkham, 1st Earl of
Leicester, 154

College House, Chiswick, 159
Colman, — , 144
Colnaghi, Messrs., 77
Compton Verney, 153

Constantia (now the Martiniere), 105-6, 132

Cook, Captain, 38 sqq., 41, 80

Coore, Colonel, 157

Coote, Sir Eyre, 100, 107, 108

Copley, J. S., 151 n. 1

Cork, Edmund, Earl of, 156

Cornish, Admiral Sir Samuel, 40

Cornwall, Colonel, 155

Cornwallis, Marquis, 91, 95, 102, 107, 112,

113

Cornwallis, East Indiaman, 98
Corregio, 55
Corsi, Princess, 52
Cosway, — , 32, 54
Cosway, Mrs., 53, 67
Cotton, H. E. A., 102, 103
Cowper, Countess, nee Hannah Anne Gore,
5 L 52, 53

Cowper, 2nd Earl, 52
Cowper, 3rd Earl, 50, 51, 59, 62, 63, 64
Cowper, 6th Earl, 53
Cox, Colonel, 156
Craigvenian, Hill of, 16
Craufurd, Ronald, 158
Craven Street, 31
Crawford, 27th Earl of, 165
Crooks, William, 86
Crosse, Mrs., 136 n. 3
Cunliffe, A. P., no
Curzon, Earl, 97, 99, 103
Cust, Dr. Lionel, 36
y 2

Dalhousie, Earl of, 107
Dalhousie Institute, the, 104
Dali, — , 34

Dance, Nathaniel (Sir Nathaniel Holland)

30, 40

Dartmouth, 4th Earl of, 62, 63
Dashwood family, the, 110
Dashwood, Sir Henry, 156
Dava, province of, 1 1 1
Davies, Randall, 137, 15m . 1
Davies, W. J., 126, 128
Dawkins, Colonel Henry, 85
Day, Sir John, 95
Daylesford House, 84, 85, 88, 89
De Castro, Daniel, 164
De Castro, Mrs. Daniel, 164
Delany, Mrs., 142
Delhi, 82, 96
Dent family, the, 112

Derby, Countess of, nee Eliza Farren (q. v.),

150

Derby, 11th Earl of, 149, 150

Derry, Bishop of, 4th Earl of Bristol, 163

Desart, 5th Earl of, 166

Devis, Arthur W., 98, 151

De Wilde, — , 151

D’Hancarville, Pierre Franjois Hugues, 122,
124

Dibdin, Charles, 152
Dibdin, Miss, 152
Dibdin, Mrs. (the second), 152
Dick, Sir John, 58, 62, 63, 64
Digby, Rev. Charles, 156
Dixon, John, 139
Dobson, Austin, 110
Dodd, Dr., 119
Doggett, Thomas, 19
Dollond, Peter, 35
Doran, Dr., 49, 51, 52, 53, 146
Doratt, Lady, nee Theresa Zoffany, 47, 130,
132, 134, 136
Doratt, Sir John, 130
Dorney Court, Bucks, 155
Dorset, 3rd Duke of, 159
Doughty, — , 63
Doyle, Sir John, 98
Drummond; Andrew, 20, 163, 164
Drummond family, the, 20
Drummond, Maldwin, 20, 28
Drury Lane, 31
Drury Lane Theatre, 78, 150
Dryander, Jonas, 135
Dumerque, Charles, 136 c b«. 3
Dumfries, Countess of, 158
Duncombe, Henry, 165
Dundas, Lady, Elizabeth, 157

324

INDEX

Dundas, Rt. Hon. Robert, 1 57
Dunstall, — , 140

Durham, 3rd Earl of, 37, 38, 140, 14 1 <b n. \
165

Dutens, — , 53

Dutton, Jane (Countess of Leicester), 154
Dutton, Janies (1st Lord Sherborne), 154
Dutton, Mr. and Mis., 154

E -. 44

Earland, Miss, 73

Earlom, — , 20, 24<fe«. 1 , 33, 84, 89, 94,
95, 120, 125, 144
East India Company, 79, 81, 90
Edward, Prince (son of George III), 22
Edwards, Edward, 72

Ehrich Gallery, New York, 20, 151, 155, 156,
166

Elmes, James, 84
Ellis, Mistress, 65

Ernst, Prince, of Mecklenburg, 34, 35, 36
Erslcine, Lady Charlotte (Countess of Mar),
75

Essex, 7th Earl of, 141 ft . 1
Etty, William, 63

Farhad Buxsh, 105

Farren, Eliza (later Countess of Derby), 68
78, 148, 149, 150, 166 n. -
Farrens, the, 77
Fawkes, Sir Wilmot, 19
Fawkes, W. R. B., 156
Fenton, Miss, 19
Ferguson, Mrs., 158

Ferguson, Mrs. Robert, nee Townsend, 159
Ferguson, Robert, 158, 159
Ferguson, Sir R. C. Munro, 157
Ferguson, William, 128, 157 sqq.

Finch, Lady Charlotte, 36
Fisher, — , 150
Fitzgerald, Percy, 14 1
Fitzgerald, George, 152
Fitzgerald, Lady Mary, nee Hervey, 152,
162, 163
Fladgate, — , 6

Fleet Street, Sayer’s warehouse in, 33
Fleischmann, Mrs., 163
Florence, the Tribuna at, 43 sqq.

Foote, — , 14, 27, 143, 146, 147 n. 1
Forbes, Admiral, 158
Forbes, James, 95

Fordwich, Lord (later 3rd Earl Cowper), 52
Forrest, Theophilus, 12

Fosbrook, — , 14-15
Foster, William, 80-1, 95
Fox, Charles James, 74, 166
Frankfort-on-Main, birth-place of Zoffany,
3, 127 c bn. y , 167 n. 1

Frederick, Prince (son of George III), 17

Friedlander, — , 15

Fulham Church, 70

Fulham House, 71

Fullerton, Mrs., 158

Fuseli, — , 26 n. 2 , 54, 72

Gainsborough, Thomas, 32, 135, 166, 167
Garle, Acton, 17
Garrard, — , 2 yn. 1
Garratt Common, 147 n . 1
Garrick, David, 7, 8, 9, 10, 11, 14, 17, 18,
26, 37, 129 n , b 137 n. \ 139 sqq., 142,

165

Garrick, George, 18, 141
Garrick, Mrs., 7, 8, 37, 79, 141, 142
Garrick Club, the, 7, 140, 141M. b 143 sqq., 148
Garrick’s villa at Chiswick, 14 1-3 et alibi
Genoa, 48

Georg, Prince of Mecklenburg, 35
George, Prince of Wales (George IV), 17,
35- 36, 37- 6l - 6S, 69
George II, 51

George III, 17, 21, 23, 24, 25, 26, 28, 29,
34, 35 c bn. 1 , 42, 49, 50, 71, 73, 78,
79, 115, 118, 138, 144, 145
George V, 33, 64; on Zoffany, 113
Ghauzea-ud-Din Hyder, of Oudh, 85
Gibraltar, battle of (1782), 75
Gilbert, Sir William, 64 n. 1
Glasgow, 20, 1 61
Gledstone, 156

Gloucester, Duchess of, Maria, Countess
Waldegrave, nee Walpole, 164
Glovers’ Company, the, 136
Glynn, Sergeant, 40, 75
Goethe, W. A., 52

Golding, Lieutenant William, 88, 93

Goldman, Hon. Mrs., 15, 154

Goldsmith, Oliver, n

Gora Bibi, the, 106

Gordon, — , 63

Gordon Riots, the, 73

Gore, Charles, 52, 53

Gore, Emily, 53

Gore family, 52-3

Gore, Hannah Anne, Countess Cowper, 51, 52

Gore, Mrs., 53

Grafton, Duke of, 155

Grafton, 3rd Duke of, 51

Graham, Lady Christian, 75

INDEX

325

Graham, Sir Bellingham, 65
Graham, Sir Reginald, 65
Granby, John, Marquis of, 29 n.-
Grande Duchesse , ship, 108
Granger, — , 138
Grantham, last Earl of, 52
Gray, Thomas, 153
Great Mogul, the, 107
Great Piazza, Covent Garden, 11, 137
Great St. Andrew’s Street, Seven Dials, 5
Green, Captain William, R.N., 112
Green, Mrs. William, nee Temperance
Heatly, hi, 112
Green, Valentine, 38
Greene, — , 6
Greenwich, 40
Gregory, Robert, 87, 88, 94
Gregory, Sir William, 94
Gresse, John A., 21 & n . 1 sqq.

Greville, Charles, 122, 124

Greville, Mrs. Fullc, nee Catherine Graham,

Grignion, — , 31
Grose, Francis, 21 sqq.

Grundy, — , 138
Guercino, 13

Gupte, Rai Bahadur B. A., 97
Gwynn, John, 31, 32

Haberdashers’ Company, the, 136
Hadrian’s Villa, treasures of, 122
Haid, J., 147

Haidar Beg (Hyder Beg Khan), 95, 104,
112 <L‘ n . 4 , 113, 125
Halifax, Earl of, 75
Hall, John, engraver, 5, 31
Hallam, — , 147 n . 2

Halswelle, The, East Indiaman, wreck of, 81,
82

Hamilton, Lady, 124
Hampden, John, 75
Hanson, Dr., 163
Harding, Sylvester, 165
Harris, — , and his sister (later Mrs. Long-
man), 164

Harrow-on-the-Hill, 20
Hart Street, Bloomsbury, 114
Hasan, or Hazan Raza Khan, 83, 87, 91, 92,
93, 108

Hastings, Mrs. Warren, 90, 97, 98
Hastings, Warren, 80, 84, 85, 90, 94, 97, 98,
102, 105, 107, 1 13, 136 n . 2
Hawaii, murder at, of Cook, 40
Hawkesworth, W. R. B. (later Fawkes), 105,
156

Hayes, — , 146

Hayman, Francis, 29 <k n . 2 , 30, 31
Hazlitt, William, 144
Heatly, Patrick, 112
Heatly, Suetonius Grant, 111
Heatly, Temperance (Mrs. William Green),
hi, 112

ITeber, Bishop Reginald, 85
Hervey, Captain the Honble. John Augustus
(3rd Earl of Bristol), 152
Hervey, Colonel the Honble. William, 163
Hervey, Felton, 63

Hervey, George William, 2nd Earl of Bristol,
163

Hervey, Lady, wife of John, Lord Hervey,
nee Polly Lepel, 152, 163
Hervey, Lady Caroline, 162, 163
Hervey, Lady Emily, 162, 163
Hesketh, Mrs. Everard, 13 1, 135
Hill, S. C., 112
Hoare, — , 32
Hobson, R. L., 25

Hodges, William, 14, 39, 40, 41, 80, 108
Hodgson, Mr., Mrs. and family, 154-5
Hodson, of Hodson’s Horse, 107
Hogarth, William, 10, 56, 12 1, 137, 139, 140,
141, 1 51 n. 1 , 167
Holden, — , 166

Holland, Sir Nathaniel (formerly Dance), 30,
40

Holme Park, near Reading, 155

Holt, Richard, 124

Holwell, John Zephaniah, 98-9 dan . 1

Hone, Nathaniel, 32, 99

Hope, Admiral Sir Charles, 75

Hope, Mrs., 6

Hopetoun, 1st Earl of, 75

Hopkins, Sir John, wife and family, 19, 155

Hoppner, John, 13512. 1

Horne, Dr. Thomas, jun., 131, 132, 134

Home, Dr. Thomas, sen., 131 cb n. 2

Horne, Miss, 132

Horne, Mrs., nee Cecilia Zoffany, 47, 132
Horse Guards Parade, the, 9
ITotham, 3rd Lord, 138
Houston, — , 27
Huddersford, George, 138
Hudson, Thomas, 6
Hume, Rev. — , 1 56
Humphreys, Ambrose, 137
Humphreys, Lieutenant Isaac, 92, 94
Humphreys, the waterman, 68
Humphry, Ozias, 13, 54, 92, 94, 10S, 13522. l ,
166

Hunter, Dr.. 54, 55

Hunter, Sir William, 32

Hussey family, 160

Hutchinson, Mrs., 76

Hyder Beg Khan, see Haidar Beg Khan.

326

INDEX

ICKWORTH, 1 51
Imhof, General Sir Charles, 85
Imhoff, Baroness (Mrs. Warren Hastings,
q.v.), 97 n . 1
Impey, Lady, no
Impey, Sir Elijah, 99, no
India, Zoffany’s visit to, 45, 66, 72, 76 n. 4 ,
78 sqq., 1 13, 1 58
India House, the, 90
Indian Mutiny, the, 86, 87, 95, 107
Irving, Sir Henry, 1 5
Isis, the, 1 56
Italy, Zoffany in, 42 sqq.

Izard, Ralph, 27, 28

Jackson, Thomas, 19
Jamaica, 138
Jellowlee, 82
Jervis, Mrs., 21
Jervois, — , 118

Johnson, — , see Johnstone, George
Johnson, Dr. Samuel, 79, 112, 124, 142
Johnston, Rev. W., 103
Johnstone, George, 92, 94
Jonathan, gardener at Clare Hall, 72
Jones, Sir William, 95
Jonson, Ben, 139

Joseph II, Emperor, 47, 51, 52, 56, 7S

Kam, a dog, 122

Kaufmann, Angelica, R.A., 32, 33
Kedgeree, 81

Kempenfelt, Captain Richard, R.N., 40
Kennaway, Sir John (1788), 95
Kennedy, Dr., 119
Kennedy, Mrs. Alexander, 95
Keppel Place, Fitzroy Square, 148
Kew Church, 118
Kew Churchyard, tomb in, 135
Kew House, 23, 59
King, Captain, 122
King, Thomas, 71, 143, 144, 148
Kingston, Duchess of, nee Elizabeth Chud-
leigh, 152

Kirkcaldy Burghs, 159
Kirkcaldy Grammar School, 159
Kneller, Sir Godfrey, 12
Knight, Thomas, 125, 148
Knightley, Valentine, 63
Ivnoedler, Messrs., yon. 1 , 71
Kyte, Mrs., 165

Landon, Mrs., nee Palmer, 155
Lane, John, 19 n. 1 , 40 n. 1 , y6n. z , 79 n. 1 ,
126, 137 n . 1

Lansdowne, 5th Marquis of, 146
Lausanne, 93

Lawrence, Sir Thomas, 149
Lawrie, — , 164

Leeds Castle, Kent, 131, 132 & n . 1
Leicester, Countess of, nee Jane Dutton, 154
Leicester, 1st Earl of, 154
Leipsig, 56

Leonardo da Vinci, 137
Lepel, Mary (Lady Hervey), 152, 163
Leslie and Taylor, Messrs., 61 n . 2
Lewis, — , 144
Lincoln’s Inn Fields, 15
Lincolnshire, 1st Marquis of, 25 & n . 1
Linley, Miss (Mrs. Sheridan), 67
Little Strawberry Hill, 158
Locker, E. H., 38

Locker, Mrs. John, nee Stillingfleet, 163
Locker-Lampson, Godfrey, M.P., 38, 163
Logan, R., 64

London Style, Brentford, Zoffany’s villa at,
44-5

Longcroft, Thomas, 82

Longhi, — , 167

Longman, — , 164

Longman, Mrs., nee Harris, 164

Lorain-Smith, — , 63

Lord Macartney, East Indiaman, 81

Loretto, 56

Lowe, Mauritius, 9

Lucan, 2nd Earl of, 160

Lucknow, 80, 83, 84, 104 sqq. ; siege of, 107

Lumsden, John, 100

Lunardi, — , balloonist, 165

Lyons, — , 5

Lyons, 105

Macaulay, Lord, 89
McCalmont, Sir Hugh, 163
Mackintosh, Sir James, 96
Macldin, Thomas, 146
Macleod of Macleod, 112, 166
Macleod groups, the, 112
Macpherson, Sir John, 94
Maddison, John, 76 <b v. -, 79, 81, 114
Madhava Rao Sindhia, Mahadji Sindhia, 96,
97

Madhavrav II, Peshva of Poona, 98
Madras, 81

Mainwaring, Mrs. Kynaston, 57
Malone, — , 11
Manigault, Louis, 28

INDEX

327

Manila, 40

Mann, Sir Horace, 48, 49, 50, 56, 58, 59, 60,
61, 63

Manning, W. Westley, 108
Manor House Farm, near Kew, 131, 132 <£■ n . 1
Mansfield, 3rd Earl of, r2r
Mar, Countess of, nee Lady Charlotte
Erslcine, 75

Maria Christina, Archduchess, 56-7
Maria Theresa, Empress, 56, 57, 68, 78, 134
Marshall, Robert, 160
Marshman, — , 10 1
Marshman, John Clark, 98, 10 r
Martin, Colonel, of Leeds Castle, 130
Martin, Colonel (later Major-General), Claud,
80, 81, 82, 91, 92, 104 sqq., 107,

108, 128, 130, 132

Martin, James, or Zulficar Khan, 106
Martiniere, the, at Lucknow, ro5, 106-7,

109, 130

" Martiniere Post, The,” 107
Mason, J. and W., 137
Mathias, Gabriel, 64-5
Mathias, James T., 64
Maugham, Somerset, 147
Mayne, Lieutenant Otway, 107
Melville, Viscountess, 157
Meyer, Miss, 116

Meyers, Jeremiah, 29 cb n. 1 , 31, 72
Middleton, Mrs. N., nee Anne Frances Morse,
hi

Middleton, Nathaniel, 93 & n . 2 , in
Mir Jafar, and his son Miran, 112
Mirza Ali Khan, 93
Mirza Jewaun Burkht, Shazada, 107
Montague, Mrs., 163
Montgomery, Sir Robert, 10 1
Montrose, 2nd Duchess of, 77
Moran, Jemmy, bookseller, 11
Mordaunt, Charles (3rd Earl of Peter-
borough), 89
Mordaunt, Henry, 89

Mordaunt, Colonel John, 83, 84, 86, 87,
89 sqq., 92

Mordaunt, Sir Charles, the late, and his
ancestor of that name, 72
Morgan, J. Pierpont, 149 n . 2
Morse, Anne Frances (Mrs. Middleton), m
Morse, Robert, in
Morse, Sarah (Mrs. Cator), in
Mortimer, John Hamilton, 11 sqq., 126, 151
Moser, George M., 31, 33, 34
Moser, Mary, R.A., 26 n. 2 , 32
Mother George, 138
Mount Edgcumbe, 1st Earl of, 63
Mul grave. Lady, nee Lady Lcpel Hervey,
152, 162, 163

Mulgrave, Lord (Commander Phipps), 40,
54, 152, 163

Muller, — , 22
Muncaster, Lord, 165
Munden, — , 144, 145
Murray, J., 98

Murray, Lady Charlotte, 153
Murray, Lord James, 153
Musawar Khan, 86, 87

Nagaphon Ghut, 108

Nana Fadnavia, 98

National Gallery, the, 138 et alibi

Navy Board, the, 39

Nesbitt, Arnold, & Co., 15 n. x

New York, 20, 71

Nichols, — , 38

Noel, - — (later Lord Wentworth), 156

Noel, Hon. Roden, 147 n . 2

Nollekens, Joseph, 5, 15, 73, 136

Norfolk, H.M.S., 40

North, Lord, 74

Northcote, — , 66, 82

Northgate, — , 73

Norton Conyers, 65

Nugent, Dr., 19

Nugent, 1st Earl (Lord Clare), 19
Nugent, Sir E. C., 19

O’Hagan, Lord, 121, 122, 124
Old Buckingham House, 36
Oldenbuck, Aldobrand, 106
Oldfield, Canon, 112
Oldfield, Miss Zoffany, 133 n . 1
Oldfield, Mrs., 66, 68, 119, 126, 129
Oliver, Dr. William, 124 dbn . 2
Oliver, Laura C. R., 135
Oliver, Lewis Bently, 132
Oliver, Mrs. Lewis Bently, nee Laura Helen
Constantia Zoffany, 13 1-2, 133,
135

Opie, John, 73, 138

Orford, 4th Earl of (Horace Walpole, q.v.),
158

Oriental Club, the, 86
Orpen, Sir William, 35
Orr, James, 87, 92, 94
Oswald, James Townsend, 159
Oswald, Mrs. James, nee Townsend, 159
166 n . a

Otway, Thomas, 147c bn."

Oudh, 107 n . 2

Oudh, the Nawab WazTrs of, 83
Over Norton House, 85
Oxford, 156

328

INDEX

Paddington, 69

Palmer, ]., 1 1, 26, 27

Palmer, Miss (Mrs. Landon), 155

Palmer, Mrs. 11

Palmer, Mrs. Robert, 155

Palmer, Robert, 155-6

Panshanger, 64

Papendiek, Mr., 77, 78, 114, 115, 116, 118,
130

Papendiek, Mrs., 4, 43, 45, 66 sqq., 77,
129 sqq., 148, 149
Park Sti'eet (No. 7), 121
Parks, Mrs. Fanny, 86
Parma, 55

Parry, Sir Hubert, 40
Parry, Thomas, 40
Parry, Thomas Gambier, 40
Parsons, William, 145, 148
Parthenio, Father, 102

Pasquin, Anthony (John Williams), 5, 8,
28,55 sqq., 112-13, 120-1
Patch, Thomas, 49, 63
Patna, 95
Pauli, — , 100, 10 1
Pearce, Edward, of Camelford, 165
Penrhyn, 3rd Lord, 72
Pepys, Captain, 111
Perceval, Mrs. Spencer, 128, 157
Peter Pindar, 120 n. '-

Peterborough, Charles Mordaunt, 3rd Earl
of, 89

Peterborough, 4th Earl of, 89
Peters, — , 161
Philadelphia, 64
Phillips, Lieutenant, 40
Phillips, Sir Claud, 167

Phipps, Commander, R.N. (later Lord Mul-
grave), 40, 54, 152, 163
Pickford, Rev. John, 84 n . 1
Pierce, Captain, 81
Pigot, Lieutenant John, 92, 94
Pine, — , 140
Piozzi, Mrs., 148
Pitcairn, — , 135
Pitt, William, 77
Plymouth, 4th Earl of, 62, 63, 64
Plymouth, 39

Polier, Colonel Antoine, 82, 89, 92, 93, 10S,
109

Porna, the dog, 71, 74
Poona, 96
Pope, the, 122
Pope, Alexander, 146, 152
Portland, 3rd Duchess of, 142
Portland, 6th Duke of, 165
Portland, William, Earl of, 164
Portland Vase, the, 122

Portugal Row (later Street), 15
Pougens, Madame de, nee Sayers, 38, 160
Poussin, Nicolas, 12912. 1
Powell, — , 82, and his family, 7
Prague, 3

Preston, Robert, 81
Price, Sir Charles, 124 &n . 2
Prideaux-Brune, Colonel, 40, 74
Princes Street, 166

Princess Royal, the (Queen of Wurtemburg),
36, 37

Pritchard, Mrs., 140

Proctor, George Beauchamp, 156

Proctor, Sir Thomas Beauchamp, 156

Prowse, Mrs., nee Elizabeth Sharp, 71, 72

Prussia, King of, 122

Pym, Francis, 156

Pyigo Park, 124

Queen Anne Street (No. 60), 155
Queen Anne’s Gate (No. 14), 12 1
Queensberry, Duchess of, 119
Quick, — , 144, 145
Quilter, Sir Cuthbert, 166
Quin, James, 11, 166

Racehorse, H.M.S., 40

Raffael (Raphael), picture by, 62-3, 64,
137

Raikes, Messrs., & Co., 109
Raith, 157, 1 58, 159
Raith Collection, the, 157
Raith group, the, 1 28
Ramus, — , 144
Randolph, Herbert, 7
Resolution, H.M.S., 39
Restalrig, 158
Revelstoke, Lord, 76
Reynolds, — , dramatist, 144
Reynolds, John, 75

Reynolds, Sir Joshua, 9, 26, 27, 29 don. 2 , 32,

72, 73- 123, 133, 139- Mi
Ribblesdale, Lord, 165
Richards, — , 34, 135 m 1
Richardson, Mr. and Mrs., 143
Rigaud, Hyacinthe, 73, 135 \ 15*

Rimbault, Edward, 3- 11
Rimbault, Stephen, 5
Rimbault, Stephen Francis, 6
Roach, Mrs., 116, 117, 129, 130
Roberts, Field-Marshal Earl, 107
Robins, Messrs., auctioneers, 14 n. x , 137
Robinson, Mrs. (Perdita), 146
Rockingham, Marquis of, 74

INDEX

329

Rockingham Castle, 152-3
Rome, 4, 55, 72
Romney, George, 13
Ross, David, 145-6
Rothschild, Miss Alice de, 1 59
Roubiliac, — , 142
Roundell, Richard, 156
Rowfant, 163

Rowlandson, Thomas, 70, 71
Roxburgh, 3rd Duke of, 36
Royal Academy and Royal Academicians, 24,
2S sqq., 31, 33-4, 43, 135 n . 1
Royal Children, the, difficulties in painting,
160-1

Royal George, 40

Royal Scottish Archers, the, 75
Russborough, Viscount, 63
Russell, Dr. Richard, 163, 166
Russia, Empress of, 122
Ryland, William Wynne, 31

Saadut Ali, of Oudh, 85
St. Alban’s Head, wreck near, 81
St. Anne’s parish, Soho, 35
St. George’s Chapel, Windsor, 118
St. George’s Church, Brentford, altar-piece
at, 1 18

St. James’s, 67

St. James’ Church, Piccadilly, 164
St. John, Colonel Henry, 53 n . 2 , 54, 160
St. John’s Church, Calcutta, altar-piece at,
80, 100, 102, 104
St. Martin’s Lane Academy, 10
St. Mary-le-Strand parish, 31
St. Pancras Churchyard, 69
Salar Jung, Nabob, 92, 93
Sand by, Paul, 73, So
Sandwich, 4th Earl of, 38 sqq.

Sandwich Islands, 38
Sayer, James, 27, 37, 157
Sayer, Lady, 27, 37
Sayer, Mrs. Robert, 37
Sayer, Robert, 27, 33, 37, 157, 160
Scotland, Zoffany in, 128, 157, 158
“ Senex,” 86
Serampore, 98

Seringapatam, siege of, 104, 107
Serres, Dominic, 120 ». 2
Seton, Archibald, 150
Seton, Mrs., 159

Shakespeare’s Temple at Garrick’s Villa,
14 1 sqq.

Sharp, Elizabeth (Mrs. Prowse), 71, 72
Sharp family, the, 9
Sharp, Granville, 70, 72
Sharp, James, 71

Sharp, Judith, 71
Sharp, Mrs. Francis, 71
Sharp, William, 70, 71

Shelburne, 2nd Earl of (later 1st Marquis of
Lansdowne), 74
Shelley’s Hotel, 66

Sherborne, 1st Lord (James Dutton), 154

Sherborne, Lady, nee Coke, 154

Sheridan, Mrs. R. B., nee Linley, 67

Sheridan, Richard Brinsley, 67, 146

Shire Lane, near Temple Bar, 5

Shore, Lady, 93

Shore, Sir John, 93

Short’s Gardens, Drury Lane, 5

Shuja-ud-daula, Nawab of Oudh, 83

Shuter, Edward, 17-18, 140, 143

Siddons, Mrs., 98

Simeon, John, 155

Simonet, — , 67

Smart, — , 14 1 n . 1

Smart, Mrs., 154

Smith, Edward, 39

Smith, J. T., 5, 6, 123, 136

Smith, Louis Ferdinand, 92

Smith, Mrs., nee Graham, 65

Society of Artists, xo, 16, 19, 128, 146

Society of Dilettanti, 124

Solander, Dr., 54, 55

Solimena (T Abate Ciccio), 3

Sondes childi'en, the, 153

Soubise, a black man, 119

South Seas, voyage to, planned, 38 sqq.

Speer, Michael, 3, 4

Stables, — , 94

Stanmore, 20

Steer, Wilson, 35

Steevens, George, 165

Stevens, • — , 11

Stevens, Miss, 19

Stevenson, — , 62, 63, 64

Stewart, Anthony, 16

Stewart, Charles, 16 ,153

Stillingfleet, Benjamin, 38, 163

Stow, — , 124

Strachey, Archdeacon John, 94
Strachey, Colonel, 83
Strachey, General Sir Richard, 85
Strachey, Lady, 122

Strachey, Mrs. John, nee Wombwell, 94
Strachey, R. S., 89
Strachey, Richard, 85, 86
Strachey, Sir — , 1st Baronet, 85
Strachey, Sir John, 85

Strancl-of-the-Green, 48, 61, 68, 70, 78, So,
1 15

Stuart, Sir James Seton, 148, 150
Sullivan, Luke, 128
Swaylands, 20
Sweden, King of, 122

INDEX

330

Swindon, — , 12
Sykes, T. G., 106
Sympson, — > 76

TAj Mahal, the, 82
Talbot, Mrs., 163

Tan Chet Qua, Chinese modeller, 32

Tay, the, 16

Taylor, — , 29, 34

Taylor, Marcus Saville, 92, 94

Taylor, Sir John, 63

Taylor, Tom, 35 n. 1

Teddington, 158

Tegetmeier, — , 96

Teignmouth, 3rd Lord, 93

Tennant, Sir E., 83

Tennyson, Charles, 79, 98, ii2«. 2

Thames, the, 70, 134

Theodore, — , 67

Thomas, Francis Baladon, 83

Thomas, John, 136

Thornhill, Cuthbert, 103

Thornton, — , 93

Thurn and Taxis, Prince of, 3

“ Tiny,” a dog, 156

Tippoo Sultan, 107

Titanic, the, 81

Toms, Peter, 31

Tooth, Messrs., no

Tottenham Court Road, 8

Touch, near Stirling, 150

Towneley, Charles, 121, 124

Towneley Marbles, the, 121 sqq., 124 <£• n. 1

Townsend, — , 121

Townsend, Joseph, 159

Tremamondo, Domenico Angelo Malevolti

1 1 n. 1

Tremando, — , 3, 35

Trememando, Anthony Angelo, 136 cCn?, 2
Trinity House, 38
Tubingen, 29

Tullibardine, Marquis of, 153
Tulloh, — , auctioneer, 10 1
Turk’s Head, Greek Street, and the R.A.’s, 31
Tuscany, Archduke Leopold of, 56
Tuscany, Duke of, 47, 49
Tuscany, Grand Duchess, of, 50
Tuscany, Grand Duke of, 50, 51
Tweeddale, 4th Marquis of, 84, 85
Twelfth-Night Feast, founded by Baddeley,
140

Twining, Miss, 82
Twining, Thomas, 82, 94
Tyers, Jonathan, 31
Tyrrel, Rev. C., 137

Uffizi Gallery, 127

Upper Ossory, Countess of, 61, 77, 94

Valencia, Lord, 106

Van der Capelle, Adrian, 1 56

Vansittart, D. N., 100

Vansittart, Henry, 100

Vauxhall, 30

Velasquez, 35

Verdun, Dr., 124

Vere, Hon. Charles Hope, 75

Verney children, the, 153, 155

Verney, Harry, 75

Victoria and Albert Museum, 137 n . 1
Vienna, 4, 56 sqq.

Villa del Cipresso, 52, 53
Villa Palmieri, 52

Waj Id Ali Shah, last King of Oudh, 86
Waldegrave, Countess, nee Maria Walpole
(later Duchess of Gloucester), 164
Wale, Samuel, 31, 72
Wallace, Albany, 11
Wallis, Miss, 145
Walliscourt, 155
Wallop, Hon. Frederic, 146, 155
Walpole, Horace, 10 el passim : and the
Misses Berry, 158
Walton, Henry, 137
Ward, — , 10 1
Ward, T. Humphry, 76 n . 1
Wargrave Hill House, 160
Watkins, Mrs., 114
Watson. — , 163
Watteau, Antoine, 161, 167
Watts, — , 63
Watts group, 112

Watts, Mrs., of Hanslope Park, 112
Weeks, — , 109
Welbeck, 160, 164

Wellesley, 1st Marquess of, 94, 100, 10 1

Welsh, — , 96 n. 3

Wentworth, Lord (Mr. Noel), 156

West, Benjamin, 32, 33, 61 n. 3 , 129, 135

West-Harling Hall, 19

West Park, Salisbury, 100

Westbury, Wilts, 159

Westmacott, — , 34

Weston, Thomas, 27, 143, 148

Wetton, — , 45

Wheeler, Stephen, 44 n. 1 , 84 n. 2 , 85, 86, 87,
S9, 92

INDEX

33 1

Wheler, Edward, 94
Wheler, Trevor (later Sir Trevor), 94
Whiteford, Caleb, 11, 13
Whitley, W. T., 9 n . 2 , 43, 81
Whitney, Mrs. Payne, 156
Wicken Park, 72
Wickstead, Philip, 138
Widener, Peter, 64
Wilbraham, — , 63
Wilkes, John, 40, 73, 74, 75, 147 n . 1
Wilkes, Mary (Polly), 73, 74, 75
Wilkinson, Jacob, 81
William, Prince (William IV), 25
Williams, John ( see also Pasqum), 5, 120
Williamson, Dr. 137 n . 1
Willoughby de Broke, John, 14th Lord, 153,
155

Willoughby de Broke, Lady, 153, 155, 159

Wilson, Benjamin, 5, 6, 7, 10, 143

Wilson, Richard, 13, 29 & n. 4 , 30, 31, 33

Wilson, Sir Robert, 7

Wilton, Beau, 112

Winchelsea, 9th Earl of, 63

Windsor Castle, 23, 24, 165

Winter, Miss, 97, 98

Wombwell, George, 94

Wombwell, John, 92, 93-4

Wombwell, Major, 109, 112, 128

Worthington, W. H., 121, 124

Wrest Park, 52

Wykeham family, the, 131

Wynn, Captain, 124

Yarborough, Earl of, 17, 140
Yeo, — , 32

York, H.R.H. Frederick, Duke of, 53 cfc w. 2 ,
160

Yorke, John, 157

Yorke, T. E., 157
Yorkshire, Zoffany in, 65

Zauffely, and other variants of the name
Zoffany, 10-11
Zetland, Marquis of, 156
Zoffany, Cecilia Maria Theresa, Mrs.

T. Eforne, 47, 78, 125, 129, 130, 131
Zoffany, Claudina Sophia Anne, Mrs. Robert
Beachcroft, 131

Zoffany, Clementina Louisa, 129

Zoffany, John, birth, 3, 127 & n. J , 167 n. 1 ;

characteristics, 117, 127 sqq. ; early
days 3 sqq. ; royal patronage, 17 sqq.
passim ; as a Royal Academician,
24 sqq. ; plan for visiting the South
Seas, 38 sqq. ; in Italy, Austria, etc.,
42 sqq. ; his Austrian patent of no-
bility, 57 sqq., et alibi, 300 ; in Eng-
land again, 58 sqq. ; in India, 80
sqq. ; return home, 114 sqq. ; life
with his family, 126 sqq. ; last days,
death, and tomb, 134-5; last will,
295 sqq.

Family of, 47, 48, 129 sqq., see also under
Names

Paintings by, passim, <& see Appendices.

Conversation pieces, 151 sqq.

Pictures of Children, 152 sqq.

Self-portraits, see many, passim.

Single Portraits, 162 sqq.

Theatrical Pictures, 139 sqq.

Portraits of, 126 sqq.

Zoffany, Laura Helen Constantia, Mrs. L. B.

Oliver, 129, 13 1-2
Zoffany, Mrs., the first, 4, 5, 45, 59
Zoffany, Mrs. (Mary), the second, 4, 45 sqq.,
59, 78, 80, 1 14 sqq., 1 19, 129, 135
Zoffany, Theresa, Lady Doratt, 47, 78, 130
Zuccarelli, — , 32, 12912. 1
Zulficar Khan, or James Martin, 106

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