Early Georgian Portraits Catalogue

A portrait by Van Loo, mentioned by Vertue in 1737-8, [1] is now known only from G. Van der Gucht's head and shoulders engraving lettered Anno Aetatis 67, published 1740 as the frontispiece to Cibber's Apology. The same type was used for later engravings such as Edward Fisher's mezzotint, 1758 (J. Chaloner Smith, British Mezzotinto Portraits, 1878-83, 9), nearly whole length, showing the sitter with a girl, presumably his daughter. This composition, it has been suggested, is parodied in Hogarth's portrait of Garrick and his wife. [2] Fisher's engraving is lettered J. B. Vanloo pinx. 1740 but it is not known whether this implies a second sitting since no oil is now known. The portrait of the sitter as Lord Foppington in The Relapse by Giuseppe Grisoni, in the Garrick Club, [3] is undated. A number of engravings after it include one by J. Simon (d. c.1755) who does not appear to have engraved after about 1742. [4] A half length oval drawing at Windsor (4 1/4 x 3 1/8 in.) by W. Robins (fl. 1715-40), signed and dated 1715, supposedly represents the sitter. [5] A whole length sketch by H. Gravelot was engraved by T. Priscott.

1) G. Vertue, Vertue Note Books (edited by The Earl of Ilchester), Walpole Society, vols XVIll-XXIX, 1930-55, III, p 82.
2) E. Wind, 'The Sources of David's Horaces', Journal of the Warburg and Courtauld Institutes, IV, 1941, p 137.
3) C. K. Adams, A Catalogue of the Pictures in the Garrick Club, 1936 (11).
4) J. Chaloner Smith, British Mezzotinto Portraits, 1878-83, III, 1061.
5) A. P. Oppé, English Drawings ... at Windsor Castle, 1950, p 84 (503).


This extended catalogue entry is from the out-of-print National Portrait Gallery collection catalogue: John Kerslake, Early Georgian Portraits, Her Majesty's Stationery Office, 1977, and is as published then. For the most up-to-date details on individual Collection works, we recommend reading the information provided in the Search the Collection results on this website in parallel with this text.