Mid-Georgian Portraits Catalogue
William Cavendish, 5th Duke of Devonshire (1748-1811), Lord High Treasurer of Ireland
- Gallery portraits
- All known portraits
- Biography and References
1765
Miniature by Nathaniel Hone, half length in a blue coat. Welbeck. Described by the sitter’s sister as ‘a most shocking thing’ (Welbeck Abbey Miniatures, 1916, p 156, no.227).
Painting by Arthur Devis, the artist chosen by the sitter’s tutor. ‘I am much afraid it will be frightful’ wrote Lord John Cavendish (E. G. D'Oench, The Conversation Piece: Arthur Devis & His Contemporaries, exhibition catalogue, New Haven, 1980, pp 31, 81).
1766-67
Painting by Joshua Reynolds, half length. Private collection (D. Mannings, Sir Joshua Reynolds, I, 2000, no.336). Exhibited Second special exhibition of National Portraits (William and Mary to MDCCC), South Kensington, 1867 (474) lent Lord Crewe.
1767
Pastel by Francis Cotes, half length. Formerly at Welbeck Abbey (E. M. Johnson, Francis Cotes, 1976, no.208).
In Italy (April 1768-May 1769)
1768-69
Painting by Anton von Maron, three-quarter length standing. Chatsworth. Painted in Rome. In 1845 the 6th Duke of Devonshire wrote that the ‘face was so very bad that Elizabeth, Duchess of Devonshire, had it altered by (I believe) Mr Rising, the cleaner of pictures – from Sir Joshua’ (J. Ingamells, Dictionary of British and Irish Travellers in Italy 1701-1800, compiled from the Brinsley Ford Archive, 1997, p 296).
1768
Painting by Thomas Patch, The Music Lesson, whole-length morose and seated, with Henry Lyte and William Fitzherbert and an Italian music master. Private collection (illus. Wal. Soc., XXVIII, 1940, f.p.50, pl.X). Painted in Florence.
Painting by Pompeo Batoni, three-quarter length standing. Chatsworth (A. M. Clark ed. E. P. Bowron, Pompeo Batoni, 1985, no.321, pl.293). Painted in Rome.
England
1775
Painting by Joshua Reynolds, half length, with a high-collared brown coat. Althorp (D. Mannings, Sir Joshua Reynolds, I, 2000, no.337). Engraved J. R. Smith 1776. A copy, perhaps by Hayter, formerly at Hardwick. Watercolour copy by William Grimaldi (Rev. A. Grimaldi, A Catalogue of Paintings, Drawings & Engravings by and after William Grimaldi, 1873, p 29, no.245) and a pastel by William Lane, the head only finished, private collection (formerly at Raynham Hall; Prince Duleep Singh, Portraits in Norfolk Houses, II, p 199, no.10), presumably a preparatory study for Mr Fox and his Friends, see NPG 2076.
Miniature copies by Henry Bone: exhibited RA 1811, no.321; National Gallery of Ireland, 19.274; Christie’s, 20 June 1967, lot 5; Castle Howard sale, Sotheby’s, 2nd day, 12 November 1991, lot 546), his preparatory drawing in the NPG Bone albums (R. Walker, 'Henry Bone's Pencil Drawings in the National Portrait Gallery', Wal. Soc., 1999, no.158); by J. H. Hurter 1782 (Madresfield; D. Foskett, Collecting Miniatures, 1979, p 334, pl.94e); by Andrew Plimer 1786 (Sotheby’s, Monaco, 23-24 June 1976, lot 13); by Richard Cosway (Buxton Museum), another formerly in the Sutherland collection, and by Ozias Humphry, Chatsworth (Williamson 1917, p 240).
1779-81
Painting by J. S. Copley, The Death of Chatham.
1793
Drawn and engraved by C. T. Warren 1793, bust-length, elderly and overweight.
Posthumous
1812
Draped marble bust by Joseph Nollekens. Examples bearing the date 1812 are in the Royal Collection (illus. Princes as Patrons, Cardiff, 1998, p 81), at Chatsworth, Chiswick House and the North Carolina Museum of Art, Raleigh (see North Carolina Museum of Art Bulletin, XIV, I, 1977, pp.1-13). A workshop example also dated 1812 sold Sotheby's, 21 April 1988, lot 287.
c.1813
Drawing by William Lane, Mr Fox and his Friends, see NPG 2076.
This extended catalogue entry is from the out-of-print National Portrait Gallery collection catalogue: John Ingamells, National Portrait Gallery: Mid-Georgian Portraits 1760-1790, National Portrait Gallery, 2004, 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.
Miniature by Nathaniel Hone, half length in a blue coat. Welbeck. Described by the sitter’s sister as ‘a most shocking thing’ (Welbeck Abbey Miniatures, 1916, p 156, no.227).
Painting by Arthur Devis, the artist chosen by the sitter’s tutor. ‘I am much afraid it will be frightful’ wrote Lord John Cavendish (E. G. D'Oench, The Conversation Piece: Arthur Devis & His Contemporaries, exhibition catalogue, New Haven, 1980, pp 31, 81).
1766-67
Painting by Joshua Reynolds, half length. Private collection (D. Mannings, Sir Joshua Reynolds, I, 2000, no.336). Exhibited Second special exhibition of National Portraits (William and Mary to MDCCC), South Kensington, 1867 (474) lent Lord Crewe.
1767
Pastel by Francis Cotes, half length. Formerly at Welbeck Abbey (E. M. Johnson, Francis Cotes, 1976, no.208).
In Italy (April 1768-May 1769)
1768-69
Painting by Anton von Maron, three-quarter length standing. Chatsworth. Painted in Rome. In 1845 the 6th Duke of Devonshire wrote that the ‘face was so very bad that Elizabeth, Duchess of Devonshire, had it altered by (I believe) Mr Rising, the cleaner of pictures – from Sir Joshua’ (J. Ingamells, Dictionary of British and Irish Travellers in Italy 1701-1800, compiled from the Brinsley Ford Archive, 1997, p 296).
1768
Painting by Thomas Patch, The Music Lesson, whole-length morose and seated, with Henry Lyte and William Fitzherbert and an Italian music master. Private collection (illus. Wal. Soc., XXVIII, 1940, f.p.50, pl.X). Painted in Florence.
Painting by Pompeo Batoni, three-quarter length standing. Chatsworth (A. M. Clark ed. E. P. Bowron, Pompeo Batoni, 1985, no.321, pl.293). Painted in Rome.
England
1775
Painting by Joshua Reynolds, half length, with a high-collared brown coat. Althorp (D. Mannings, Sir Joshua Reynolds, I, 2000, no.337). Engraved J. R. Smith 1776. A copy, perhaps by Hayter, formerly at Hardwick. Watercolour copy by William Grimaldi (Rev. A. Grimaldi, A Catalogue of Paintings, Drawings & Engravings by and after William Grimaldi, 1873, p 29, no.245) and a pastel by William Lane, the head only finished, private collection (formerly at Raynham Hall; Prince Duleep Singh, Portraits in Norfolk Houses, II, p 199, no.10), presumably a preparatory study for Mr Fox and his Friends, see NPG 2076.
Miniature copies by Henry Bone: exhibited RA 1811, no.321; National Gallery of Ireland, 19.274; Christie’s, 20 June 1967, lot 5; Castle Howard sale, Sotheby’s, 2nd day, 12 November 1991, lot 546), his preparatory drawing in the NPG Bone albums (R. Walker, 'Henry Bone's Pencil Drawings in the National Portrait Gallery', Wal. Soc., 1999, no.158); by J. H. Hurter 1782 (Madresfield; D. Foskett, Collecting Miniatures, 1979, p 334, pl.94e); by Andrew Plimer 1786 (Sotheby’s, Monaco, 23-24 June 1976, lot 13); by Richard Cosway (Buxton Museum), another formerly in the Sutherland collection, and by Ozias Humphry, Chatsworth (Williamson 1917, p 240).
1779-81
Painting by J. S. Copley, The Death of Chatham.
1793
Drawn and engraved by C. T. Warren 1793, bust-length, elderly and overweight.
Posthumous
1812
Draped marble bust by Joseph Nollekens. Examples bearing the date 1812 are in the Royal Collection (illus. Princes as Patrons, Cardiff, 1998, p 81), at Chatsworth, Chiswick House and the North Carolina Museum of Art, Raleigh (see North Carolina Museum of Art Bulletin, XIV, I, 1977, pp.1-13). A workshop example also dated 1812 sold Sotheby's, 21 April 1988, lot 287.
c.1813
Drawing by William Lane, Mr Fox and his Friends, see NPG 2076.
This extended catalogue entry is from the out-of-print National Portrait Gallery collection catalogue: John Ingamells, National Portrait Gallery: Mid-Georgian Portraits 1760-1790, National Portrait Gallery, 2004, 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.