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Mid-Georgian Portraits Catalogue

David Garrick (1717-1779), Actor, playwright and theatre manager

See also L. A. Hall, Catalogue of the Dramatic Portraits in the Theatre Collection of the Harvard College Library, II, pp 84-106, and P. H. Highfill, K. A. Burnim & E. A. Langham, A Biographical Dictionary of Stage Personnel in London, 1660-1800, VI, pp 81-103 (listing further portrayals of Garrick in character). For a general survey of Garrick iconography, see E. Wind, ‘Portraits of Actors - Garrick’, in Hume and the Heroic Portrait, 1986, pp 34-42.
When Garrick was in Paris in November 1764 he wrote to his brother in London: ‘I am so plagu’d here for my Prints or rather Prints of Me - that I must desire You to send me by ye first opportunity six prints from Reynolds’s picture, You may apply to ye Engraver he lives in Leicester fields, & his name is Fisher, he will give you good ones, if he knows they are for Me - You must likewise send me a King Lear by Wilson, Hamlet do Jaffier & Belv[idera] by Zoffani, speak to him for two or 3, & what Else he may have done of Me - There is likewise a print of Me, as I am, from Liotard’s picture Scrap’d by MacArdel, send me 2 or 3 of them, speak to MacArdel, & any other prints of Me, if tolerable, that I can’t remember’ (D. M. Little & G. M. Kahrl, The Letters of David Garrick, 1963, I, no.343).

1745
Painting by Arthur Pond, bust length; engraved J. Wood 1745 (illus. W. L. Pressly, A Catalogue of Paintings in the Folger Shakespeare Library, 1993, p 249); N. Parr 1747; J. McArdell.

c.1745
Painting by Francis Hayman, whole-length seated with William Windham of Felbrigg. Private collection (illus. B. Allen, Francis Hayman, 1987, no.17).

1746
Drawing by William Hogarth, whole-length figure seen in profile and from the back, compared with similar views of the actor James Quin. Royal Collection (A. P. Oppé, English Drawings, Stuart and Georgian periods, in the Collection of His Majesty the King at Windsor Castle, 1950, no.351, pl.61). Engraved T. Cook 1808.

1751
Pastel by J-E. Liotard, half length. Chatsworth. Engraved J. McArdell as 'from an Original Picture Painted at Paris 1751'. Drawn in Paris, with the pendant of his wife. Copy in Drury Lane Theatre, London.

c.1751
Drawing doubtfully attributed to Benjamin Wilson, half length. Folger Shakespeare Library. Formerly attributed to Gainsborough. The likeness closely resembles that in the Liotard pastel of 1751. Conceivably the drawing in the Garrick sale, 5 May 1825, lot 133, 'portrait framed and glazed in black lead pencil by Liotard of the late David Garrick'.

c.1752-55
Painting by Benjamin Wilson, see NPG 6249.

1757
Painting by William Hogarth, three-quarter length seated, his wife behind him, the Prologue to Taste, written by Garrick for Samuel Foote's comedy, before him. Royal Collection (Sir Oliver Millar, 'The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.560). Garrick did not approve this picture, which was given to his widow by Hogarth's widow.

1758
Gilt-bronze plaque by L-F. Roubiliac. Garrick Club (G. Ashton, Pictures in the Garrick Club, ed. K. A. Burnim & A. Wilton, 1997, S15), see NPG 707a.

c.1760?
Pastel by F-X. Vispré, half length. Garrick Club (G. Ashton, Pictures in the Garrick Club, ed. K. A. Burnim & A. Wilton, 1997, no.245). A replica in the Bromley-Davenport sale, Sotheby's, 11 June 1947, lot 3 with a pendant of Mrs Garrick.

1761
Painting by Thomas Hudson, half-length seated, engraved J. Dixon (illus. E. Miles, Thomas Hudson, Kenwood, 1977, no.64). Exhibited Society of Artists, London, 1761 (54). Versions sold Christie's, 27 July 1928, lot 143 (illus. A. E. Garnier, Garniers of Hampshire, 1900, f.p.22), and 28 July 1967, lot 376 as Colonel Verelst by Gainsborough.

1762
Two paintings by Johann Zoffany, with Mrs Garrick in their gardens at Hampton. Lord Lambton (illus. M. Webster, Johan Zoffany, exhibition catalogue, NPG, 1977, nos.11, 12).

Painting by Joshua Reynolds, whole length between the figures of Comedy and Tragedy. Private collection (D. Mannings, Sir Joshua Reynolds, I, 2000, no.700). Exhibited Society of Artists, London, 1762 (88). Engraved E. Fisher 1762.
Reduced copies in the National Theatre (Maugham Collection; illus. R. Mander & J. Mitchenson et al., Guide to the Maugham Collection of Theatrical Paintings, 1980, no.11), the Garrick Club (G. Ashton, Pictures in the Garrick Club, ed. K. A. Burnim & A. Wilton, 1997, no.242), Lulworth Manor, and the National Museum, Havana. Daniel Dodd exhibited a crayon drawing of Garrick between Tragedy and Comedy, Free Society of Artists, London, 1767 (94), and F. P. Nodder a version made of hair, Society of Artists, London, 1775 (185).

Bust by John van Nost jr., exhibited Free Society of Artists, London, 1762 (178). Van Nost is said to have taken a life mask of Garrick, of which the masks in the Garrick Club (G. Ashton, Pictures in the Garrick Club, ed. K. A. Burnim & A. Wilton, 1997, S13) and the Folger Shakespeare Library are probably examples. From this mask he made the bust, of which a plaster cast has been identified in the Garrick Club (G. Ashton, Pictures in the Garrick Club, ed. K. A. Burnim & A. Wilton, 1997, S11). Copies of van Nost’s bust were 'in every Barber's shop window, as a block for wigs' (J. T. Smith, Nollekens and his Times, ed. W. Whitten, 1920, II, p 207), and it provided the pattern for the bust supplied by Hoskins & Grant to the Wedgwood factory in 1777 (R. Reilly and G. Savage, Wedgwood the Portrait Medallions, 1973, p 159; and see G. Ashton, Pictures in the Garrick Club, ed. K. A. Burnim & A. Wilton, 1997, S12).

1763
Painting by Johann Zoffany, see NPG 1167.

c.1763
Painting by Johann Zoffany, bust length unfinished. Garrick Club (G. Ashton, Pictures in the Garrick Club, ed. K. A. Burnim & A. Wilton, 1997, no.249). Previously attributed to Hogarth and Reynolds.

1764
Painting by Pompeo Batoni, half length holding the Vatican edition of the Comedies of Terence. Ashmolean Museum, Oxford (A. M. Clark, ed E. P. Bowron, Pompeo Batoni, 1985, no.266). Painted in Rome. A reduced copy in the Garrick Club (G. Ashton, Pictures in the Garrick Club, ed. K. A. Burnim & A. Wilton, 1997, no.234).

Painting by Angelica Kauffmann, half-length seated. Burghley House (176; illus. W. W. Roworth ed., Angelika Kauffman, a Continental Artist in Georgian England, 1992, p 101). Exhibited Free Society of Artists, London, 1765 (217). Painted in Naples. A reduced version sold Sotheby's, 24 January 1951, lot 87.

Marble bust by Joseph Nollekens. Althorp. Modelled in Rome and, according to Smith (J. T. Smith, Nollekens and his Times, ed. W. Whitten, 1920, I, p 8), the first bust Nollekens modelled; Garrick paid for it in gold. A plaster was with A. Forbes Sieve-King, London, 1925.

Painting by Nathaniel Dance, done in Rome, as reported in London in April 1764 (Walpole, Anecdotes, V, p 29).

1765
Bust by J-B. Lemoyne, exhibited Paris salon 1765 when described by Diderot: 'c'est Roscius commandant à ses yeux, à son front, à ses joues, à sa bouche à tous les muscles de son visage' (Salons, ed. J. Seznec and J. Adhémar, II, 1960, p 213).

1766
Painting by Thomas Gainsborough, whole length leaning against a plinth bearing the bust of Shakespeare. Destroyed by fire 1946, formerly in the Town Hall, Stratford-upon-Avon (E. K. Waterhouse, Gainsborough, 1958, no.304). Exhibited Society of Artists, London, 1766 (51), and reworked for the Stratford Corporation on the occasion of the Stratford Shakespeare Jubilee in 1769. Reduced copies include examples in the Folger Shakespeare Library (E. L. Pressly, A Catalogue of Paintings in the Folger Shakespeare Library, 1993, no.109), and at Charlecote; an enamel copy by William Essex 1856 is in the Victoria and Albert Museum (1587.1871).

1768
Painting by Benjamin Van der Gucht, bust length. Sold Sotheby's, 17 June 1981, lot 61 (illus. Early Journals and Letters of Fanny Burney, I, 1988, p 149). It bears an uncomfortable resemblance to the head by Batoni, see 1764 above.

1769-73
Intaglio by Nathaniel Marchant, a bust of Shakespeare behind him. A sulphur impression exhibited Society of Artists, London, 1773 (168). A second intaglio by Marchant reproduced Garrick's bust alone (illus. G. Seidmann, 'Nathaniel Marchant, Gem-Engraver 1739-1816', Wal. Soc., LIII, 1987, figs.139-40).

1770
Painting by Thomas Gainsborough, see NPG 5054.

1771
Drawings by Nathaniel Dance, see NPG 3639.

1772-73
Painting by Joshua Reynolds, with Mrs Garrick, see NPG 5375.

1772
Painting by Benjamin Van der Gucht, half length looking at the Shakespeare Jubilee Medal. Althorp. Exhibited RA 1776 (309). Engraved J. Saunders 1773. Painted to mark Garrick's stewardship of the Shakespeare bicentenary celebrations at Stratford-upon-Avon in 1769. Versions at Parham Park (illus. P. H. Highfill, K. A. Burnim & E. A. Langhans, A Biographical Dictionary of Stage Personnel in London, 1660-1800, VI, p 45) and in the Johnson Birthplace Museum, Lichfield; a reduced version on copper, from the collection of Lucy Porter, with A. D. H. Pennant 1953; another in the Garrick Club has a paper inscribed Prologue replacing the Shakespeare medal (G. Ashton, Pictures in the Garrick Club, ed. K. A. Burnim & A. Wilton, 1997, no.244). A red wax medallion by Tassie after the Van der Gucht portrait, and a red wax study showing the bust alone, were with J. Whitehead in 1894 (J. M. Gray, James and William Tassie, a biographical and critical sketch with a catalogue of their portrait medallions of modern personages, 1894, no.146); plaster replicas of each in the Scottish NPG (PG 474, PG 1903; illus. P. H. Highfill, K. A. Burnim & E. A. Langhans, A Biographical Dictionary of Stage Personnel in London, 1660-1800, VI, p 46).

Wax medallion by Lewis Pingo. Exhibited Free Society of Artists, London, 1772 (152), with another of Mrs Garrick (Wal. Soc., XXVII, 1939, p 75). Engraved by Isaac Taylor as ‘Mr Pingo’s Seal for the Theatrical Fund’ (C. Eimer, The Pingo Family & Medal Making in 18th-century Britain, 1998, nos.136, 136a). Used as pattern for silver and copper medals (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.160; C. Eimer, The Pingo Family & Medal Making in 18th-century Britain, 1998, no.48), and for a Wedgwood medallion in 1773 (illus. R. Reilly and G. Savage, Wedgwood the Portrait Medallions, 1973, p 159).

Medallion by John Kirk, the 'Tribute Medallion' (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.161). Exhibited Society of Artists, London, 1773 (151).

Wax bust by Patience Wright (C. C. Sellers, Benjamin Franklin in Portraiture, 1962, p 427).

1773
Medallions by John Kirk (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos. 172, 173) and Wedgwood, see 1772 Lewis Pingo.

Painting by Nathaniel Dance, half-length seated, a copy of Macbeth in his hand; engraved J. Hall 1773 when in Lord Mansfield's collection. A studio version, given by Garrick to John Taylor in 1774, in the Folger Shakespeare Library (W. L. Pressly, A Catalogue of Paintings in the Folger Shakespeare Library, 1993, no.106). A crayon drawing in the William Salt Library, Stafford, exactly reproduces this portrait, and see NPG 3639.

c.1774
Drawing by J. K. Sherwin, see NPG 1187.

Wax profile by Gardener. Garrick Club (G. Ashton, Pictures in the Garrick Club, ed. K. A. Burnim & A. Wilton, 1997, S16). Other examples in the Royal Collection and sold Christie's, 11 December 1978, lot 134.

1775-80
Portraits by R .E. Pine, see NPG 82.

c.1775?
Wax medallion by Robert Stewart. Victoria and Albert Museum (A.37.1970; illus. E. J. Pyke, A BIographical Dictionary of Wax Modellers, 1973, pl.276).

1776 Medal John Kirk, commemorating Garrick's farewell to the stage on 10 June 1776 (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.204). Exhibited Society of Artists, London, 1776 (221 and 223).

Painting by Joshua Reynolds, ‘The Prologue Portrait’, half-length seated; a paper inscribed The Prologue before him. Private collection (D. Mannings, Sir Joshua Reynolds, I, 2000, no.705). Exhibited RA 1776 (241).

Of many versions, one painted for Henry Thrale’s library at Streatham House is in the Hyde Collection; another once belonging to Edmund Burke was in the Duke of Bedford's sale, Christie's, 19 January 1951, lot 132; a third painted for Topham Beauclerk is in an English private collection, and a fourth from the Lansdowne collection is in the Folger Shakespeare Library (W. L. Pressly, A Catalogue of Paintings in the Folger Shakespeare Library, 1993, no.121; D. Mannings, Sir Joshua Reynolds, I, 2000, no.706).

Copies are in the Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, 1969, no.1043), the Garrick Club (G. Ashton, Pictures in the Garrick Club, ed. K. A. Burnim & A. Wilton, 1997, no.241), the Folger Shakespeare Library (W. L. Pressly, A Catalogue of Paintings in the Folger Shakespeare Library, 1993, no.122) and the Hereford City Museum. A bust-length miniature copy by Samuel Shelley dated 1777 was in the collection of Lord Churchill in 1883 (Sir George Scharf's Sketch Books, 105/50a); another by Anne Lane, incorporating hair, is in the Garrick Club (G. Ashton, Pictures in the Garrick Club, ed. K. A. Burnim & A. Wilton, 1997, no.235).

1777
Drawing by Edward Edwards, half-length oval, unfinished; signed and dated. Victoria and Albert Museum (F.61).

Wedgwood medallion, see van Nost 1762.

c.1777
Unattributed painting, half length, wearing a dark fur-trimmed coat. Huntington Library, San Marino (19.4; R. Asleson & S. Bennett, Catalogue of the Hull Grundy Gift to the British Museum, 2001, no.104).

c.1778
Drawing by E. F. Burney, whole-length seated, the head alone finished. British Museum (Ee 3.71).

1779
Painting by Benjamin Van der Gucht, exhibited RA 1779 (334), as 'the last picture he sat for'. This reference has also been associated with a forlorn portrait in the Garrick Club (G. Ashton, Pictures in the Garrick Club, ed. K. A. Burnim & A. Wilton, 1997, no.243).

Carved gemstone by William Brown, exhibited RA 1779 (27).

Undated
Miniatures exhibited Burlington Fine Arts Club 1889 (XIX 8, attributed to G. Engleheart) lent J. Whitehead; Burlington Fine Arts Club 1889 (XXXVI 73) and Royal House of Guelph, New Gallery, London, 1891 (1912) lent J. Lumsden Propert, and Royal House of Guelph, New Gallery, London, 1891 (720) lent the Earl of Carlisle.

Terracotta statuette of Garrick as Roscius, attributed to John van Nost. Brighton Art Gallery (illus. Country Life, CLV, 1974, p 260). Possibly the cast of Garrick as Roscius bought from van Nost by Sir Watkin Williams Wynn in February 1778 (see I. Mackintosh & G. Ashton, The Georgian Playhouse, Actors, Artists, Audiences and Architecture 1730-1830, exhibition catalogue, Arts Council, 1975, no.63), or the unattributed cast given by Mrs Garrick to George Garrard ARA, seen in Garrick's villa in 1825 (J. T. Smith, A Book for a Rainy Day, ed. W. Whitten, 1905, p 290).

Wax medallion by E. M. Diemar. Private Collection (E. J. Pyke, A Biographical Dictionary of Wax Modellers, 1973, p 39). Garrick frequently sat to ‘Demar, the wax modeller, who did hundreds of profiles of him’ (J. T. Smith, Nollekens and his Times, ed. W. Whitten, 1920, II, p 207).

Anon. enamel medallion, Victoria and Albert Museum (414.1417.1885; illus. B. Rackham, Catalogue of the Schreiber Collection, Victoria and Albert Museum, III, Enamels and Glass, 1924, pl.45).

Posthumous
1779
Death mask. Department of Anatomy, Edinburgh University, from the Edinburgh Phrenological Society (Death Masks and Life Masks, Edinburgh University, [1988], p 11). Engraved R. E. Pine with the eyes added.

c.1782
Painting by George Carter, the The Immortality of Garrick.

1785
Bust by Philipson. Philipson sale, Christie's, 12 December 1785.

c.1793
Marble bust by Richard Westmacott sr., Lichfield Cathedral (illus. 1851 ed. of Boswell's Johnson, III, p 250), placed near Westmacott’s bust of Samuel Johnson which was installed 1793. Another in the Royal Collection (sent from Carlton House to Windsor in 1828, also with a companion bust of Johnson).

Medallions at half a guinea and bustos at 7 shillings and 6 pence, by Charles Harris (advertised in his trade cat. of c.1793).

1797
Marble monument by Henry Webber in Westminster Abbey.

1825
Portrait by W. S. Lethbridge, exhibited Society of British Artists, Suffolk Street, London, 1825 (496).

1826
Intaglio by C. H. Weigall, exhibited RA 1826 (933).

1831
Bust by Lucius Gahagan. Garrick Head Hotel, Bath.

Portraits in Character
'The essence of Garrick's method was the direct communication of emotion which should be impressed on the whole body as well as the face. Communication was directed to the heart, and intensity was conveyed through highly expressive physiognomy and body-language, as can be glimpsed from Hogarth's painting of Garrick as Richard III.' (D. Bindman, Roubiliac and the eighteenth-century Monument, 1995, pp 35-36).

1741
Painting by Thomas Bardwell as Richard III in Shakespeare's Richard III. Russell-Cotes Art Gallery, Bournemouth. (M. Kirby Talley, 'Thomas Bardwell', Wal. Soc., XLVI, 1978, no.54). A variant picture, then in the collection of the Earl of Clarendon, engraved J. Ogborne 1810.

c.1741
Pastel by Bartholomew Dandridge as Richard III in Shakespeare's Richard III. Johnson Birthplace Museum, Lichfield.

c.1745
Painting by William Hogarth as Richard III in Shakespeare's Richard III. Walker Art Gallery, Liverpool (634; illus. D. Bindman, Hogarth, 1981, p 108). Engraved by W. Hogarth and C. Grignion sr. 1746. Hogarth wrote of it: ‘Painted from Mr Garrick big as the life, & … sold for two hundred pounds on account of its likeness, which was the reason it was call’d Mr. Garrick in the Character of Richard the 3d - and not any body else’ (A. P. Oppé, English Drawings, Stuart and Georgian periods, in the Collection of His Majesty the King at Windsor Castle, 1950, p 63), but the ‘constant and complete mobility’ of Garrick’s face caused him much difficulty; he attempted it several times, finally sewing in a face painted on a separate canvas (R. Paulson, Hogarth, 1992, II, p 250).

c.1747
Painting by Francis Hayman as Ranger in Hoadly's The Suspicious Husband, with Mrs Pritchard as Clarinda. Yale Center for British Art (B1976.7.35; illus. B. Allen, Francis Hayman, 1987, no.39, pl.VIII). Replica in the Museum of London (illus. P. H. Highfill, K. A. Burnim & E. A. Langhans, A Biographical Dictionary of Stage Personnel in London, VI, p 23).

1752
Painting by Thomas Worlidge as Tancred in Thomson's Tancred and Sigismunda. Garrick Club (G. Ashton, Pictures in the Garrick Club, ed. K. A. Burnim & A. Wilton, 1997, no.247). Engraved by Worlidge 1752. A bust-length version in the Theatre Museum (D.14; G. Ashton, Catalogue of Paintings at the Theatre Museum, London, 1992, no.7) and a half-length version sold Christie's, New York, 25 March 1983, lot 159. Related drawings are in the Garrick Club (G. Ashton, Pictures in the Garrick Club, ed. K. A. Burnim & A. Wilton, 1997, nos.238 and 248) and with the Royal Shakespeare Memorial Theatre, Stratford-upon-Avon.

1753
Painting by Benjamin Wilson as Romeo, with Anne Bellamy as Juliet, in Shakespeare's Romeo and Juliet. Yale Center for British Art (B1975.5.29). Versions in the Theatre Museum (S.1452.1986; G. Ashton, Catalogue of Paintings at the Theatre Museum, London, 1992, no.8) and at Stourhead. An etching by Wilson shows the half-length figure of Garrick from the larger composition.

1754
Engraving by J. McArdell from a painting by Benjamin Wilson, as Hamlet in Shakespeare's Hamlet (illus. W. L. Pressly, A Catalogue of Paintings in the Folger Shakespeare Library, 1993, p 234).

1760
Painting by Francis Hayman, as Richard III in Shakespeare's Richard III. National Theatre (Maugham Collection; illus. R. Mander & J. Mitchenson et al., Guide to the Maugham Collection of Theatrical Paintings, 1980, no.2). Exhibited Society of Artists, London, 1760 (25). Copy by T. [but probably J.] Boultbee 1806, sold Christie's, 26 May 1989, lot 188.

1761
Engraving by J. McArdell from a painting by Benjamin Wilson, as Lear in Shakespeare's King Lear, with Havard and Bransby as Edgar and Kent (illus. R. Mander & J. Mitchenson, A Picture History of the British Theatre, 1957, p 44).

1762
Painting by Johann Zoffany as the Farmer in The Farmer's Return, an interlude by Garrick, with Mary Bradshaw. Lord Lambton (illus. M. Webster, Johan Zoffany, exhibition catalogue, NPG, 1977, no.10). Exhibited Society of Artists, London, 1762 (138). Studio versions in the Yale Center for British Art (B1981.25.731), and sold Christie's, 20 November 1981, lot 123.

1763-65
Painting by Johann Zoffany as Sir John Brute in John Vanbrugh's The Provok'd Wife. Wolverhampton Art Gallery. Engraved J. Finlayson 1768. Exhibited Society of Artists, London, 1765 (167). Studio version with Lord Normanby, and a study for the figure of Garrick is in the National Theatre (Maugham Collection; R. Mander & J. Mitchenson et al., Guide to the Maugham Collection of Theatrical Paintings, 1980, no.6).

1763
Painting by Johann Zoffany, as Jaffier in Otway's Venice Preserv'd, with Susanna Cibber as Belvidera. Lord Lambton (illus. I. Mackintosh & G. Ashton, The Georgian Playhouse, Actors, Artists, Audiences and Architecture 1730-1830, exhibition catalogue, Arts Council, 1975, no.22). Exhibited Society of Artists, London, 1763 (137). Versions in the National Theatre (Maugham Collection; R. Mander & J. Mitchenson et al., Guide to the Maugham Collection of Theatrical Paintings, 1980, no.3), in the Garrick Club (G. Ashton, Pictures in the Garrick Club, ed. K. A. Burnim & A. Wilton, 1997, no.252) and in the Museum of Fine Arts, Budapest.

1764
Drawing by L-C. de Carmontelle as a tragic and comic actor. Musée Condé, Chantilly (illus. E. Wind 1986, Hume and the Heroic Portrait, 1986, pl.30).

1766
Painting by Johann Zoffany as Lord Chalkstone in Garrick's Lethe, with Ackman and Bransby. Birmingham Museum and Art Gallery (illus. R. Mander & J. Mitchenson, The Artist and the Theatre, the story of the paintings collected and presented to the National Theatre by W. Somerset Maugham, 1955, p 20). Exhibited Society of Artists, London, 1766 (198). A version in the National Theatre (Maugham Collection; Maugham Collection; R. Mander & J. Mitchenson et al., Guide to the Maugham Collection of Theatrical Paintings, 1980, no.7), and there are three versions of the figure of Garrick alone: in the Garrick Club (G. Ashton, Pictures in the Garrick Club, ed. K. A. Burnim & A. Wilton, 1997, no.250), formerly with W. H. Hearst (illus. R. Mander & J. Mitchenson, The Artist and the Theatre, the story of the paintings collected and presented to the National Theatre by W. Somerset Maugham, 1955, p 22), and in a private collection.

1768
Painting by Joshua Reynolds as Kitely, see NPG 4504.

Painting by Johann Zoffany as Macbeth in Shakespeare's Macbeth, with Mrs Pritchard. The Maharajah of Baroda. Version in the Garrick Club (G. Ashton, Pictures in the Garrick Club, ed. K. A. Burnim & A. Wilton, 1997, no.253).

1769
Engraving by J. McArdell from a painting by Johann Zoffany, as the Auctioneer in Foote's Taste.

1770
Painting by Johann Zoffany as Abel Drugger in Jonson's The Alchymist, with Burton and Palmer as Subtle and Face. Sotheby’s 29 November 2001, lot 11, from Castle Howard (illus. M. Webster, Johan Zoffany , exhibition catalogue, NPG, 1977, no.59). Exhibited RA 1770 (212). Two studies for the figure of Garrick are in the Ashmolean Museum, Oxford; Garrick alone engraved J. Dixon 1791 (illus. P. H. Highfill, K. A. Burnim & E. A. Langhans, A Biographical Dictionary of Stage Personnel in London, 1660-1800, p 12).

1771
Painting by Nathaniel Dance as Richard III in Shakespeare's Richard III. Stratford-upon-Avon Town Council (illus. D. Goodreau, Nathaniel Dance, exhibition catalogue, Kenwood, 1977, no.29). Exhibited RA 1771 (54). Engraved by J. Dixon 1772, exhibited SA 1772 (67), who also exhibited a drawing after Dance’s figure Society of Artists, London, 1772 (66).
Of many copies, there are reduced versions in the Garrick Club (G. Ashton, Pictures in the Garrick Club, ed. K. A. Burnim & A. Wilton, 1997, no.237, as by Henry Morland), the Folger Shakespeare Library (W. L. Pressly, A Catalogue of Paintings in the Folger Shakespeare Library, 1993, no.107), Northampton Museum and Art Gallery, and in the National Theatre (Maugham collection; R. Mander & J. Mitchenson et al., Guide to the Maugham Collection of Theatrical Paintings, 1980, no.12). A miniature version attributed to Dance, ‘sketched from the pit’, exhibited SKM 1865 (2939) lent William Meyer.

1774
Painting by P-J. De Loutherbourg as Richard III in Shakespeare's Richard III, exhibited RA 1774 (166). Photograph in the Emery Walker archive (NPG).

Painting by P-J. De Loutherbourg as Don Juan in Beaumont and Fletcher's The Chances. Theatre Museum (D.70; G. Ashton, Catalogue of Paintings at the Theatre Museum, London, 1992, no.9). Exhibited RA 1774 (163). A watercolour dated 1774 in the Victoria and Albert Museum (P.46.1935). One of several reduced versions is in the Garrick Club (G. Ashton, Pictures in the Garrick Club, ed. K. A. Burnim & A. Wilton, 1997, no.236).

Doubtful Portraits
See NPG 6249. Paintings by Nathaniel Dance (Christie’s, 18 June 1954, lot 154); called Gainsborough (Phillips, 24 November 1998, lot 7); attributed to Nathaniel Hone (Sotheby’s, 12 July 1989, lot 52); called Gainsborough (Phillips, 24 November 1998, lot 7); attributed to P. Longhi, Garrick in the Green Room (Lady Lever Art Gallery, Port Sunlight, LL 3526); by J. B. Van Loo (National Theatre; Maugham Collection). Silhouette in the Scottish NPG (PG 1449).

With Mrs Garrick: unattributed painting c.1760, (Royal Shakespeare Collection, on loan to the Victoria and Albert Museum, RSC.6.2001); miniature by James Scouler (Victoria and Albert Museum; P.5.1951).



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.