Regency Portraits Catalogue
Samuel Rogers (1763-1855), Poet, banker and art connoisseur
Pencil drawing by Dance (NPG 1135).
Pencil drawing by Edridge at Christie's (Englefield sale) 8 March 1823 (36) together with a drawing of Nelson, bought Sir Everard Home.
Oil by Hoppner in the Ilchester collection, half-length seated in dark red coat, hand supporting chin (Holland House Catalogue, 157); a version was in Hoppner's sale at Christie's 31 May 1823 (3).
Mezzotint by Charles Mottram, 'A Breakfast Party at Samuel Rogers', made up c.1830 possibly after John Doyle (example in V&A Museum).
Chalk drawing by Lawrence in British Museum (Kenneth Garlick, ‘Catalogue of Paintings, Drawings and Pastels of Sir Thomas Lawrence’ in Walpole Society Journal, XXXIX, 1964, p 241).
Oil by Baron Denon, 'portrait du Poëte anglais Monsr Rogers peint par Mr De Non l'année 1817 dans la chambre de la Contesse Albrizzi aux Deux Pavillons a Paris' (note and tracing by Scharf in NPG archive); stipple by Meyer 1819 and by Holl (holding Pleasures of Memory); a drawing possibly for an engraving is in NPG Reference Collection, perhaps that in Sir Henry Englefield's collection sold Christie's 8 March 1823 (36).
Oil by Phillips, NPG 763 and version in private collection.
Oil by Hayter in a private collection London, formerly Woburn Abbey, exhibited 'British Portrait', RA, 1956-7 (40), head and shoulders in top-hat and fur-edged coat; another Hayter portrait, 'very mild but like ¾ to left, pale and weak, having a large book open before him', was in the Worcestershire Exhibition 1882 lent by Miss Emily Rogers (note by Scharf in NPG copy of catalogue).
Chalk drawing by Lawrence (NPG 400).
Satirical etching attributed to T. Lane, 'The Sinner of the Cutty Stool', ridiculing the trial of Rev Alexander Fletcher for breach of promise; the jury consists of Campbell, Moore, Rogers, William Curtis and Scott as foreman (BM 14823).
Pen and ink drawing by Maclise in V&A Museum, published in Fraser's Magazine, II, September 1830 with a commentary by Dr Maginn beginning: 'De mortuis nil nisi bonum! there is Sam Rogers, a mortal likeness - painted to the very death!'
Portrait chargé by Jean-Pierre Dantan (NPG 3888).
Oil by Linnell in the Tate Gallery dated 1835, and an oil sketch in the National Gallery (Martin Davies, The British School, National Gallery, 1946, p 97 and National Gallery, 1959, p 76.
Drawings by Landseer (NPG 4919-21).
Drawing probably by F. Goodall in British Museum Green Redleaf Scrapbook, p 29.
Lithograph by Mrs Geale, a niece of Lady Morgan (see William Bates, Maclise Portrait Gallery, 1873, p 18).
Oil by Lucas commissioned by Peel for the gallery at Drayton Manor (letter from Peel to Rogers 2 July 1844 quoted by P. W. Clayden, Rogers and His Contemporaries, 1889, II, p 325), Peel Heirlooms sale 6 December 1917 (75) bought Burdett-Coutts and sold Christie's 4 May 1922 (48).
Marble bust by W. C. Marshall exhibited RA 1856 (1319).
'A Sketch at the Exhibition of the Royal Academy 1844', Rogers in top-hat and frock-coat quizzing the pictures, Pictorial Times, 2 June 1844 (copy in NPG).
Pencil and watercolour drawing by Wedderburn (NPG 2772(28b)).
Pencil and watercolour drawing by Charles Martin commissioned in 1844 by Illustrated London News and Pictorial Times but not included in Martin's Twelve Victorian Celebrities published 1899 (see J. M. W. Turner).
Oil by Frank Stone, 'Samuel Rogers, Mrs Norton and Mrs Phipps c.1845', see Richard Ormond, National Portrait Gallery: Early Victorian Portraits, 1973, p 545; a small oil sketch of Rogers by Stone is in a private collection Scotland.
Oil by Chester Harding in Harvard University commissioned by Edward Everett in a letter to Rogers 20 November 1846 quoted by P. W. Clayden, Rogers and His Contemporaries, 1889, II, p 289; Harding complained of the difficulties of keeping his aged sitter animated - 'once today he fell asleep while sitting' (Margaret E. White, A Sketch of Chester Harding, Artist, 1929, p 175).
Oil by Partridge, 'The Fine Arts Commissioners 1846' in NPG, see Richard Ormond, National Portrait Gallery: Early Victorian Portraits, 1973, pp 545-7; two kit-cat studies are listed in Partridge's 'Pictures in my House and Gallery in 1863' (notebook in NPG library, nos.61 and 62 both dated 1848) and were in Partridge's sale Christie's 24 June 1874 (81-2), see Richard Ormond, 'John Partridge and the Fine Arts Commissioners', Burlington Magazine, CIX, 1967, pp 397-402.
Chalk drawing by George Richmond (NPG 1044).
Miniature by T. H. Carrick at Weston Park, exhibited RA 1848 (890), 'ghostly, unsubstantial and uncoloured look' (The Athenaeum, 3 June 1848).
Bust by S. Manning 'to be executed in marble', exhibited RA 1852 (1471).
Oil by Samuel Laurence commissioned by Edward Moxon Rogers's publisher, exhibited Manchester 1857 (336), sold Hodgson 15 December 1880; a chalk drawing was owned by Fanny Kemble in 1870 (Frank Miles, Samuel Laurence, typescript in NPG).
Bust by William Behnes exhibited RA 1853 (1424).
Photograph by Edmund Paine, his personal attendant, as a very old man inscribed on reverse by Sir George Scharf: S. Rogers the poet. given me by Henry Sharpe his Nephew. October 7th 1865 (NPG library 'Distinguished Persons' album, vol.5, p 23); daguerreotype in NPG and cuts reproduced in Illustrated London News, 29 December 1855 and Art Journal, 1867, p 108.
Medallion by F. Winter exhibited RA 1877 (1410).
Oil identified by Scharf as Rogers was at Christie's 8 February 1890 (139) ascribed to Raeburn – half-length as a young man holding a paper inscribed: 'Annual Retrenchment Saving to the Public of £93,756.5.6 of ends of candles, cheeseparings etc. collected for the year 1796 and abolished'.
Oval miniature in marble, artist unknown, offered to the NPG and declined in 1934.
Volume of drawings by Thomas Stothard, sold by the Cambridge Union Society at Sotheby's 24 November 1977 (4) contained a small pen and ink drawing of Rogers, profile to left.
This extended catalogue entry is from the out-of-print National Portrait Gallery collection catalogue: Richard Walker, Regency Portraits, National Portrait Gallery, 1985, 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.