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Regency Portraits Catalogue

Sir Walter Scott, 1st Bt (1771-1832), Novelist and poet

The portraiture of Scott is a controversial subject for a Sassenach to attempt and the following list is intended as a skeleton iconography supplementing earlier treatment by J. G. Lockhart, Life of Sir Walter Scott, 1903 edition, X, pp 232-40; by Sir William Stirling-Maxwell and others in Centenary Exhibition Catalogue, Edinburgh, 1871 containing 230 items and many illustrations; by F. G. Kitton, 'Some Portraits of Sir Walter Scott' in The Magazine of Art, November 1895, vol XIX, 1896, pp 1-8); by Sir James Caw, Stanley Cursiter and others in the Centenary Exhibition Catalogue, Edinburgh, 1932 containing 291 items, and by a review of this by Dame Una Pope-Hennessy in The Quarterly Review, July 1932, pp 76-94; by D. S. Meldrum, 'Scott in Portraiture' in Sir Walter Scott Quarterly, II, 1927; and by Kingsley Adams (unpublished) in the NPG archive. Probably the definitive work on the Scott iconography is Francis Russell's 600-page typescript deposited with the Scottish NPG and I acknowledge Mr Russell's unstinted help with pleasure. I am also glad to acknowledge help from Miss Helen Smailes of the Scottish NPG.

Miniature perhaps by Abraham Daniel of Bath in Scottish NPG (L41) known as the Bath Miniature (Centenary Exhibition Catalogue, Edinburgh, 1871, no.46); copies exist, one by W. S. Watson at Abbotsford.

Miniature by an unknown artist, at Abbotsford, head and shoulders as an officer of the Royal Edinburgh Light Dragoons, given by Scott to Miss Carpenter shortly before their marriage.

Oil by Saxon in Scottish NPG (628), three-quarter-length seated holding his dog Camp, painted for Mrs Scott and engraved by Heath for The Lady of the Lake (Centenary Exhibition Catalogue, Edinburgh, 1871, no.48 and reproduced Carola Oman, The Wizard of the North, 1973, p 96); Saxon's oil portrait of Mrs Scott is also at Abbotsford.

Pencil profile by Henning in Paisley Art Gallery, given by Scott to Matthew Hartstonge in 1811 and sold by Miss B. Hartstonge-Weld at Christie's 16 April 1980 (128); a variant in an album of 12 Henning drawings in Pierre Jeannerat collection is reproduced in John Malden's John Henning, 1977 where the date 1806/7 is fixed from a letter to Lord Minto; plaster medallions issued in 1808 are based on a composite of the two; a Wedgwood variant was issued in 1813 (Robin Reilly & George Savage, Wedgwood: the Portrait Medallions, 1973, 300).

Oil by Raeburn at Bowhill (Duke of Buccleuch), whole-length seated with Camp at his feet, was painted for Constable (Journal of Sir Walter Scott, ed. W. E. K. Anderson, 1972, p 252, J. G. Lockhart, Life of Sir Walter Scott, X, p 233 and Centenary Exhibition Catalogue, Edinburgh, 1871, no.49); a variant of 1809 with a greyhound added is at Abbotsford (reproduced Carola Oman, The Wizard of the North, 1973, p 182).

Miniature by Robertson at Dalchonzie.

Miniature by Kay etched for Kay's Portraits, 1843, II, 462.

Two watercolour drawings by Nicholson in Scottish NPG (1099 & 1188) exhibited Edinburgh 1871 (50-1); a variant is at Abbotsford.

Drawing by Robert Scott-Moncrieff in private collection, half-length seated in Parliament House, Edinburgh (exhibited Edinburgh 1932, no.230).

Oil by Wilkie, 'Scott and his family with Sir Adam Ferguson' in Scottish NPG (Centenary Exhibition Catalogue, Edinburgh, 1871, no.76 and Carola Oman, The Wizard of the North, 1973, p 15).

Portrait by S. Drummond exhibited RA 1817 (4), location unknown.

Oils by Phillips first recorded in Phillips's Sitter Book (copy in NPG library) under December 1818 together with portraits of Southey, Crabbe and Campbell, all kit-cats painted for John Murray. The sitting probably took place as early as 1815 when Scott was in London, though Phillips was a visitor to Abbotsford himself (J. G. Lockhart, Life of Sir Walter Scott, X, p 234) and may have painted it there in 1818. (1) Murray's version was engraved by Fry, 1 November 1820 for Percy's Anecdotes, XI and in a small mezzotint by S. W. Reynolds 1822, then exhibited British Institution 1846 (3) and Edinburgh 1871 (33); it was sold shortly afterwards, later in the Coolidge collection, Boston, Mass. and re-appeared at the John Mitchell Gallery, Old Bond Street in 1960. (2) Phillips's Sitter Book records a copy made 4 August 1821, probably for Lord Whitworth and now at Knole (Centenary Exhibition Catalogue, Edinburgh, 1932, no.28). (3) A third version belonged to the Duke of Newcastle (Clumber Catalogue, 1923, no.162, there listed as 'painted in 1813' but not recorded in Sitter Book); it was in the Clumber sale Christie's 4 June 1937 (73) and re-appeared with Charles Sawyer in 1938 (Book Catalogue, June 1940, no.158 and plate 2), perhaps that acquired by City of Edinburgh Art Collection in 1960. (4) A late copy now in the Huntley House Museum, Edinburgh, was probably painted for Lord Polworth, Mertoun House, and sold Dowells 28-30 March 1912 (34), reproduced John Chisholm, Sir Walter Scott as Judge, 1918, frontispiece (see D. S. Meldrum, 'Scott in Portraiture' in Sir Walter Scott Quarterly, II, 1927, p 84). The Phillips type shows Scott seated in tartan plaid and open collar, holding a hat, 'giving a theatrical air to what would otherwise be a very graceful representation.' (J. G. Lockhart, Life of Sir Walter Scott, X, p 234).

Oil sketch by Geddes in Scottish NPG (572), probably a study for 'The Discovery of the Regalia' exhibited 1821; a chalk drawing in Scottish NPG (95) is dated 1823 and engraved by Lewis 1824 (reproduced Carola Oman, The Wizard of the North, 1973, p 241).

Black chalk drawing by Alexander Chisholm in Walsall Museum and Art Gallery (GR.20), half-length seated caressing his deerhound, possibly a concoction deriving from C. R. Leslie.

Oil by Lawrence in Royal Collection (Windsor Castle) begun in 1820 for George IV and finished 1826, exhibited RA 1827 (146) and Queen's Pictures 1977 (36), reproduced in colour in Elizabeth Bowen's English Novelists, 1942. 'The unrivalled portrait' (J. G. Lockhart, Life of Sir Walter Scott, VI, p 183 and X, p 234; Kenneth Garlick, ‘Catalogue of Paintings, Drawings and Pastels of Sir Thomas Lawrence’ in Walpole Society Journal, XXXIX, 1964, p 173, Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, 913 and plate 220).

Oil by Watson (later Sir John Watson Gordon) in Agnew collection (1932 no.24), ? now Scottish NPG (1249), half-length seated in dark coat, light waistcoat, holding a Highland terrier, signed and dated John Watson Pinxt. Edin. 1820 (exhibited Edinburgh 1871 no.54 where letters to Lady Abercorn are quoted); variants and copies noted under Centenary Exhibition Catalogue, Edinburgh, 1871, no.65 are in Scottish NPG, City of Edinburgh Art Gallery, Manchester City Art Gallery, Keir Collection, etc.

Busts by Chantrey at Abbotsford and elsewhere, see NPG 993.

Chalk drawing by Joseph Slater in Scottish NPG (1097) engraved by Sievier 1821.

Oil sketches by Wilkie for 'HM King George IV entering Holyrood Palace 15 August 1822' Scottish NPG and private collections, Christie's Glasgow 10 December 1981 (6); the finished picture is in Holyrood Palace. An oil by Wilkie in the Faculty of Advocates, Edinburgh, half-length seated as Historian or Bard in fur-trimmed robe holding a book, was painted in 1824 and exhibited 1871 no.56.

Oil by Raeburn in Scottish NPG (1286), in in green coat, buff waistcoat, gold chain (NACF Report 1935, p 40, no.962). Several variants exist and the type was engraved by W. Walker 1826 (Centenary Exhibition Catalogue, Edinburgh, 1871, no.59 reproduced Carola Oman, The Wizard of the North, 1973, p 289).

Medal by Wyon after Chantrey, exhibited RA 1823 (1000).

Marble bust by Scoular exhibited RA 1823 (1090).

Miniature by W. Stewart Watson lent together with its companion of Lady Scott to 1932 exhibition by Mr Isaac F. Bayley.

Drawing by J. Partridge known from a stipple vignette by Thomson published 8 February 1823.

Oils by Landseer (NPG 391, 2811 and others).

Oil sketch on wood by C. R. Leslie at Dalmeny (Earl of Rosebery), exhibited Edinburgh 1871, pp 91-2, presumably a study for the oil painted for George Ticknor in 1824 and now in the Museum of Fine Art, Boston (G. S. Hillard, Life of Ticknor, 1876, I, p 389); a version of the sketch or the same was in Wynn Ellis sale Christie's 6 May 1876 (20) and again in John Heugh sale Christie's 10 May 1878 (209), and another, probably Constable's, sold Sotheby's 11 October 1967 (76). A line engraving (of the sketch) by Danforth was published by Longman 1829 and a mezzotint by G. H. Phillips in 1864 'from the original Picture by Mr Leslie formerly in the possession of Mr Constable of Edinburgh, now in the collection of Alaric A Watts Esq.'

Marble bust by Samuel Joseph dated 1824, made for Mr Burn Callendar and still at Preston Hall, exhibited RSA 1825 (14), Edinburgh 1871 (4) and 1932 (73).

Oil by G. S. Newton at 50 Albemarle Street (John Murray) painted for Mr Murray in 1824, three-quarter-length seated in green coat, buff waistcoat and trousers, 'the best domestic portrait ever done' (J. G. Lockhart, Life of Sir Walter Scott, X, p 235 and Centenary Exhibition Catalogue, Edinburgh, 1871, no.58); versions are at Abbotsford and V&A Museum (Journal of Sir Walter Scott, ed. W. E. K. Anderson, 1972, 7 January 1826); a miniature copy believed to have belonged to Mrs Lockhart was sold New York 19-24 November 1934 (714); a chalk drawing of a different type, profile to left, is Scottish NPG (1241).

Drawing by Maclise in British Museum, head and shoulders profile to left lettered: SIR WALTER SCOTT BART/Sketched from the Life at Mr Bolster's/Cork 9th Augst 1825/by Danl McClise (see R. Ormond, Daniel Maclise, NPG, 1972, p 21). Another version is in V&A Museum and several slighter drawings exist. Maclise probably used it for his whole-length caricature in Fraser's Magazine, November 1830, p 412.

Oil by W. Stewart Watson, group with his family and friends painted from miniatures and exhibited Edinburgh 1871 (77); a comparable group by G. Harvey was at Sotheby's (Gleneagles) 28 August 1979 (489).

Miniature (or drawing) by F. Read exhibited SBA 1825 (454).

Pencil drawing (concocted caricature) by Travalioni, dated Rome 1825, was in an album sold Christie's (Rome) 12 November 1974 (122); a variant and probably the original in Scottish NPG is signed and dated Michelangelo Gaetani, 1 May 1832; (Scott was not in Rome until 1832).

Oil by Allan, probably the original of the many Allan portraits of Scott, was with the Fine Art Society, Edinburgh, in 1982, see NPG 321.

Oil by J. P. Knight (then a student) at Abbotsford, painted for Daniel Terry, exhibited RA 1826 (563) and engraved by Ryall for Lodge's Portraits, 1834. Scott records it in his Journal, 7 January 1826 where he describes Maida's dislike of artists, and Knight's letter about it to Sir William Stirling Maxwell is quoted in Centenary Exhibition Catalogue, Edinburgh, 1871, p 199 (Carola Oman, The Wizard of the North, 1973, p 302 and referred to disparagingly by J. G. Lockhart, Life of Sir Walter Scott, X, p 235). A variant with another man and hound was at Christie's 29 January 1982 (75).

Watercolour drawing by Madame de Mirbel in Wallace Collection (P764) recorded in Journal of Sir Walter Scott, ed. W. E. K. Anderson, 1972, 3-6 November 1826 (Carola Oman, The Wizard of the North, 1973, p 314).

Intaglio by Weigall with impressions exhibited RA 1826 (933) and 1828 (1092).

Oil by Northcote lent by Sir James Baird to Edinburgh 1932 (4), half-length sitting to the artist, Northcote to right with easel, palette and brushes, painted in 1828 for Sir William Knighton (Journal of Sir Walter Scott, ed. W. E. K. Anderson, 1972, 8-12 May 1828); a copy by J. Cawse was at Christie's 8 November 1890 (74) and 22 May 1953 (119) (Carola Oman, The Wizard of the North, 1973, p 334); unfinished version, probably original, in Royal Albert Museum Exeter, exhibited Kenwood 1965 (34); Northcote MS Register lists two pictures in 1828, one with a dog added.

Oil by Colvin Smith at Blair-Adam, head and shoulders in black coat and dark blue bow-tie. Smith painted about 20 copies and variants for which Scott gave him 7 sittings; the artist's studio version is Scottish NPG (1031), exhibited Edinburgh 1872 (62) with full description (Scott's Journal, 28 January 1828 and R. C. M. Colvin-Smith, Colvin Smith, 1939, pp 19-23).

Marble bust by Chantrey made for Peel, see NPG 993.

Marble bust by Tate exhibited SBA 1828 (880); a bronze cast is in a private collection, New York.

Statue by Greenshields, SIC SEDEBAT, in Society of Advocates, Edinburgh, with models at Abbotsford, Powderham Castle, City of Edinburgh Art Gallery and Scottish NPG (J. G. Lockhart, Life of Sir Walter Scott, IX, pp 280-8 and Centenary Exhibition Catalogue, Edinburgh, 1871, p 8); a version is in Glasgow.

Pencil drawing by Mark Napier on fly-leaf of Welsh's Life of Professor Thomas Brown in the National Library, Edinburgh, half-length profile as Clerk of the Court, reproduced Centenary Exhibition Catalogue, Edinburgh, 1932 frontispiece.

Oil by Gilbert in Royal Society, Edinburgh (see NPG 240).

Pencil and watercolour drawing by the Rev John Thomson in Scottish NPG (1678), see Carola Oman, The Wizard of the North, 1973, p 322.

Silhouette by Edouart (NPG 1638).

Oil by James Hall in Scottish NPG (103), whole-length in walking clothes, signed and dated 31 March 1838 but originating from sketches made in 1830-1 (Centenary Exhibition Catalogue, Edinburgh, 1871, p 15, no.71); among 3 drawings in Scottish NPG is a small sketch with colour notes and '12th August 1830 at Abbotsford'.

Caricature by Maclise in Fraser's Magazine, November 1830.

Oil by R. M. Hodgetts known from a scarce mezzotint undated but probably c.1830 and possibly inspired by the Dunecht portrait by Watson Gordon engraved by Horsburgh as frontispiece to vol.33 of The Works, 1831; no sitting is recorded. An impression of the mezzotint, exhibited Edinburgh 1871 (198), was published by Martin Colnaghi & William Swinton, Edinburgh (no date); a variant with Abbotsford and the Tweed in background was published by Robert Gunn, 7 North Bank Street, Edinburgh (no date).

Drawing by Brockedon (NPG 2515(30)).

Sepia wash drawing by Crombie in Scottish NPG (123), whole-length with walking-stick and top-hat published as a coloured lithograph in Crombie's Modern Athenians, 1831, frontispiece.

Oil by Sir Francis Grant in Scottish NPG (103), whole-length writing Count Robert of Paris with two deerhounds beside him, painted for Lady Ruthven in 1831 (Journal of Sir Walter Scott, ed. W. E. K. Anderson, 1972, 27 March 1830 and exhibited Edinburgh 1871 (68). A small rather sketchy variant was in Pierpont Morgan sale at Christie's 31 March 1944 (123) bought Agnew, and another at Christie's 2 February 1951 (62) attributed to Landseer; another is in City of Edinburgh Art Gallery (HH 313a/1967). A head and shoulders version of very good quality is at Bowhill. The whole-length type was engraved in mezzotint by Thomas Hodgetts and published Colnaghi, 1 January 1836 (example in Scottish NPG).

Chalk drawing attributed to Haydon exhibited Edinburgh 1932 (63) and sold Christie's November 1974 (111) (Scott's Journal and Haydon's Diary, 5 May 1828, and Carola Oman, The Wizard of the North, 1973, p 334).

Bust by Lawrence Macdonald modelled from the life while Scott was dictating Count Robert to Laidlaw (Journal of Sir Walter Scott, ed. W. E. K. Anderson, 1972, 12 January 1831 and Notes & Queries, 4 April 1868, p 325).

Oil by Graham Gilbert (?Lindsay) at Sotheby's 15 January 1958 (73); a mezzotint of this by T. Lupton, published McCormick 6 June 1833, is clearly lettered: Graham Lindsay pinxit but no artist of this name is known; one impression is lettered in pencil 'from the last portrait for which he sat in the United Kingdom'. Half-length seated in legal robe holding a paper inscribed in reverse: In Dei nomine Amen.

Pencil drawing for a miniature by Vincenzo Morani at Abbotsford, done in Rome 1832 (Carola Oman, The Wizard of the North, 1973, p 350).

Bust by Thorwaidsen in Copenhagen, modelled in Rome 1832 (Carola Oman, The Wizard of the North, 1973, p 351).

Drawings by Michelangelo Gaetani in Scottish NPG, drawn in Rome May 1832 and exhibited Edinburgh 1932 no.44 (J. G. Lockhart, Life of Sir Walter Scott, pp 159-61, Carola Oman, The Wizard of the North, 1973, p 353).

Oil by R. G. Baird, whole-length equestrian in Scottish NPG (1367) and half-length in private collection exhibited 1932 (22).

Sketch by H. E. Dawe exhibited SBA 1838 (142).

Ink and watercolour drawing by Henry Duguid in Scottish NPG (2295).

Oil by W. Eatwell in Graves Art Gallery, Sheffield.

Oil by James Howe in Scottish NPG (1365), whole-length with deerhound, his ? son and horse in background; copies exist.

Pencil drawing by J. E. Lauder in Scottish NPG.

Silhouette by Miers in Francis Wellesley's One Hundred Silhouette Portraits, 1912, plate 48.

Silhouette by William Simpson taken from the shadow on a wall at Abbotsford, Scottish NPG (1192) and exhibited 1932 (68).

Pencil drawing by Stroehling in Scottish NPG (140c).

Oil attributed to Wilkie but possibly by Allan in Shakespeare Memorial Theatre, Stratford-upon-Avon (Carola Oman, The Wizard of the North, 1973, p 332 and Scott's Journal, 8 April 1828).

Plaster death-mask (replica) in Scottish NPG and bronze cast by Steell at Abbotsford (Centenary Exhibition Catalogue, Edinburgh, 1871, pp 167-8).

The Scott monument in Prince's Street, Edinburgh, was designed by George Kemp with a statue by Sir John Steell, completed 15 August 1846 (Centenary Exhibition Catalogue, Edinburgh, 1871, pp 5-6). Other designs, including one by David Roberts, are in National Gallery of Scotland, Department of Prints and Drawings. Marble bust by Francis is at Madame Tussaud's.

'Scott and his Friends' by Faed is Scottish NPG no.825 (Centenary Exhibition Catalogue, Edinburgh, 1871 (78) and pp 95-6); a sketch is in City of Edinburgh Art Gallery.

'The Meeting of Byron and Scott at 50 Albemarle Street' described by Lockhart was reconstructed as a watercolour drawing by L. Werner and is in the John Murray collection.

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.