Mid-Georgian Portraits Catalogue
Dominic Serres (1722-1793), Marine painter
- Gallery portraits
- All known portraits
- Biography and References
1772
Painting by Johann Zoffany, The Academicians of the Royal Academy, see NPG 1437.
1778
Drawing by Ozias Humphry, half length. Puttick & Simpson 25 May 1917, lot 150. Engraved by Mrs Dawson Turner.
1782
Painting by Gilbert Stuart, ‘in the act of fresh pointing his pencil’, exhibited RA 1782 (164); see A. Russett, Dominic Series, 2001, p 146.
1788
Miniature by Philip Jean, see NPG 1909.
Painting by William Beechey, exhibited RA 1788 (429).
c.1790
Painting called ‘circle of Thomas Hickey’, small whole length seated by a rocky coast. Sotheby’s, 31 October 1990, lot 280, and Sotheby’s, Sussex, 20 May 1991, lot 264 (illus. A. Russett, Dominic Series, 2001, p 147).
1792
Drawings by Paul Sandby, see under NPG 650a (and Doubtful Portraits below).
1793
Drawing by George Dance, profile bust, dated 11 March 1793. Royal Academy. Engraved W. Daniell (A Collection of Portraits sketched from the Life since the Year 1973 by George Dance Esqr. R.A. and engraved in imitation of the Original Drawings by William Daniell, A.R.A., 1814, no.118); a tracing by Daniell in the Yale Center for British Art (B1977.14.4190).
A drawing for a projected monument to Serres, including a small oval bust-length portrait 1794 (Town and Country Mag.; illus. A. Russett, Dominic Series, 2001, p 219).
Doubtful Portraits
The wash drawing by Paul Sandby dated 1792, with a cartouche by Dominic’s daughter, Joanna Serres, sold Sotheby’s, 4 July 2001, lot 173, as Serres, must show his son Dominic (fl.1778-1804).
A painting said to be of Serres belonged to Col. M. H. Grant in 1948.
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.
Painting by Johann Zoffany, The Academicians of the Royal Academy, see NPG 1437.
1778
Drawing by Ozias Humphry, half length. Puttick & Simpson 25 May 1917, lot 150. Engraved by Mrs Dawson Turner.
1782
Painting by Gilbert Stuart, ‘in the act of fresh pointing his pencil’, exhibited RA 1782 (164); see A. Russett, Dominic Series, 2001, p 146.
1788
Miniature by Philip Jean, see NPG 1909.
Painting by William Beechey, exhibited RA 1788 (429).
c.1790
Painting called ‘circle of Thomas Hickey’, small whole length seated by a rocky coast. Sotheby’s, 31 October 1990, lot 280, and Sotheby’s, Sussex, 20 May 1991, lot 264 (illus. A. Russett, Dominic Series, 2001, p 147).
1792
Drawings by Paul Sandby, see under NPG 650a (and Doubtful Portraits below).
1793
Drawing by George Dance, profile bust, dated 11 March 1793. Royal Academy. Engraved W. Daniell (A Collection of Portraits sketched from the Life since the Year 1973 by George Dance Esqr. R.A. and engraved in imitation of the Original Drawings by William Daniell, A.R.A., 1814, no.118); a tracing by Daniell in the Yale Center for British Art (B1977.14.4190).
A drawing for a projected monument to Serres, including a small oval bust-length portrait 1794 (Town and Country Mag.; illus. A. Russett, Dominic Series, 2001, p 219).
Doubtful Portraits
The wash drawing by Paul Sandby dated 1792, with a cartouche by Dominic’s daughter, Joanna Serres, sold Sotheby’s, 4 July 2001, lot 173, as Serres, must show his son Dominic (fl.1778-1804).
A painting said to be of Serres belonged to Col. M. H. Grant in 1948.
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.