Later Stuart Portraits Catalogue
Samuel Clarke (1675-1729), Metaphysician
- Gallery portraits
- All known portraits
- Biography and References
1719
Bust by Jame Verhyck, see NPG 4838.
c.1720
Unattributed painting, see NPG 266.
Painting by Charles Jervas, three-quarter-length in gown and bands seated at table, his left hand on an open book; on the shelves a bust of Newton and works of Bacon, Boyle’s Lectures and Newton’s Opticks. Untraced. A copy in the Royal Collection with a long inscription composed by Dr Hoadly (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.501). G. Vertue, Notebooks, Wal. Soc., XX, 1932, p 74) recorded a portrait of Clarke by Jervas belonging to Lady Lechmere from which copies were made for the Queen and ‘Madm Clayton’ [Charlotte, Lady Sundon?]. A version in the Bodleian Library (Mrs R. L. Poole, Catalogue of Portraits in the possession of the University, Colleges, City and County of Oxford, I, p 93, no.231; Catalogue of Portraits in the Bodleian Library by Mrs R. L. Poole completely revised and expanded by K. Garlick, 2004, p 72).
Painting by Thomas Gibson, three-quarter-length standing in a library, with wig, wearing black gown and broad bands, left hand on a closed upright book, right hand gesturing. Formerly St James, Piccadilly, destroyed 1939-40 (and since replaced by a copy). G. Vertue, Notebooks, Wal. Soc., XX, 1932, p 74) recorded a portrait by ‘Zeeman … now in the Vestry room St James Parish’. Exhibited Second Special Exhibition of National Portraits ( ... William and Mary to MDCCC), South Kensington, 1867, no.171. A copy painted in 1838 at Caius College, Cambridge. A version shown in a small, slight etching in H. Rodd’s Catalogue of Authentic Portraits, 1824, described, p 9, no.XXVI, as [127 x 101 cm] inscribed Samuel Clarke D.D., Rector of St James, Westminster, painted by Mrs Hoadley, for sale at 8gn., differing from the Piccadilly painting only in that the upright book has its fore-edge pointing at the spectator.
c.1725-30
Unidentified artist, engraved G. Vertue as bust-length oval in wig, gown and bands lying side by side (for Clarke’s Sermons, 1732; D. Alexander, ‘George Vertue as an Engraver’, Wal. Soc., LXX, 2008, no.603 as 1730, after Gibson).
c.1725?
Painting by Thomas Gibson, engraved as a bust-length oval in wig, gown and bands by J. Simon (J. Chaloner Smith, British Mezzotinto Portraits, 40), G. Vertue 1737 (D. Alexander, ‘George Vertue as an Engraver’, Wal. Soc., LXX, 2008, no.760), J. Houbraken c.1743-52 (from the collection of Mrs Clarke), Goldar 1786, etc., showing one band slightly overlapping the other. A related bust-length painting, with added inscription and arms, (arg. on a bend gu. betw. three pellets as many swans of the first), is in an American private collection.
1731-32
Marble bust by Giovanni Battista Guelfi, short hair, wearing gown and bands. Kensington Palace, originally in Queen Caroline’s Grotto at Richmond; see C. Giometti, Sculpture Jnl., III, 1999, pp 38-39. Engraved J. Faber II (J. Chaloner Smith, British Mezzotinto Portraits, 125, one of a set of philosophers).
A bust, perhaps related, presented to the British Museum by Dr Matthew Maty in 1760, remains untraced, see A. Dawson, Portrait Sculpture, A catalogue of the British Museum collection c.1675-1975, 1999, no.21, pp 72-74.
1733-39
Medal by Jean Dassier (Medallic Illustrations of The History of Great Britain and Ireland, British Museum, 1910, CXLIX/15; W. Eisler, The Dassiers of Geneva: Jean Dassier, 2002, p 270, no.10, illus. p 287).
c.1747
Bronzed plaster bust by John Cheere, wearing wig, gown and bands. York Art Gallery, from Kirkleatham (T. Friedman & T. Clifford, The Man at Hyde Park Corner, exhibition catalogue, Temple Newsam, Leeds, and Marble Hill, Twickenham, 1974, no.81, pl.28). Possibly derived from NPG 4838.
This extended catalogue entry is from the National Portrait Gallery collection catalogue: John Ingamells, National Portrait Gallery: Later Stuart Portraits 1685-1714, National Portrait Gallery, 2009, 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.
Bust by Jame Verhyck, see NPG 4838.
c.1720
Unattributed painting, see NPG 266.
Painting by Charles Jervas, three-quarter-length in gown and bands seated at table, his left hand on an open book; on the shelves a bust of Newton and works of Bacon, Boyle’s Lectures and Newton’s Opticks. Untraced. A copy in the Royal Collection with a long inscription composed by Dr Hoadly (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.501). G. Vertue, Notebooks, Wal. Soc., XX, 1932, p 74) recorded a portrait of Clarke by Jervas belonging to Lady Lechmere from which copies were made for the Queen and ‘Madm Clayton’ [Charlotte, Lady Sundon?]. A version in the Bodleian Library (Mrs R. L. Poole, Catalogue of Portraits in the possession of the University, Colleges, City and County of Oxford, I, p 93, no.231; Catalogue of Portraits in the Bodleian Library by Mrs R. L. Poole completely revised and expanded by K. Garlick, 2004, p 72).
Painting by Thomas Gibson, three-quarter-length standing in a library, with wig, wearing black gown and broad bands, left hand on a closed upright book, right hand gesturing. Formerly St James, Piccadilly, destroyed 1939-40 (and since replaced by a copy). G. Vertue, Notebooks, Wal. Soc., XX, 1932, p 74) recorded a portrait by ‘Zeeman … now in the Vestry room St James Parish’. Exhibited Second Special Exhibition of National Portraits ( ... William and Mary to MDCCC), South Kensington, 1867, no.171. A copy painted in 1838 at Caius College, Cambridge. A version shown in a small, slight etching in H. Rodd’s Catalogue of Authentic Portraits, 1824, described, p 9, no.XXVI, as [127 x 101 cm] inscribed Samuel Clarke D.D., Rector of St James, Westminster, painted by Mrs Hoadley, for sale at 8gn., differing from the Piccadilly painting only in that the upright book has its fore-edge pointing at the spectator.
c.1725-30
Unidentified artist, engraved G. Vertue as bust-length oval in wig, gown and bands lying side by side (for Clarke’s Sermons, 1732; D. Alexander, ‘George Vertue as an Engraver’, Wal. Soc., LXX, 2008, no.603 as 1730, after Gibson).
c.1725?
Painting by Thomas Gibson, engraved as a bust-length oval in wig, gown and bands by J. Simon (J. Chaloner Smith, British Mezzotinto Portraits, 40), G. Vertue 1737 (D. Alexander, ‘George Vertue as an Engraver’, Wal. Soc., LXX, 2008, no.760), J. Houbraken c.1743-52 (from the collection of Mrs Clarke), Goldar 1786, etc., showing one band slightly overlapping the other. A related bust-length painting, with added inscription and arms, (arg. on a bend gu. betw. three pellets as many swans of the first), is in an American private collection.
1731-32
Marble bust by Giovanni Battista Guelfi, short hair, wearing gown and bands. Kensington Palace, originally in Queen Caroline’s Grotto at Richmond; see C. Giometti, Sculpture Jnl., III, 1999, pp 38-39. Engraved J. Faber II (J. Chaloner Smith, British Mezzotinto Portraits, 125, one of a set of philosophers).
A bust, perhaps related, presented to the British Museum by Dr Matthew Maty in 1760, remains untraced, see A. Dawson, Portrait Sculpture, A catalogue of the British Museum collection c.1675-1975, 1999, no.21, pp 72-74.
1733-39
Medal by Jean Dassier (Medallic Illustrations of The History of Great Britain and Ireland, British Museum, 1910, CXLIX/15; W. Eisler, The Dassiers of Geneva: Jean Dassier, 2002, p 270, no.10, illus. p 287).
c.1747
Bronzed plaster bust by John Cheere, wearing wig, gown and bands. York Art Gallery, from Kirkleatham (T. Friedman & T. Clifford, The Man at Hyde Park Corner, exhibition catalogue, Temple Newsam, Leeds, and Marble Hill, Twickenham, 1974, no.81, pl.28). Possibly derived from NPG 4838.
This extended catalogue entry is from the National Portrait Gallery collection catalogue: John Ingamells, National Portrait Gallery: Later Stuart Portraits 1685-1714, National Portrait Gallery, 2009, 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.