Regency Portraits Catalogue
Joseph Nollekens (1737-1823), Sculptor
Oil possibly by James Barry in Paul Mellon Collection, three-quarter-length standing modelling the maquette of his Faun; this was formerly attributed to Mary Moser but its present ascription to Barry was suggested by Kenworthy-Brown in 'Joseph Nollekens: the Years in Rome – II’ in Country Life, 14 June 1979, pp 1930-1.
Oil by Rigaud in Paul Mellon Collection, half-length leaning on a bust of Laurence Sterne; this was formerly attributed to Dance (J. T. Smith, Nollekens and his Times, I, p 8), then to Opie (Ada Earland, John Opie and his Circle, 1911, p 296) but its present attribution to Rigaud was convincingly demonstrated by William L. Pressly in Connoisseur, CXCVII, February 1978, pp 111-15. The bust of Sterne is discussed in John Kerslake, National Portrait Gallery: Early Georgian Portraits, 1978, pp 265-7.
Oil by Zoffany in Royal Collection, 'Academicians at the Royal Academy' (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, 1969, 1210).
Line and stipple engraving, profile to right with modelling tools and female bust, published by J. Sewell in The European Magazine, 1 July 1788.
Oil self-portrait (or by Abbott) in City of Bristol Museum and Art Gallery, oval head and shoulders with allegorical figures.
Drawing by Charles Grignion in Huntington Library, head and shoulders profile to left.
Wax group by Percy in Museum of London, 'The Tavern', a satirical tableau with Dr Johnson holding forth to Reynolds, Gainsborough, Topham, Beauclerk, Boswell, Fox, Warton and Nollekens, reproduced in Connoisseur, CIII, April 1939, p 206.
Oil by Singleton, 'The Royal Academicians in General Assembly', engraved by Bestland 1802.
Oil by Abbott (NPG 30).
Satirical watercolour drawing by Rowlandson, 'Nollekens and his Venus' signed and dated 1805, Sotheby's (Dyson Perrins sale) 24 February 1960 (7) bought Rosenberg.
Pencil and watercolour drawing by Edridge in British Museum (Laurence Binyon, Catalogue of Drawings by British Artists … in the British Museum, II, p 117), head and shoulders noted by Farington, Diary, 11 January 1807.
Pencil drawing by Dance in RA library, head and shoulders profile to left signed and dated: Geo. Dance/Feby 17th 1810, the sitting mentioned in Farington's Diary, 11 February; a soft-ground etching in reverse was made by W. Daniell but not published in Eminent Characters.
Watercolour miniature by Smart exhibited RA 1810 (645).
Oil by Beechey in Tate Gallery (120), exhibited RA 1812 (102) and mezzotint by Turner published 24 December 1814 (Alfred Whitman, Charles Turner, 1907, 405) and engraved later by Holl, Cooper and Taylor. A copy is in the High Museum of Art, Atlanta, Georgia.
Unfinished oil by Harlow in private collection, formerly Baroness Burdett-Coutts and lent by her to Exhibition of the Royal House of Guelph, New Gallery, 1891 (192) and Old Masters, RA, 1893 (1), small three-quarter-length holding hammer and chisel against a block of marble, black tail-coat, grey waistcoat.
Bust by Goblet exhibited RA 1816 (945); another exhibited RA 1822 (1041) is probably that in V&A Museum incised: JOSEPH NOLLEKINS Esqr R.A./Aged 84.; Goblet was Nollekens's principal assistant and present at his deathbed.
Pencil drawing by Jackson in British Museum, half-length with elbow on table (Laurence Binyon, Catalogue of Drawings by British Artists … in the British Museum, III, p 4), possibly that exhibited RA 1816 (709), engraved in stipple by Bond for Smith's Nollekens and his Times, 1828 frontispiece.
Busts by Chantrey commissioned in 1817 by the Duke of Bedford and in 1818 by Watson Taylor, the latter unpaid for and kept by Chantrey himself (Sir Francis Chantrey’s Ledgers of Accounts, p 63); busts were exhibited RA 1817 (1038) and 1818 (1073), copies dated 1818 at Woburn (reproduced Whinney, Sculpture in Britain 1530-1830, 1964, plate 190B) and British Museum 1818-20 with toga.
Oil by Lonsdale (NPG 360).
Stipple engraving by Murray after Stephanoff, 'Trial of Queen Caroline 1820' published by Bowyer 1823.
Oil attributed to Beechey in Fitzwilliam Museum, Cambridge (23), head and shoulders with sparse grey hair as a very old man. This has been attributed to Northcote but there is a strong likelihood that it may be the subject of Beechey's letter to Nollekens 16 September 1822 and the payment of £100 in February 1823 (W. Roberts, Sir William Beechey R.A., 1907, pp 122, 255).
Caricature by Chalon, signed and dated 1844, in V&A Museum (E144-1948).
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.