- Extended catalogue entry
© National Portrait Gallery, London
Regency Portraits Catalogue
by Sir Francis Leggatt Chantrey
17 1/8 in. x 11 3/8 in. (436 mm x 289 mm)
Inscriptionback to top
Inscribed in pencil: Wm Wordsworth and below in Scharf's handwriting: (See Professor Knight's Catalogue of Portraits 1882 No XXIX) taken in 1807.
This portraitback to top
Sir Francis Chantrey’s Ledgers of Accounts (p 118) record an order of 1820 'from Sir George Beaumont Bart. for a Bust of Wordsworth the Poet/1822 To executing ditto £126'; the account was settled in 1822 for 100 guineas, unusually cheap for Chantrey at this time. The date of the sitting is fixed by a letter from Wordsworth to Coleridge, 8 July 1820: 'My last attack was a Stye (do I spell this right?) with bloodshot ... I regret very much having seen so little of you; but this infirmity and my attendance at Chantrey's for my Bust, and numerous other engagements have stood in my way' (Letters of William and Dorothy Wordsworth, ed. Ernest De Selincourt, revised by Shaver, Moorman & Hill, III, p 615 and note). The plaster model is in the Ashmolean Museum (665-153), exhibited RA 1821 (1134) and 'Sir Francis Chantrey', NPG, 1980 (13). The marble bust, signed and dated 1820, was sold from the Beaumont Estates in 1956 and is now in Indiana University. Several plaster casts were made and Edward Moxon owned a bronze cast.
Scharf's mysterious pencil inscription at the foot of the page - taken in 1807 - has not been explained unless it refers to Knight's draft entry, later altered for No.XXX in which the drawing is not mentioned. There is plenty of evidence for the sitting in 1820 and none at all for 1807 when Wordsworth would have been only 37, surely too young for Chantrey's drawing.
The marble bust was generally approved, Wordsworth ordering seven casts at four guineas each and thought of taking several dozen. Coleridge though it 'more like Wordsworth than Wordsworth was like himself' and for comments by Beaumont, Crabb Robinson, Hazlitt and Mary Wordsworth, and for the tiff with Scott about wrinkles, see B. R. Schneider, 'Wordsworth Portraits: a Biographical Catalogue' in The Eagle, St John's College Cambridge, LIV, 1950, no.237, p 122, Frances Blanshard, Portraits of Wordsworth, 1959, pp 61-4 and the entry by Alex Potts in the Chantrey Exhibition Catalogue, NPG, 1980, p 21. Frederick Thrupp described Chantrey's bust as 'too smoothly shaven and chiselled, is done in his most mannered style, without mental expression' (W. A. Knight, Life of Wordsworth, 1889, XXXIII). Modern opinion is more relaxed: 'some may think it over-prettified, over-smooth, but for me it seems just what the ideal bust in marble should be for such a subject' (David Piper, The Image of the Poet, 1982, p 124).
Chantrey's technique and working practices have been clearly described and analysed by Professor Potts in the introduction to Sir Francis Chantrey 1781-1841 Sculptor of the Great, NPG exhibition catalogue, 1981. The sittings began with drawings, profile and full-face, made with a device which traced the outlines of the head on to a sheet of paper. It was called by Chantrey himself a 'camera lucida' and was adapted from a special instrument patented by his friend William Hyde Wollaston who described it in detail:
Having a short time since amused myself with attempts to sketch various interesting views, without an adequate knowledge of the art of drawing, my mind was naturally employed in facilitating the means of transferring to paper the apparent relative positions of the objects before me; and I am in hopes that the instrument, which I contrived for this purpose, may be acceptable even to those who have attained to greater proficiency in the art, on account of the many advantages it possesses over the Camera Obscura.
(W. H. Wollaston in Nicholson's Journal, XVII, June 1807, pp 1-5 and plate 1)
Although Chantrey's device was known as a camera lucida, judging from Wollaston's illustration and Sir Henry Russell's description quoted below it was a variation from the accepted form and certainly does not tally with examples of the instrument in the Science Museum. However for the sake of convenience Chantrey's name for it has been used throughout this Catalogue.
The drawings finished, clay models were made by studio assistants and completed by Chantrey himself, usually at several informal sessions beginning with breakfast and accompanied by friends to ensure that conversation would keep the sitter animated. The clay was then transferred to plaster casts (many of which were presented to the Ashmolean Museum by Lady Chantrey in 1842) and finally to the marble bust.
The actual process, in 1822, was described vividly by one of the sitters, Sir Henry Russell (see NPG 316a(102-3)):
On the day we were to begin he appointed me to breakfast with him ... The first day, he only made a rough sketch of the face, using an instrument with a tube, through which he looked, while, with a pencil fixed on one arm of it, he traced an outline of the full size on paper ... In the construction of this instrument, Sir Francis told me he had himself made considerable improvements.
(George Jones, Sir Francis Chantrey RA: Recollections of his Life, Practice and Opinions, 1859, pp 275, 292.)
The process was also described by John Dalton in 1834 (see NPG 316a(27-30)) and by James Dunlop in 1836, recounted by C. R. Leslie:
Mr Dunlop had been sitting to Chantrey, who fixed the back of his head in a wooden machine to keep him perfectly still, and then drew with a camera lucida the profile and front face of the size of life. He afterwards gave a little light and shade to the drawings, and said, "I shall not require you to sit still after this."
(C. R. Leslie, Autobiographical Recollections, 1860, p 152.)
Among the conversationalists Chantrey employed to keep his sitters animated was George Jones, librarian and keeper of the RA and one of Chantrey's intimate friends and his executor. Jones's widow gave the collection of camera lucida drawings to the NPG, offering them in a letter of July 1870:
I was desired by my late husband George Jones RA to offer for the acceptance of the Trustees of the National Portrait Gallery - various drawings, taken with the assistance of the Camera Lucida, by the late Francis Chantrey RA - of celebrated persons & some members of the Royal Family. May I ask you to have the kindness to make this offer known in the proper quarter ... Gertrude Jones.
(MS letter in NPG archive).
The offer was accepted by the Trustees in February 1871. The collection consists of 202 drawings, on Whatman paper usually about 47 x 62 cm (18 ½ x 24 ½ in), some with simple outlines marked with guide crosses and lines, others worked up into finished portrait studies. Most are annotated with the sitters' names but about 40 have not been identified.
Referenceback to top
J. Holland, Memorials of Sir Francis Chantrey, 1851, reviewed in The Athenaeum, 1851, p 1039.
George Jones, Sir Francis Chantrey RA: Recollections of his Life, Practice and Opinions, 1859, copy annotated and presented by the author in the NPG library.
Alex Potts, Sir Francis Chantrey 1781-1841 Sculptor of the Great, catalogue of NPG exhibition 1981.
Sir Francis Chantrey’s Ledgers of Accounts 1809-23, British Library (MS. Eg. 1911).
Sir Francis Chantrey’s Ledgers of Accounts 1809-41, Royal Academy Library, to be published in a forthcoming Walpole Society volume.
Physical descriptionback to top
Profile to left.
Provenanceback to top
Sir Francis Chantrey; his executor George Jones RA and given by his widow, Gertrude Jones, 1871.
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.