Opie and his works: being a catalogue of 760 pictures by John Opie, R.A., preceded by a biographical sketch

THE LIBRARY

OF
THE UNIVERSITY

OF CALIFORNIA
LOS ANGELES

Opie and his Works.

OPIE AND HIS WORKS:

Catalogue of 760 Pictures

BY

JOHN OPIE, R.A.

PRECEDED BY

A Biographical Sketch.

BY

JOHN JOPE ROGERS, M.A.

Sometime Hon. Sec. and Treas. of the Arundel Society.

Si quid novisti rectius istis,

Candidas imperti ; si non, his utere mecum.

Horace.

LONDON : PAUL AND DOMINIC COLNAGHI AND Co.,
13 & 14, PALL MALL, EAST.

TRURO: NETHERTON AND WORTH.

1878.

TRURO :

PRINTED BY NETHERTON AND WORTH,
LEMON STREET.

Art
Library

CONTENTS.

PAGE.

PREFACE vii

TABLE OF AUTHORITIES x

SKETCH OF LIFE i

CATALOGUE OF PICTURES 65

LISTS OF EXHIBITED PICTURES 231

SUPPLEMENT 235

ADDENDA ,,.,.,,,,..,. 244

PREFACE.

THIS attempt at registering the works of the Cornish painter,
John Opie, originated in a lecture which I was invited to deliver
at the Polytechnic Hall at Falmouth in 1854, in order to illustrate
a collection of some of his more important works in Cornwall,
which were exhibited there in September of that year.

The object being rather to register than to criticize, no pains
have been spared to attain accuracy in the details, by inviting
owners of his pictures to furnish exact descriptions ; and I beg
most gratefully to acknowledge the ready kindness with which my
enquiries have been met, and information has been offered to me
by many persons unknown to me previously, whilst I cannot too
warmly thank* those personal friends who have more actively en-
couraged my efforts.

One serious disappointment has, however, occurred. It is well
known among the living relations of the Painter, that he was in
the habit of entering in a private ledger every picture which he
painted after his arrival in London in the autumn of 1781. This
ledger was used many years ago as evidence in a suit at law in
which Opie's representatives were interested. It would have been
invaluable for the purpose of this Catalogue, but I regret to say
that I have exhausted every source of information which has been

Vlll PREFACE.

suggested to me in a fruitless search for it ; nor can I find that
any list exists of the pictures which it contained.

The result is that many pictures, which the ledger would have
disclosed, are absent from this catalogue, from the mere want of
a clue to their discovery.

To Mr. Edward Opie, the great nephew of the Painter, I am
indebted for much valuable information about his life and works :
and to Mr. G. C. Boase, and Mr. W. P. Courtney, for generously
placing at my disposal the notes which they have made on the
subject in the course of their larger work, the Bibliotheca Cornu-
biensis ; whilst among my more intimate friends, I have chiefly to
thank Mr. John Davies Enys, and Mr. George Scharf, the keeper
of the National Portrait Gallery. Mr. Solomon Hart, R.A, the
librarian of the Royal Academy, has given me the benefit of his
guidance in using the treasures of their Library. Mr. Algernon
Graves, of Pall Mall, has verified several portraits which are un-
named in the Academy Catalogues. Mr. W. H. Woods has given
me access to the long series of Sale Catalogues at Messrs. Chris-
ties'. The Print-room at the British Museum, and the Portfolios
of Messrs. P. and D. Colnaghi and Co. have been carefully exam-
ined, as well as the voluminous sale catalogues of pictures in the
libraries of the British Museum and South Kensington Museum ;
and, last not least, am I indebted to two sources of unpublished
information, viz: Mr. J. H. Anderdon's illustrated collection of
catalogues of the Royal Academy, presented by him to the Print
Room of the British Museum, and the late Mr. William Smith's
manuscript catalogues of British Portraits, bequeathed by him in
1876 to the Museum at South Kensington.

It cannot, however, be expected that, even with these advan-
tages, the list of Opie's works has been exhausted ; and I venture
to plead for the indulgence which is always generously accorded
to an unprofessional attempt to supply a deficiency in any depart-
ment of knowledge, however humble it may be.

PREFACE. IX

The Biographical Sketch is little more than a summarized
arrangement of existing notices, corrected by the light of some
original documents hitherto unpublished.

The Pictures are classified thus : —

Portraits (counting each head in family groups) ... 508

Sacred subjects 22

Historical 17

Shakspeare n

Poetical and Fancy 134

Landscape 5

Supplement (mixed) 63

(besides Addenda). 760

Two only of the Portraits are miniatures on ivory, (Mr. and
Mrs. T. E. Thomas); two are crayon drawings (Lawrance and
Wolcot); the rest of the pictures are believed to be painted in oil.

I need only add that corrections of errors, and information of
pictures not recorded here, will be always gratefully accepted.

JOHN JOPE ROGERS.

Penrose,

Helston, Sept., 1878.

TABLE OF AUTHORITIES CONSULTED.

Adolphus, John, Recollections 1871

Annual Biography and Obituary, 'Wolcot' 1820

Bell, Sir Charles, Letters of 1870

Biography of Self-taught Men 1869

Boswell's Life of Johnson, by Croker 1848

Boydell, John, Pictures presented to the Corporation of London by, \

8°. tract / I794

Bromley's Catalogue of British Portraits, 2 vols. 4°.

Bryan's Dictionary of Painters 1878

Catalogues of Exhibitions of the Royal Academy, collected, illustrated
and presented by Mr. J. H. Anderdon to the British
• Museum.

Pictures at British Institution.

Winter Exhibitions of Works of Old Masters at Burlington
House.

Shakspeare Gallery, Pall Mall 1790

Sale of Aid. Boydell's Pictures 1805

Sale of the Historic Gallery, May 1807

Sale of Opie's Pictures, June 1807

Pictures of Sir J. F. Leicester, 4° 1821

Pictures exhibited at Truro, June 1861

,, ,, at Taunton 1875

British Portraits, munuscript fo., bequeathed by Wm. ) R ,
Smith, F.S.A., to South Kensington Museum in ... \ '
,, Sales at Messrs. Christie's
Chalmers' Biographical Dictionary 1812-17

TABLE OF AUTHORITIES CONSULTED. xi

Cunningham, Allan, Lives of British Painters, 12° 1838

Cunningham, G. G., Lives of Eminent Englishmen, Glasgow 1837

Dallaway's, J., Pictures exhibited at the British Institution ... 1824

Delany, Mrs., Autobiography 1861-2

English Cyclopaedia, Chas. Knight, 4° 1856

European Magazine 1787,1798

Evans' Catalogue of British Portraits.

Fuseli, Knowles', Life of 1831

General Magazine, art. 'Wolcot' 1792

Gentleman's Magazine 1788, 1807, 1819

Georgian Era 1834

Gilbert, J., Autobiography of Mrs. Gilbert 1874

Girtin, Jas., seventy-five Portraits of celebrated Painters 1817

Godwin, W., His friends and acquaintance 1876

Grinstead, T. P., Last homes of departed genius 1867

Haydon, Robt., Tom Taylor's life of 1853

,, Correspondence 1876

Hobbes, R., Picture collector's manual 1849

Holcroft, Thos., Memoirs of 1852

Kenyon, Lord, Life of 1873

Leslie, C. R., Handbook for young painters 1870

Library of Fine Arts 1832

Linwood, Miss, Gallery of Pictures in worsted, in Leicester Square ... 1817

Literary Panorama 1807

Macintosh, Sir Jas., Memoirs of 1835

Monitor, Annual, 12° 1855

Monthly Mirror 1804

More, Mrs. Hannah, Memoir of 1834

Nollekens, Smiths' Life of 1829

Northcote, Jas., R.A., Fables, 2nd series
Notes and Queries.

Opie, Amelia, Lays of the Dead 1834

,, John, R.A., Preface to lectures 1809

Paris, Dr., Guide to St. Michael's Mount... 1828

Parr, Dr. Sam., Works 1828

Penny Cyclopaedia, tit., Opie 1833-43

Pilkington's Dictionary of Painters 1852

Pindar, Peter, Works of 1794

Polwhele, Rev. R., Biographical Sketches 1831

Public Characters of 1798-9 1801

Pye, John, Patronage of British Art 1845

Redding, Cyras, Fifty Years' Recollections 1858

„ Past Celebrities 1866

Redgrave, R., Century of British Painters 1849

Reynolds, Sir Joshua, Northcote's life of 1813

,, Leslie and Taylor's life of 1865

xil TABLE OF AUTHORITIES CONSULTED.

Robinson, Crabb, Diary of 1869

Rose, Rev. H. J., Biographical Dictionary.

Sandby, W., History of Royal Academy 1862

Seguier, F. P., Works of Painters 1870

Shee, M. A., Life of Sir M. A. Shee, P.R.A 1860

Smith, J. T., Book for a Rainy Day 1861

Smith, William, F.S.A., MS. Catalogues.

Spooner, Sheerjashub, Dictionary of Painters 1803

Taylor, John, Records of my life 1832

Taylor, W., Robberds' Memoir of 1843

Thorns, W. J., Human Longevity 1873

Waagen, G. F., Works of Art hi England 1838

Walpole, Horace, Letters 1858

Wilson, M. N. W., Collection de, Paris 1873

ADDENDA.

THE following extracts from two letters written by Opie in
1786 and 1789 to his friend and pupil, Rev. John Owen, then in
India, seem to deserve insertion here. The originals are preserved
in Mr. Owen's family, but reached the author too late for use in

the Biographical Sketch : —

•

JOHN OPIE TO REV. JOHN OWEN.

( Written in the Winter of ij86. )

..."I have been to Antwerp this last summer to see Rubens'
works, and could hardly keep my patience on the water for twelve
hours. 'Twas a very pleasant journey. Mr. Bunn, and Mr. Gard-
ner, a painter, went with me. We went from Margate to Ostend,
from thence to Bruges, to Ghent, and Brussels, Antwerp, Rotter-
dam, Amsterdam and the Hague. We saw a great many pictures
of Rubens, and imitations of him without number; all the churches
in Flanders are full of them; he is almost the god of that country.
He was possessed of an amazing power of execution, and was
particularly fond of splendour and courtly magnificence, but was
not so capable of giving the philosophical dignity of character
which is seen in the best of the Italian schools. Rubens' figures

XIV ADDENDA.

neither look sensible, nor appear to be in earnest in any of their
actions. The same may be said of Vandyke ; but Michael An-
gelo's, Raphael's, and Titian's figures, tho' not dressed magnifi-
cently, always look very sensible and severely grand (if I may so
express myself), indeed that kind of grandeur and sense seem to
me to be the same thing, and if they are in action, they seem to
be totally absorbed in that action, and unconscious of any specta-
tor; but Rubens' old men look like rich old fools that you can
never have any respect for; and Vandyke's portraits always appear
as if conscious of sitting for their pictures, which is as bad as a
player's speaking a soliloquy to the audience. But this deficiency,
tho' a deficiency in the highest part of the Art, was neither felt
nor thought of at the time of seeing his pictures, we were so over-
come and entertained by the splendour and beauty of the colouring,
and the rich magnificence of the composition. We saw some fine
Rembrandt's. He was wonderfully simple in his heads ; and his
compositions singularly grand, with prodigious force and round-
ness, and his colouring sometimes exquisitely true, there was one
picture of a dead man in the Surgeon's Hall at Amsterdam, which
Sir Joshua Reynolds says is equal to Titian in colouring, and in
character to Michael Angelo."...

The rest of this letter relates to his recent engagement to
paint for BoydelPs Shakspeare, and other matters.

JOHN OPIE, R.A. TO REV. JOHN OWEN.

Dated London, Dec. 24, (if8g),

..."You will be sorry to hear that Sir Joshua is almost blind,
and has left off painting, or nearly so, he has totally lost one eye,
("so thick, a drop serene has quenched it's orb" — you see I have

ADDENDA. XV

read Milton too). Poor Painting ! It is like a Welsh Rabbit — it
has neither head nor legs now. Last year, Gainsborough died,
who was a really very great man, and for this six months Sir

Joshua has also been lost to the Art You

bother me about yellow, and about flesh colour, and about receipts
and precepts. — Lord! I am a fellow very unfit to teach; I am
trying to learn, I will tell you all as soon as I know it. — I believe
one kind of yellow is as good as another, a little more or a little
less white will make it what you want ; you must fire away boldly,
and when it is too red or yellow, put more white, and when it is
too white add more yellow or red, then dash in your blue and
green and purple, and as soon as you find you have got it to look
like something, stop, and bless God for it ! This is my way, and
all the way I know. What ? are you answered ? Do all you can
without glazing first ; then do all you can with glazing in the face,
as well as everywhere else."

The rest of this letter relates to his study for the Picture of
Timon of Athens, which he was then painting, and friendly
gossip.

Sketch of the Life of
John Opie, R.A.

Orthography of Name. — Early Talent. — Encouraged by Dr.
J. Wolcot. — Early Successes. — Penryn in 1777. — Prideaux Place.
— 'Rolling in Riches'. — Exeter. — To London, August 1781. — Is
sent for by the King, 1782. — Hands soon full of work. — Marries
Mary Bunn. — Historical Paintings. — A.R.A., 1786. — R.A., 1787.
— Second Marriage in 1798 to Amelia Alderson. — Visits Norwich.
— Paris in 1802. — C. J. Fox. — Proposes a National Gallery. — Pro-
fessor of Painting, 1805.— Lecturer, 1807. — Illness and death,
1807. — Funeral at St. Paul's. — Opinions of his works. — Quarrel
between him and Wolcot. — Proposal to decorate St. Paul's
Cathedral.

Seventy years have passed since John Opie died.
He was born at St. Agnes, near Truro, in Cornwall,
in the month of May, 1761, and died in London on
the Qth April, 1807, at the age of 46. *

* The orthography of his name has been disputed, and some writers have
alleged that he was induced to change his name from Oppy to Opie from a
notion that it sounded better, or, as others say, to please his first wife. The
truth seems to be that there are two distinct names in Cornwall, Oppy and

B

2 Life of John Opie.

Both his father and grandfather were village
carpenters, and the cottage in which the painter was
born may still be seen, unaltered, except by the
addition of a room, in a woody dell, surrounded by
orchards, at St. Agnes. His first wife, many years
afterwards, gave it the name of Harmony Cot. His
mother was descended from the ancient family of
Tonkin, one of whom, Thomas, commenced, but
never completed, a history of the county, portions of
which have been published in the form of Notes, in
Lord de Dunstanville's edition of Carew's Survey,
1811, and again in the History of Cornwall by Mr.
Davies Gilbert, 1848. No tradition, however, of
their ancestor's historical labours appears to have
been preserved in the family, or at least the painter
did not love to boast of them, because we find his
widow, Mrs. Opie, confessing that she never heard of
them until she read a sketch of her husband's life by
Mr. Prince Hoare. His mother, however, has greater
claims to our notice than merely hereditary honours
can bestow ; for by her judicious influence upon his

Opie, and that the latter is sometimes spelt Opey, without changing the sound,
as is frequently the case with other family names.

Mr. Redgrave, in his Century of English Painters, vol. I, p. 321, asserts
that the painter's name was "never Oppy, as has been said." Two deeds are
preserved at St. Agnes, dated respectively 1749 and 1752, in which the name
is spelt Opey ; and William Opey is found in a copy of Rollin, under dates
1766 and 1784, whilst there is no document in possession of the family in
which Oppy is to be found. John Opie occurs thrice in the earliest sketch
book of the painter; and Wolcot, his early patron, always spells it so. The
change from Oppy to Opie is an affectation which he would have scorned.

Early Talent. 3

early efforts, she prevented the simple carpenter
from destroying his boy's native talent in the bud.

Opie is said to have been regarded by his school-
fellows as a sort of village wonder from his early
years. He had mastered Euclid, as Allan Cunning-
ham tells us, at the age of 12, and was considered
so skilful in arithmetic and penmanship, that at that
early age he commenced an evening school for the
poor children of St. Agnes. His father, bent upon
having the advantage of his son's apprenticeship to
his trade, smiled not on these indications of mental
power, and would have him throw down the pen
and slate that he might handle the saw, and plane.
The boy's affectionate and modest character induced
him to obey, and he used to bend his hands to the
unwelcome task ; but real genius scorns to be fet-
tered, and his love of art soon drew down upon him
his father's cudgel, when he was found to have dis-
figured with his rapid chalk sketches the deal boards
which had been smoothly planed for use. The love
of art came upon him early. At 10 years old he
began to draw and paint; and it is related of him
that seeing an elder school-fellow drawing a butter-
fly, he exclaimed, " I think I can draw a butterfly
as well as Mark Gates," took his pencil, tried, and
succeeded, and ran home with his drawing to his
mother. Encouraged by this success, he now lost
no opportunity of studying such pictures and prints

4 Life of John Opie.

as chance might throw in his way, out of mere love
of art, and without any intention as yet of pursuing
it professionally, for he continued to ply his father's
trade. One day, at Mithian, he saw a picture of a
farm yard in a house where they were at work as
carpenters ; struck with admiration at the perform-
ance, he looked and looked again and could not
drag himself away from it ; his father was angry at
this, and rebuked him for his idleness and forward-
ness, but the lady of the house very kindly indulged
him with another view of the picture, which so com-
pletely impressed the subject upon his memory that
he made a very tolerable copy of it upon canvas
when he returned home. Rising by these early
steps, he soon attempted to draw from life, and
gradually hung his humble dwelling round with por-
traits of friends and relatives, and in the end his
father abandoned in despair all the hopes he had
entertained of making his boy a finished carpenter.
He was perhaps reconciled to this . decision by the
success with which the boy had surrepticiously
painted his father's portrait. It was not to be ex-
pected that the carpenter would consent to be a
sitter, and thus encourage a fancy which he feared
would ruin his son. Accordingly the young artist
hit upon a plan which Mrs. Opie thus describes as
told her by her sister-in-law.*

* Mrs. Opie's preface to her husband's lectures, ifccx), page 13.

His Father's Portrait. 5

" One Sunday afternoon, while his mother was at
"church, Mr. Opie, then a boy of ten or eleven
" years old, fixed his materials for painting in a little
"kitchen, directly opposite the parlour where his
" father sat reading the Bible. He went on drawing
" till he had finished everything but the head, and
" when he came to that, he frequently ran into the
" parlour to look up in his father's face. He re-
" peated this extraordinary interruption so often that
" the old man became quite angry, and threatened to
" correct him severely if he did the like again. This
"was exactly what the young artist wanted. He
" wished to paint his father's eyes when lighted up
"and sparkling with indignation, and having ob-
" tained his end, he quietly resumed his task. He
" had completed his picture before his mother's re-
" turn from church, and on her entering the house
" he set it before her. She knew it instantly, but
" ever true to her principles, she was very angry
" with him for having painted on a Sunday, thereby
" profaning the Sabbath-day. The child, however,
" was so elated by his success, that he disregarded
" her remonstrance, and hanging fondly round her
" neck, he was alive only to the pleasure she had
"given him by owning the strength of the resem-
" blance. At this moment his father entered the
"room, and recognising his .own portrait immedi-
" ately, highly approved his son's amusement during

6 Life of John O/>ic.

11 the afternoon, (parental pride conquering habitual
" piety awhile) and exhibited the picture with ever
" new satisfaction to all who came to the house,
" while the story of his anger at interruptions so
" happily excused and accounted for, added interest
" to his narrative, and gratified still more the pride
" of the artist."

Accident soon brought him under the notice of
that well known satirist, Dr. Wolcot, better known
beyond the Tamar by his assumed title, Peter Pin-
dar, then resident at Truro. This circumstance is
perhaps the most important in the painter's early life,
for Wolcot's taste in drawing, and his knowledge
and judgment in matters of art generally were of
the greatest possible use to our young artist, whilst
his keen discrimination of character in others, en-
abled him to see at once that the protege was
destined to do honour to the patron.

John Wolcot, son of Alexander Wolcot, of an
old Devon family, was born at Dodbroke, near
Kingsbridge, in the year 1738, baptised May 9, in
that year, and died in London, January 14, 1819, at
the age of 82. He was only eleven years old when
his father died. Educated first by a Mr. Morris,
at Kingsbridge, and then by Revd. Mr. Fisher, at
Bodmin, he went thence to live with his uncle, John
Wolcot, who was a surgeon, resident at Fowey, and
was soon sent by him to France for twelve months,

His Patron Wolcot. 7

that he might acquire the language. Returning
to Fowey, he became his uncle's apprentice. He
showed an early taste for the fine arts, was fond
of music, drew and sketched well, and composed
sonnets, some of which are still preserved, though
unpublished. At the end of his apprenticeship he
went to London in 1762, to study medicine, lodging
with his uncle, Mr. Thomas Giddy, of Penzance,
until 1764, when he returned to Fowey. His uncle
John now desired that he should succeed him in
his profession, and with this view young Wolcot
obtained his Diploma as M.D., at Aberdeen, Sep-
tember 8, 1767. Shortly afterwards Sir William
Trelawny, who was distantly connected with Wolcot
by marriage, received the appointment of Governor
of Jamaica, and, wishing to do his relative a good
turn, invited the newly made doctor to accompany
him as physician to the household. The Governor
left England with Dr. Wolcot and the rest of his
suite, August 7th, 1768, and touching at Madeira on
the voyage, reached Jamaica at the end of October
in that year. A prospect of a vacancy in the valu-
able living of St. Anne's, Jamaica, soon occurring in
consequence of the serious illness of the incumbent,
it was suggested to the Doctor that if he would pro-
ceed to England, and be admitted to Holy Orders,
the Governor would nominate him to the living at
the proper time. The versatile Doctor was not slow

8 Life of John Opie.

at taking the hint, seized an early opportunity of
leaving the island, and availing himself of the lax
discipline of the time, was admitted to Holy Orders
as a Deacon, by Terrick, Bishop of London, on the
24th of June, 1769, and on the day following was
ordained a Priest by the same prelate, signed his
Declaration of Conformity, and received his license
as a Priest in Jamaica. This is smart work; so
smart, indeed, that the facts have been called in
question: they are, however, simply true as stated
here, on the authority of the Doctor's own nephew,
Mr. Charles Collins Giddy, who possessed the docu-
ments referred to, and embodied them in a written
sketch of Wolcot's life, the substance of which is
given in some detail in the Annual Biography and
Obituary for the year 1820, vol. IV, article, Dr.
Wolcot

It was not until the end of March, 1770, that
Wolcot left England once more for Jamaica, and on
his arrival there he learnt that the sick incumbent
had recovered, and the prospect of a vacancy at St.
Anne's had vanished ; he therefore consoled himself
by reverting to his lay profession, and on the 2ist of
May, was made Physician General to the Horse and
Foot Militia in the Island. In 1772, Sir William
Trelawny, the governor, died, but before his death
he had appointed Wolcot to the small living of Vere.
It does not appear that he ever performed any part

Dr. Wolcot's History. 9

of the duty of the parish, but keeping a curate, he
soon found the stipend too small to live upon, and
obtained from the new Governor, John Bailing
leave of absence for twelve months, dated February
2oth, 1773. He soon left Jamaica for England, and
finding his Uncle John had died in his absence,
he established himself at Truro, in preference to
Fowey, as a Physician, abandoning at once the living
of Vere, and discarding thenceforth, his clerical robes
and title. His ready wit and skill soon obtained
for him a respectable practice, until his lampoons
offended some of his fellow townsmen, and he left
his residence on the quay at Truro, for Helston, in
November 1779, practising there and at Falmouth
for the next two years. His house at Helston was
in Coinage Hall Street, on the south side, now no
longer to be seen, as a new house has been built
upon its site. In 1781 he left Cornwall, and bade
adieu to physic and divinity, residing thenceforth in
London, and supporting himself by his writings, until
his death in 1819.

Those who are more curious to know more of
the character of Dr. Wolcot, and of his writings,
are referred to an article in Blackwood's Magazine
for July, 1868, which does full justice to both; and
to the 1 7th chapter of the second volume of John
Taylor's ' Records of my life', which gives some per-
sonal anecdotes of him not to be found elsewhere,

io Life of John Opie.

and corrects the very few errors respecting him,
which are contained in the Annual Biography of
1820, already quoted. Taylor was one of Wolcot's
most intimate friends from 1785 until his death in
1819.

During Wolcot's residence in Jamaica an inci-
dent occurred which indirectly affected Opie, and
must not therefore be omitted. On the 2ist of
April 1 769, William Glanville Boscawen, Lieutenant
R. N., a son of Admiral Boscawen, was accidently
drowned in a pond at the residence of Sir Charles
Price, in Jamaica. Wolcot was moved to write an
elegy on his death, which was published in the
Annual Register for 1779. Mrs. Boscawen, the
Admiral's widow, saw the lines, and sought out their
author, writing him a beautiful letter dated Audley
Street, 2ist April, 1781, and addressed to him at
Helston, thanking him with a mother's full heart for
his reference to her son's promise of distinction and
his untimely end. This seems to have led to Wol-
cot's acquaintance with her, and her subsequent
patronage of Opie, by introducing him at Court.

It must have been about the year 1775, that
Opie first fell under the notice of Dr. Wolcot. The
Doctor had then been practising about two years in
Truro, and it may be interesting to describe this im-
portant step in the young painter's life in the words
of Wolcot himself, who gave the following account

Wolcot Discovers Him. 1 1

of his first acquaintance with Opie, at the particular
desire of the compiler of the sketch of Wolcot's life,
to which reference • has already been made,* and
which appears from the preface to have been de-
rived from the very best sources of information :

" Being on a visit to a relation in Cornwall,"
observed he, " I saw either the drawing or print of
" a farm-yard in the parlour, and after looking at it
" slightly, remarked that it was a busy scene, but ill
" executed.

" This point was immediately contested by a she
"cousin, who observed that it was greatly admired
" by many, and particularly by John Opie, a lad of
"great genius.

" Having learned the place of the artist's abode,
" I instantly sallied forth, and found him at the
"bottom of a saw-pit cutting wood, etc." — then, in
answer to Wolcot's enquiry if he could paint, — " a
" specimen," (he continues) " was immediately shown
" me, which was rude, incorrect, and incomplete.
" But when I learned that he was such an enthusiast
" in his art, that he got up by 3 o'clock of a sum-
" mer's morning to draw with chalk and charcoal, I
" instantly conceived that he must possess all that
" zeal necessary for obtaining eminence. A gleam
" of hope then darted through my bosom, and I felt
" it possible to raise the price of his labours from

* Annual Biography and Obituary for 1820, vol. IV, title, Wolcot.

1 2 Life of John Opie.

" eight-pence or a shilling to a guinea a day. Actu •
" ated by this motive, I instantly presented him with
"pencils, colours, and canvas, to which I added a
" few instructions."

The Doctor then proceeds to state that Opie had
the run of his house during the last three or four
years that he remained in Cornwall.

After two or three month's absence from his pa-
tron, he returned to Truro with specimens of further
progress, when the Doctor bade him boldly demand
a half guinea for a head, to which the modest youth
replied that he was afraid that so great a sum was
superior to his merits, and, moreover, that he really
believed the county could not afford it. The Doctor,
however, persisted ; and a half guinea was the future
stipulation between painter and sitter. " At length I
" proposed to him," Wolcot adds, " to go to Exeter,
" and then to London, and having lost an income of
" £3°° °r y^4°° by the change of scene, entered into
" a written engagement, by which it was agreed that
" we should share the joint profits in equal divisions.
" We actually did so for a year, but at the end of
" that time my pupil told me I might return to the
" country, as he could now do for himself. Notwith-
" standing this provocation, I got Opie introduced
"to Mrs. Bos' — (Mrs. Boscawen, already mentioned)
"who introduced him to Mrs. Delany, who intro-
duced him to the King." (page 291).

Exeter and London. 13

There seems to be no manner of reason for
doubting the substantial accuracy of this account,
because Cyrus Redding says that he knew Wolcot
personally, and relates his first discovery of Opie
as given to him by Wolcot himself in language
differing from, but wholly consistent with, that of
the narrative just cited,""" and he specially declares
that Opie was always treated by Wolcot as a gen-
tleman, and as a parlour guest from the very first,
" for" he says, " though unpolished, Opie exhibited
" no coarse vulgarity." These two statements with
respect. to the position which our young artist occu-
pied in his patron's house, coming as they do through
independent channels from the same source, will be
considered to dispose of the groundless suggestion
which has sometimes been made that Opie was first
employed by the Doctor in a menial capacity.

The farm-yard picture is that referred to in
Polwhele's Biographical S ketches t as having been
copied by Opie. It was then at the house of the
Doctor's relative, Mr. Benjamin Nankivell of Mithian,
in St. Agnes, and has been carefully preserved in the
family, and is now at Tresillian House. Opie's copy
has unfortunately been lost sight of. Polwhele states
that the latter was bought by Mrs. Walker, mother

* Cyrus Redding, fifty years Recollections, literary and personal, 3 vols.
8°., 1858, Vol. I. 270.

t Vol. II, p. 115.

14 Life of John Opie,

of the vicar of St. Winnow, but the attempts to trace
it further have been unsuccessful.

At the time of his introduction to Dr. Wolcot,
Opie must have been about 15 years of age, and the
commissions which he obtained through his patron's
influence were so numerous and so valuable that he
soon began to support himself by his painting alone.
Meanwhile his mother became anxious about his
protracted absence from home, and was beginning to
picture to herself the ruin of her boy amidst the
gaieties of a town life in Truro, when he surprised
her by returning from Padstow with 20 guineas in
his pocket, and presenting them to her in the fulness
of his joy, announced that in future he would main-
tain himself.

The dutiful affection for his mother which this
first offering denotes, continued unabated throughout
his life, and he seems to have felt an especial
pleasure in recording her acts of tender kindness to
him, the encouragement which she gave to his first
attempts in painting, and the sterling worth and
integrity of her character. She had the gratification
of living to enjoy the echo of his well earned fame,
for she died in 1805 at the advanced age of 92.

Mr. Sandby* speaks thus of his early works,

* History of the Royal Academy of Arts, by William Sandby, 2 vols.
80., 1862. The words are borrowed from Prince Hoare : Preface to Opie's
lectures.

Early Portraits. 15

" The first efforts of his pencil, though devoid of
" that grace which can only be derived from an inti-
" mate knowledge of art, were true to nature, and
" in a style far superior to anything generally pro-
" duced by country artists. He painted at that time
" with smaller pencils, and finished more highly than
" he afterwards did, when his hand had obtained a
" broader and more masterly execution, but several
"of his early portraits would not have disgraced
" even the high name he afterwards attained." Vol.
" I, page 196."

To this period belong the early portrait of him-
self, now at Penrose, and those of J. Knill 1777,
Samuel Borlase 1778, Dolly Pentreath, Richard
Polwhele, with those of members of the Cornish
families of Price, Penwarne, Prideaux, Rashleigh,
Rawlings, Vivian, which will be found in their places
in the Catalogue.

It would have been interesting, but it has been
found impossible, to trace the pictures which Wolcot
was able to shew to the young painter as models for
his study. Wolcot himself is silent on the subject.

G. G. Cunningham/" in the course of a very
careful and original sketch of Opie, after stating with
more circumstance than is to be found elsewhere his
first interview with Wolcot, and the gift of brushes
and colours, etc., proceeds, " these trifling favours

* Lives of Eminent Englishmen, 8°., Glasgow, 1837, vol. viii, page 137.

1 6 Life of John Opie.

" were soon followed by others of a more important
" nature. In addition to some practical instructions
" in his art, he received both bed and board, and
" was accommodated with the use of productions of
" a superior class of artists, for the purpose of imita-
" tion, while his own sketches were carefully cor-
" rected by the hand of friendship." Elsewhere the
same writer speaks of Wolcot as painting, "as an
" amateur, with considerable success, as to effect ;"
and this statement is strengthened by a note of the
late Dr. E. F. Rimbault in allusion to the subject.
" Wolcot was the friend and pupil of Wilson, the
" eminent landscape painter, whose style he used to
" imitate not unsuccessfully. I have seen many of
" his works, both in oils and water colours."*

Thus assisted, and encouraged, as Prince Hoare
relates, by his Uncle John Tonkin, who playfully
gave him the name of "Little Sir Isaac" in com-
pliment to his fondness for mathematics, his fame
found its way through the county, and he visited the
neighbouring towns, with letters of introduction to
the principal families resident in and near them.

Towards the end of 1777, when 16 years of age,
he took to Penryn a portrait of himself, which he
had painted for the then Viscount Bateman, who was
probably at Pendennis Castle with the Herefordshire

* Notes and Queries, second series, vol. vii, page 381. See Six pic-
turesque views from paintings by Peter Pindar, engraved by Alken, London,
fo. 1797.

The Fancy Dress. 17

Militia, which he commanded, and was an early
patron of Opie's, employing him to paint pictures of
old men and beggars, which he treated with sur-
prising force, and truth of representation.*

At Prideaux Place, in addition to the twenty
guineas which he earned by his pencil, he was in-
vited to choose, on leaving the house, some me-
mento of his visit, and without hesitation, asked for
a discarded suit of the gentlemen's dress of the day,
which he thought might serve its turn for a fancy
portrait, and accordingly he was presented with the
handsome skirted coat, lace ruffles, and silk stock-
ings, in which he is sometimes ludicrously repre-
sented as having appeared on his return to his
mother from Padstow. It is more reasonable to
suppose that he desired them to dress a sitter in,
than that he should risk being mobbed on the road
by trudging home in them, t

Mr. Ouvry's portrait of Opie represents him in
just such a dress, with a slouched hat, and broad
lace collar; John Penwarne is similarly dressed. The
dates assigned to these two portraits are 1778-81,
when Opie's possession of the dress was recent. Pos-
sibly other instances of its use may be discovered.

* Prince Hoare, Preface to Opie's Lectures, 1809.

t It was on his return home from this visit to Prideaux Place that the
story is told that on his mother asking him what success he had met with in his
absence, he answered her by throwing his guineas on the floor, and at the same
time, falling on them, cried out, "Mother, I am rolling in riches!"

C

1 8 Life of John Opie.

The visit to Exeter on his way to London may
be traced in several portraits of Devon worthies to
be found in the Catalogue, whose names need not
be repeated here.

Having thus by his industry, perseverance, and
devotion to his art, succeeded in establishing a local
reputation of no mean order, Wolcot judiciously con-
sidered that the time had come when his pupil might
try his fortune in the metropolis. It was, therefore,
in the autumn of 1781 that they reached London
together.

Mr. C. R. Leslie thus refers to the event, under
date of August 30, 1781: "It was now that Opie
came to London, to astonish the fashionable world
as a self-taught genius. He was immediately intro-
duced to Sir Joshua (Reynolds), who was the first
to tell Northcote of the ' Cornish boy' Northcote
had lately returned from Italy."

"Ah!" said Reynolds, "you may go back now,
" you have no chance here. There is such a young
" man come out of Cornwall ! "

" Good ! Sir Joshua, what is he like ? "

" Like ? like Caravaggio, but finer."

" I was ready to sink into the earth," said North-
cote, " when he told the story."*

But Northcote, though his rival, was a generous

* Memoirs of Sir Joshua Reynolds, by James Northcote, R.A. 40.,
1813, p. 285.

Introduced to Reynolds. 19

and admiring friend, and his remarks on Opie's rapid
success from the fever of admiration which he soon
excited by his talents, and on the capricious deser-
tion of his studio which followed, after his reputation
was established, will be read with interest in his
life of Reynolds, together with a valuable sketch of
his character written by Northcote immediately after
Opie's death.

The following letter of Dr. Wolcot's, indorsed,
"On Sir Joshua Reynolds; sent to Colborn, Book-
seller," was found in a collection of published and
unpublished remains of Dr. Wolcot, which was sold
at Puttick and Simpson's, May lyth, 1877. The
letter is undated, as Wolcot's usually were, and is
apparently a school-boy's copy, corrected by Wolcot
himself. The pictures mentioned are two of those
which Opie afterwards took to the King, and were
probably kept by Wolcot as specimens. This would
fix the date of the letter as in the spring of 1782.
The Jew is now at Enys, and the Beggar was prob-
ably that exhibited at the Royal Academy, with four
others in that year.

" I have again called on Reynolds with a pair of
"John Opie's pictures, the portrait of a Jew, and a
" Cornish beggar, on which he expressed surprize at
" performances by a boy in a country village con-
" taining excellencies that would not disgrace the
" pencil of Caravaggio. Opie's knowledge of chiaro

2O Life of John Opie.

" scuro without having ever seen a picture of the
" dark masters, drew from his eye a sort of wonder.
"It strikes me that Reynolds expects Opie to be as
" perfect in the delineation of the graces as in the
" heads of vulgar nature, and in consequence become
" a formidable rival. But here I am sorry to say he
"will be fortunately mistaken; Opie, I fear, is too
" fond of imitating coarse expression. . . . To him
" at present elegance appears affectation, and the
" forms of Raphael unnatural. He too much re-
" sembles a country farmer, who never having tasted
" anything beyond rough cyder, cannot feel the fla-
" vour of burgundy or champagne."

Mr. Leslie says, " Sir Joshua, always kind to
" young painters, and the arbiter whose judgment
" was sought on the essays of every aspirant in the
" arts, had been one of the first to appreciate Opie's
"vigorous ability."* Reynolds was now President
of the Royal Academy; he did not spoil Opie by
his flattery, and Opie had sense enough to profit by
his criticisms and advice.

And now the Spring of 1782 ushers in a new
era in his life. He was still residing with Wolcot in
Orange Court, Leicester Fields, when by the influ-
ence of Mrs. Boscawen, the origin of which has
already been explained, he was employed to paint
the well-known portrait of Mrs. Delany for the King.

* Life of Reynolds, vol. ii, p. 366.

Mrs. Delany s Portrait. 21

It is scarcely necessary to say here that Mrs. Delany
was a great favourite at Court, and the portrait gave
such satisfaction that it was hung in the King's bed-
chamber at Windsor, and remained there until it was
removed after his death to the gallery at Hampton
Court, where it may now be seen. Horace Walpole
speaks thus of it.*

" There is a new genius, one Opy, a Cornish lad
" of nineteen, who has taught himself to colour in a
" strong, bold, masterly style by studying nature,
" and painting from beggars and poor children. He
" has done a head of Mrs. Delany for the King, —
" oui vraiment, it is pronounced like Rembrandt;
" but, as I told her, it does not look older than she
" is, but older than she does." Lady Bute, wife of
the then Prime Minister, desired Opie to make a
similar portrait for her: and Horace Walpole, who
had a great regard for Mrs. Delany and admired
her talents, designed an appropriate frame for Lady
Bute's portrait of her, which is referred to more fully
in the Catalogue.

The success of this portrait led immediately to
the next important step in the painter's life, viz., his
personal introduction to the King, which is thus
described by Wolcot in a characteristic letter, the
original of which has been fortunately preserved;

* Letter No. 2117 in vol. 8 of Cunningham's Edition of Horace Wai-
pole's letters, 1858.

22 Life of John Opie.

it is undated, as his letters usually were, but was
written about March nth, 1782,* to his relative,
Mr. John James, at Rosenvale, St. Agnes, near
Truro.

" I have at length got Jan intro-

" duced to the King and Queen. — The night before
" he went, I was employed in teaching him how to

" make King and Queen bows

" As he was carrying his pictures into a room of
" the Palace, Jan was followed by the Queen, who
" treated him with great kindness, so much indeed
" that he is now turned Quixote, and is ready to
" fight up to his knees in blood for her Majesty.
" The King came in after, with a skip ; (not a very
" proper pace I think for Majesty) West was with
" him, — I mean West the famous painter, a mon-
" strous favourite of George's — George asked Jan a
" number of questions, which (from Jan's history of
" himself after his return) he answered with a St.
" Agnes intrepidity. The pictures were placed in
" order, and the British Monarch applauded the
" artist. The Queen turned up the whites of her
" eyes, marvelling, the little Princes lisped praises,
" and Jan, to be sure, was in an ecstacy. He re-
" mained nearly an hour and a half with 'em, and

* This date is fixed approximately by a letter of Opie written to his
mother from Orange Court, Leicester Fields, dated March nth, 1782, de-
scribing his visit to the King as if it had quite recently occurred : the letter is
printed in full in Polwhele's Biographical Sketches, II, 121.

The King sends for Him. 23

" then took his leave. The pictures he carried were
" AN OLD JEW, A BEGGAR AND HIS DOG, THE OLD
" KNEEBONE OF HELSTONE, and MAT. TREVENEN.
" The beggar and his dog the King kept, as well as
" the portrait of a lady which Jan painted expressly
" for him. West was ordered to give Jan the money
" and to say that he (George the Third) wished him
" every success. On Wednesday the boy paints the
" Duke and Duchess of Gloster, and I suppose the
" children. He waited on them a few days since
" and was graciously received by their Royal High-
" nesses. He is now painting the most beautiful
" women of the Court, Lady Salisbury, Lady Char-
" lotte Talbot, Lady Harcourt, etc. You can't think
" what repute the fellow is come into. I told you
" above that I got him introduced ; indeed I did, for
" by recommending him to Mrs. Boscawen's patron-
" age, she made it a point to oblige me, and imme-
" diately introduced him to Lord and Lady Bute,
" the Honorable Mr. and Mrs. Walsingham, Lord
" and Lady Edgcumbe, Mrs. Delany, a chief fa-
" vourite of their Majesties, etc., etc., who showing
" her picture done by him, to the King, he was
" immediately sent for. Now he is established, it
" will be his own fault if he does not make his
" fortune."

The accuracy of the Doctor's narrative will ap-
pear from the following letter of Opie himself to

24 Life of John Opie.

two of his most intimate friends, whose family had
assisted his early efforts, and who remained his firm
and attached friends through life. The " ecstacy"
finds vent in a passage of pure Cornish vernacular.
The 'old lady' was Mrs. Delany, whose fame had
scarcely reached the ears of Opie at that date.

J. Opie to John and Edward Penwarne, undated,
but written in 1782, about March nth.

My dear Friends,

I must ask you ten thousand pardons for neglecting to
write you all this while. I shall never forget the obligations I am
under to Mr. Penwarne and his family.

I think I am fixed here for the winter; however, whether I
will or no, and the only thing I regret is that I cannot see you
sometimes; I wish, indeed, I expected to see one of you here
before now.

I have been exceedingly lucky since I have been here, I have
all the quality at my lodgings every day, nothing but Lords,
Ladies, Dukes, Duchesses, etc. I was introduced to Sir Josh,
who said many handsome things of me both to my face and be-
hind my back.

But — Loard — I've 'a zee'd the King and the Queen, and was
with them at the Queen's House and taalked wi' mun two hours
and painted vor mun the picture of an old lady and a blind
beggar and dog. I am not yet paid for 'em.

West was there at the same time. After the King went out,
West asked me the price of the pictures, and said the King wished
to be considered as a private gentleman. I had a great mind to

ask if the King paid ///;// as a private gentleman

Can I be of any service to you ? Any commands that you may
have I will gladly execute. If you want anything that I can get
for you, be so good as to mention and it shall be done. I hope

His Popularity. 25

to have the pleasure of hearing from you soon. Please to give
my best respects to Miss Lawrence and Miss Penwarne and Mr.
Penwarne, and shall be glad to hear that they are well.

Gentlemen,

I am most sincerely

Yours'

Please to direct me at J. OPIE.

Mr. Riccard's, Orange Court, Castle Street,
Leicester Fields,

London.

Thus patronized by Royalty, he sent no less than
five pictures to the Royal Academy this year, and
it is somewhat remarkable that there was not one
known portrait among them. The subjects were,
'AN OLD MAN'S HEAD,' 'A COUNTRY BOY AND GIRL,'
'BoY AND DOG,' 'AN OLD WOMAN,' and 'A BEGGAR.'
They were all probably executed before Opie came
to London, but this must remain in doubt, because
it is not known where any of them are now to be
found. Better success has attended a search for the
four pictures which were taken to the King, and
they will be found in their place in the Catalogue.
From this time until the year of his death, with the
exception of the years 1791 and 1793, his prolific
pencil contributed 143 pictures to the Academy,
giving the high average of six pictures annually.

He soon became the theme of fashionable con-
versation, and a perfect fever of admiration seized
upon society, for he not only astonished connoisseurs
by the force and originality of his manner in paint-

26 Life of John Opie.

ing, but surprized them equally by his vigour of
thought, and the facility with which he parried the
sallies of invidious wits who tried to ridicule his
uncouth appearance. Opie was indeed no ordinary
man. He had pride enough to keep him above the
contempt of more refined companions, discrimina-
tion enough to make him feel where his defects lay,
and courage enough to determine him to conquer
them. We cannot too much admire his conduct at
this period of his life. He was sought after by such
crowds of admirers as would have turned a weaker
head. He used himself to speak of his own terrific
popularity as dangerous and deceitful, but he never
lost sight of his calm and steady purpose of making
himself more worthy of it. This popularity, how-
ever, was destined to be of short duration. In less
than twelve months the novelty had ceased, and the
capricious public had almost forgotten him. Some
attribute this change to his artless method of putting
his subjects on the canvas ; others of his want of
success in representing female beauty ; perhaps it
was rather that he represented with too literal a
degree of truth. A truly satisfactory portrait should
shew a certain refinement and elevation of the sub-
ject. This was what Opie's want of imagination,
and the stern sense of truth which he inherited from
his mother, did not allow him to achieve, and his
portraits ceased to give satisfaction to the public.

His first Marriage. 27

He was not however, to be overcome by such a
reverse of fortune. He generously used the gains
he had already gotten in providing his mother with
additional comforts at her distant home, and pru-
dently disposed of the remainder, whilst he diligently
employed the time now left upon his hands in culti-
vating his mind and perfecting himself in his art;
the first by mixing in the society of men of learning
and of talent, and by the study of the best authors
in our language ; the latter by practising composi-
tion from rustic subjects and from history.

The excellent heads of old men, chiefly taken
from the humblest rank of life, belonged to this
period, and are remarkable generally for careful
finish, harmony of tone, and rich chiaro scuro ; often
reminding one of Rembrandt's power in this last
quality. Those who would know more of his simple
mode of life at this time, of his steady perseverance,
and assiduity, are referred to Allan Cunningham's
life of Opie, and to the preface to his lectures, both
by Mrs. Opie and Mr. Prince Hoare.

He had not lived a whole year in London, when
he was fascinated by the pretty face of Mary Bunn.
She was one of the daughters of Mr. Benjamin Bunn
of St. Botolph's, Aldgate, in the city of London, a
man who had been successful, it is said, in his busi-
ness of a solicitor and money-lender, and became a
Deputy of Portsoken Ward and a member of the

28 Life of John Opu.

Loriners' company. Of the courtship and marriage
very little is known, except that he was attracted by
personal charms, and found misery concealed be-
neath them. They were married at St. Martin's in
the fields, the parish of his first residence, on the 4th
of December 1782.* It was an illsorted match, and
Allan Cunningham says of it, 'His wife, a childless
and giddy woman, soon put his charity to extreme
proof, and he was compelled to sue for a divorce.'
This, however, was not until they had lived together
more than twelve years, when in May 1795 she
eloped with a Mr. John Edwards, and Opie obtained
a decree of divorce from her in Easter Term 1 796.

Many years afterwards he was able to refer to this
passage in his life thus humorously, " I heard a good
anecdote to-day of Opie and Godwin," says John
Adolphus,t " Opie was divorced from his first wife,
and Godwin was an infidel. They were walking to-
gether near St. Martin's Church — ' Ha!' said Opie,
'I was married at that Church' — 'Indeed,' said God-
win, 'and I was christened in it.' — 'It is not a good
shop,' replied Opie, 'for their work does not last.'"
The same anecdote is given in other words by
Amelia Opie in her preface to his lectures, page 41,
though she does not mention Godwin's name.

It is pleasant to turn from this, the only sad pas-

* From the Parish register.

t Recollections of John Adolphus, 8vo. 1871, page 246.

Historical Paintings. 29

sage in his whole life, and that one in which he
was apparently blameless, and to observe how with
redoubled zeal he devoted himself to his studies,
how he perfected himself in French, acquired some
knowledge of Latin, learned, as Mrs. Opie says,
almost by heart, the works of Milton, Shakspeare,
Dryden, Pope, Gray, Cowper, Butler, Burke, and
Samuel Johnson, gained for himself a place in the
most cultivated society of the day, and at the same
time laboured most diligently in his profession.

It was in the year 1786 that an opportunity was
given to all British Artists to improve the quality of
Historical painting. In that year the opulent and
munificent Alderman Boydell conceived his plan of
encouraging native talent, and increasing the taste
for engravings of a higher class, by publishing his
famous edition of Shakspeare. As West was his-
torical painter to the King, so every other acade-
mician became painter to Boydell. He invited the
the best artists in England to paint subjects from
the plays of the immortal bard. These, when com-
pleted, were exhibited in a building erected for the
purpose in Pall Mall, and long known as the Shaks-
peare Gallery, afterwards for many years occupied
by the British Institution, but since pulled down to
be replaced by a larger suite of rooms still devoted
to Art. The Shakspeare Gallery was opened in
1 789, and Opie contributed five pictures, to which a

30 Life of John Opie.

sixth was afterwards added. All were engraved, and
their composition justifies the fresh fame which they
brought to the neglected painter. The praiseworthy
efforts of Boydell, however, brought no gain to
himself. He stated afterwards that he had spent
.£300,000 in all about his gallery, pictures, and en-
gravings. As a commercial adventure it was a
failure, and the Alderman subsequently obtained an
Act of Parliament enabling him to sell all by public
lottery. Twenty-two thousand tickets were sold at
three guineas each. Mr. Tassie of Leicester Square
was the fortunate winner of the gallery of paintings
together with the interest in the premises. These
were valued in ,£30,000, and the paintings were sold
for him at Christie's, on Friday May 17, 1805, for
jC 1 0,2 3 7. A copy of the Sale Catalogue may be
seen at the Soane Museum, in Lincoln's-Inn Fields :
and a priced reprint of it is given by Mr. Pye.*

Those of Opie's pictures in the Shakspeare Gal-
lery which were most admired at the time were, that
from Winter's Tale, Prince Arthur a prisoner, (King
John) Arthur supplicating Hubert, from the same
play, and Juliet in the garden. But his historical
painting of the Assassination of King James I of
Scotland, which was exhibited at the Royal Acad-
emy in 1 786, and was presented by Alderman Boy-

* John Pye's Patronage of Art, 8vo., 1845, see a'so Notes and Queries,
2nd Series, viii. 97. 457, ix. 52.

R.A. in 1787. 31

dell to the Corporation of London, was deservedly
considered at the time, and must always be ranked
as one of his best achievements. It was followed by
his Death of Rizzio in 1787, a work which some
have preferred for vigour of composition ; but it is
unnecessary here to compare their merits, as they
can be seen by any one at Guildhall, the former in
the Common Council Chamber, the latter in one of
the Committee Rooms. These two important his-
torical works were most probably painted before he
commenced the Shakspeare series, and so entirely
established the painter's reputation, that he was ad-
mitted an associate of the Royal Academy in 1 786,
and in the following year as an Academician. His
diploma-picture, an inferior work, entitled Age and
Innocence, was deposited in 1786.

The fourteen years which followed his admission
to the Academy were busily occupied, for he not
only kept up his full average of portraits, but also
contributed eighteen large Historical, Poetical, and
Sacred subjects to three separate publications of the
day, viz: three which were engraved for Macklin's
Poets,'" four for Macklin's Bible,t and eleven for
Bowyer's Hume's History of England.!

* Macklin's British Poets, London 1788-9, oblong folio. Opie's pictures
were engraved by Bartolozzi.

t Macklin's Bible, London 1790-93, oblong folio.

% Robert Bowyer's Hume, 10 vols. folio, and I vol. of Plates, London,
1806.

32 Life of John Opie.

Only a few of these were exhibited at the Royal
Academy, (see Catalogue). Of this group the most
popular pictures were Jephthah's Vow, and the Pre-
sentation in the Temple. " None of these works,"
says Mr. Sandby, "affect ideal beauty or refined
" poetical composition, but they are stamped by en-
" ergy of style, and a perfect purity of colour, an
"harmonious tone, and exact effects of light and
"shade. In his portraits their truth and reality
" abundantly compensate for the absence of the more
"refined characteristics of elegance and taste." *

It was in the year 1798, when he was at the age
of 36 that the happiest event of his whole life oc-
curred. He had wooed in his own ardent and in-
domitable way a woman who was destined to exalt
his capacity for fame, whilst she gladdened his quiet
home by the riches of her cultivated mind. This
woman was Amelia Alderson. She was the only
child of James Alderson, M. D., of Norwich, and
was born there on the i2th of November, 1769.
The distinguished Judge, Mr. Baron Alderson, was
her first cousin. The first time Mr. Opie saw his
future wife, was at an evening party, at the house of
one of her early friends. Opie had already arrived,
and Miss Alderson was rather eagerly expected by
some of the guests assembled. Arriving at length
she entered, bright and smiling, her hair hanging in

* Sandby's History of the Royal Academy, vol. I, page 199.

His second Marriage. 33

rich waving tresses over her shoulders : her face was
kindling with pleasure at the sight of her old friends,
and her whole appearance was animated and glow-
ing. As she entered, Opie, who was sitting on a
sofa in conversation, eagerly asked his companion
"who is that? who is that?" and hastily rising, he
pressed forward, to be introduced to the fair object
whose sudden appearance had so impressed him.
He was evidently charmed at first sight, and as she
herself afterwards declared, "almost from my first
arrival Mr. Opie became my avowed lover." We
have no further record, says her Biographer,* re-
porting how he fared in his courtship, but it seems
that though she gave him no encouragement at first,
he was persevering, knew his own mind, and per-
suaded her at length that he had read her heart also.
So she returned to Norwich to think of the future,
and prepare for it. This was in the Autumn of
1797.

An ardent love letter was preserved, which told
how eagerly he was awaiting her arrival in London,
where it was finally arranged that she should go,
accompanied by her father, to the house of a friend,
and be married from thence. The letter concludes :

I am puzzled, dearest, to know whether you expect to hear
from me to-morrow. If I think of anything particular, I'll write :
else not. To love thee much better than I did, is I think, impos-

* Memorials of Amelia Opie, by Cecilia L. Brightwell, 8vo. 1854, page 64.

D

34 Life of John Opie.

sible ; but my heart springs forward at . the thought of thy near
approach. God bless thee ever, my dearest love, and guard thee
up safe to thy fond, anxious, devoted, — J. O.

They were married at Marylebone Church on
the 8th of May, 1798, making a home of the resi-
dence at 8, Berners Street, to which he had moved
in 1791, and there remaining until his death.

In the memoir prefixed to her husband's lec-
tures Mrs. Opie speaks with touching naivete and
feeling of the earlier years of their married life :
how they were obliged to study -economy and self-
denial, which his simple tastes and habits made an
easy task. His love of his profession continued to
be the guiding impulse of his life, and his unremit-
ting industry in the pursuit of it drew from Mr.
Northcote the well-known remark that " while other
artists painted to live, Opie lived to paint." He
was incessantly engaged in his painting room during
the hours of daylight, and no society, however plea"
sant, could long detain him from it*

Mrs. Opie further tells us how her husband en-
joyed the hours of leizure which he allowed himself
in the intervals of his work ; how in society which
suited his tastes he could parry the sallies of wit in
others without offending them ; how, though seldom
consenting to accompany her to the theatre, he
entered fully into the spirit of the performance, en-

* Memorials of Amelia Opie.

Joke on Wolcot. 35

joying especially a musical treat, playing the flute
himself not unskilfully, and sometimes even indulg-
ing her by the repetition of some comic song which
had struck his fancy, possessing as he did no incon-
siderable power of mimicry."""

Once, indeed, he indulged his humour so far as
to be guilty of a practical joke.

This was at the expense of his friend and patron
Dr. Wolcot, who had commenced his literary career
in London by his series of " Lyric Odes to the
Royal Academicians," 1782-1786.

It will be remembered that these odes gave great
offence to many Artists, whose works fell under the
poet's lash. It was not, however, until the year
1795 that, Wolcot having from mere curiosity at-
tended a meeting of " Friends of the People " at
Copenhagen House, Saint Pancras, Opie, who was
now himself an academician, persuaded Ozias Hum-
phrey, a brother academician, to join him in this
practical joke. Humphrey dressed himself in a
slouched hat and coat, and placed himself in the
street opposite to Wolcot's house. Opie called, as
if in a hurry, warned the Doctor of his danger
of being arrested, as Pitt, who was then Prime
Minister, was busy in preventing such meetings,
etc., etc., and pointing to the figure of the dis-
guised Humphrey as a suspicious character, appa-

* Mrs. Opie's Preface to his Lectures. 4°. 1809, pp. 34, 5.

36 Life of John Opie.

rently watching for him, persuaded Wolcot to escape
by the back window. This he did, and actually hid
himself at Windsor for two whole weeks, while Opie
and Humphrey made great fun of it with the
painters whom Wolcot had offended by his lam-
poons.*

It was not until after marriage that Mrs. Opie
became known as an authoress. She had, how-
ever, already amused herself occasionally by writing,
and desired to improve the talent she possessed.
Her husband's encouragement was the one thing
needed, and from that time she determined to exert
her powers, and prepare to appear in public. Ac-
cordingly her first acknowledged literary work was
" Father and Daughter," in 1801, a moral tale which
was received with much warmth of approval. This
is not the place for a full notice of Mrs. Opie's
works, a complete list of which was given in
Knight's Cyclopedia, 1856, accompanied by a Bio-
graphical Sketch, and her life and writings are given
in fuller detail by her Biographer and friend, Miss
Brightwell, to whom reference has been made. One
other book of Mrs. Opie's need alone be mentioned,
because it is referred to in a letter of her husband's,
which is preserved in Mr. Anderdon's Collection of
Academy Catalogues. It is undated, but bears the
very distinct post mark of January 25, 1805, and is

* Cyrus Redding, Fifty years' Recollections. 1858. Vol. I., p. 256, 7.

Husband and Wife. 37

addressed to Richard Sharp, better known as " Con-
versation Sharp."

" I am extremely sorry to have given you the trouble of
writing twice. I shall not fail to have the honor of attending you
at the time appointed, when, I suppose, I must ask you to intro-
duce me.

" Mrs. O. is quite delighted to hear that you approve of her
book.

"Very sincerely,
" Thursday. " J. OPIE."

This book was her Tale in 3 volumes, " Adeline
Mowbray," or " Mother and daughter," published in
1804, and thus highly praised in the igth article
of the Edinburgh Review of 1806. 'The second
volume of this beautiful story is perhaps the most
pathetic and most natural in its pathos, of any ficti-
tious narrative in the language.'

And whilst the literary talent of the wife was
thus evoked by the sympathy and approval of her
husband, he in his turn seems to have been indebted
to her influence in one branch of his art, for Miss
Brightwell relates, in Mrs. Opie's own words that,

"When Mr. Opie became again a husband, he
found it necessary, in order to procure indulgences
for the wife whom he loved, to make himself popu-
lar as a portrait painter in that difficult branch of art,
female portraiture.

He therefore turned his attention to those points
he had long been in the habit of neglecting, and

38 Life of John Opie.

his pictures soon acquired a degree of grace and
softness to which they had of late years been
strangers. At the second exhibition after our mar-
riage one of his fellow artists came to him and
complimented him on his female portraits, adding,
' We never saw anything like this in you before,
Opie ; this must be owing to your wife.' " Her
husband, it is added, related with evident delight
this pleasing compliment to her who had inspired
his efforts — page 70.

This may be mere compliment, and nothing more
than a pretty love-passage in their early married life.
The reality of her influence on his style of repre-
senting her sex could only be tested by a careful
comparison of portraits executed befofe and after
this date. This test it is now, from necessity, im-
possible to apply generally ; and an examination of
the Academy Catalogues does not shew the result
which might be expected in any marked increase in
the number, at least, of his exhibited female por-
traits, for they are quite as numerous in an average
of years preceding as in those which followed his
second marriage.

After this event we find him not unfrequently at
Norwich, and many portraits are still to be found
there and in the neighbourhood as tokens of his
industry : but Mrs. Opie complains that she could
not always induce him to accompany her in her fre-

Norwich — Paris. 39

quent visits to her old friends in that city. She had
no chance of detaining him there, unless there was
work to be done Indeed, he was now fully em-
ployed, and although from some popular caprice, or
from mere accident — (it does not appear which was
the cause) — he found himself almost wholly without
employment in the winter of 1801-2, giving some
anxiety to his wife, and a feeling of despondence to
the painter for some months, it soon appeared to be
a wintry trial of short duration, and he continued to
paint regularly as usual, and was speedily rewarded
by a " torrent of business which soon set in towards
him, and never ceased to flow until the day of his
death."*

Perhaps the success of his wife's first published
tale, which was then quite recent, may have helped
to console them while the disappointment lasted.

In the autum of 1802 they visited Paris together,
and he had the rare opportunity of seeing the chefs
d'oeuvre of art which the victorious Napoleon had
assembled at the Louvre. Charles James Fox hap-
pened to be also in Paris ; and, as good fortune
would have it, he was in the Louvre when Opie
entered it. Being introduced to Mr. Fox by a
mutual acquaintance, Opie took the opportunity of
presenting a letter of introduction from Mr. Coke, of
Holkham, and they were soon in conversation toge-

* Preface to lectures, page 32.

4O Life of John Opie.

ther ; Opie profitting by a special permission which
was accorded to Mr. Fox to see some works of art
in a room not yet opened to the public.

Mr. and Mrs. Opie dined with Mr. Fox next
day at his Hotel and met a large party there.

Their next meeting with the statesman was when
he came to sit for the famous whole length portrait
which Opie painted of him for Mr. Coke.*

We have seen how, whilst he actively pursued
his art, he sought most studiously the cultivation of
his own mind, applied himself to reading the best
authors, and, as Mrs. Opie afterwards expressed it,
'remembered all he read;' he sought the society
of the learned, and was ardent in every research
which could give vigour to his mind. He thus
fitted himself for the literary undertakings in which
he afterwards engaged. The life of Reynolds, in
Dr. Wolcot's edition of Pilktttgtoi$s Dictionary of
Painters, was the first specimen of his composition,
and this was written by Wolcot's desire, soon after
Reynolds' death in 1792. A letter published in the
* True Briton ' newspaper, soon followed, in which
he proposed the formation of a National Gallery of
Pictures, and which was subsequently reprinted as
'An enquiry into the requisite cultivation of the Arts
of Design in England!

His lectures delivered at the Royal Institution

* Memorials of Amelia Opie, p. 103-6.

Literary Work. 41

followed next in order. They displayed his extensive
professional knowledge, set forth the principles of
Painting, and represented an accumulation of maxims
founded both on history and observation. They
were listened to with attention by a fashionable
audience, but Mrs. Opie assures us that they were
so far from satisfying their author, that he declined
to continue them.""

It was not long after this resolve that he was
unanimously elected Professor of Painting at the
Royal Academy. He had indeed previously an-
nounced himself as a Candidate on the vacancy
occasioned by Barry's retirement, but finding that
Fuseli also sought the chair, he modestly retired in
favour of that original character and eminent scholar.
Fuseli was not long afterwards made Keeper, and
Opie was then elected Professor in his place.

Here he found his genius roused, and he shone
more as Professor at the Academy, than as Lecturer
at the Institution, because he was more formed by
nature and application to address the studious and
philosophic, than the light and gay.t

It was announced, on his election in 1805, that it
was not his intention to avail himself of the three
years usually allowed to a new Professor for the
purpose of enabling him to prepare his lectures, but

* History of the Royal Academy of Arts, by Wm. Sandby, 2 vols. 8°.,
1862, vol. i, 196.

t Prince Hoare, Preface to Lectures, p. 67.

42 Life of John Opie.

that he intended, if possible, to commence a course
in the ensuing winter.*

This, however, he did not accomplish. His first
lecture was delivered on the i6th of February, 1807:
the fourth and last on the Qth of March.

The following letter from Opie to Mr. Davies
Giddy (afterwards Davies Gilbert, P.R.S.) on this
occasion, has been preserved and deserves insertion.

" My dear Sir,

" Nothing surely gives us more pleasure than the appro-
bation of those whose abilities and conduct we admire and respect :
I therefore take the first moment of my return to Town, to tell
you how much I was gratified, and how much I thank you for
your kind and friendly congratulation on my being elected pro-
fessor of painting to the R.A. Whether similar feelings towards
me spread to any great extent amongst my countrymen, I shall
not at present enquire; quality in these cases I hold to be infinitely
preferable to number, and whilst I possess the countenance of
yourself and a very few more, I certainly can have no right to
complain ; at the same time I hope I should not ungratefully or
arrogantly undervalue the like liberal conduct, could I boast of
having received many more instances of it by the western post.

"I have been spending five weeks at Norwich, and parts ad-
jacent, where, through the medium of beef, dumplings, wine,
riding, swimming, walking and laughing, I have endeavoured (I
hope not unsuccessfully) to lay in a stock of vigour against winter;
and my time, I must say, has past pleasantly enough, as in addition
to the above mentioned substantial and capital enjoyments, I have
occasionally had some agreeable conversation with several not un-
clever people.

" If you have any idle time on your hands, or if there be any-
thing in which I can serve you here, I shall be exceedingly happy

* Insertion in Anderdon Coll: 1805.

His Lectures. 43

to hear from you. I must also tell you that I am selfish enough
to hope, (though perhaps you do not wish it) that your senatorial
duties will soon call you to Town. Pray make my compliments
to your Father and Mr. and Mrs. Guillemard, and

Believe me

most sincerely

Yours
October 7th, 1804.* JOHN OPIE."

The four lectures delivered at the Royal Acad-
emy were published by Mr. Prince Hoare from
Opie's MSS., 4°., 1809, and constituted, as the editor
informs us in a note which precedes the lectures,
" the greater part of that system of professional in-
struction which their author appears to have had in
view. In his first lecture he will be found to have
divided the subject of his Art into six branches; four
of which he calls the practical or physical element
of painting; and the other two, the intellectual. The
former are, Design or Drawing ; Colouring ; Chiaro
Scuro ; Composition. The latter, Invention ; Ex-
pression." The first lecture treats of Design; the
second of Invention; the third of Chiaro Scuro; the
fourth of Colouring.

An interesting criticism of these lectures by Sir
James Macintosh is to be found in the Memoirs of
his life, by his son.t It is too long to extract here,
but after drawing a parallel between the lectures of

* This should be 1805.

t 2 vols. 8°., 1835, vol. ii, 28-30.

44 Life of John Opie.

Opie and those of Sir Joshua Reynolds, in which
he pronounces Opie to be superior to Reynolds in
animation and strength, whilst he allows Reynolds'
superiority in elegance, and instructiveness as a
teacher, he thus commends their writings, " I sup-
pose that no nation can produce two painters who
have written so well on their art as Reynolds and
Opie, whom, before I have heard the opinion of any
one else, I boldly venture to class together. Shall I
venture on the further and perhaps greater boldness
of asking, whether we have, in our language, any
criticism on poetry or eloquence equal to that of
these artists on painting ? Notwithstanding my re-
spect for Dr. Johnson, I am inclined to think we
have not ?"

This is high testimony to Opie's literary ability.

Chalmers, in his Biographical Dictionary, writing
some years after the author's death'" " earnestly re-
commends the perusal of them to all who wish to
understand the principles of the art on which they
treat" Allan Cunningham, who has been freely
quoted in the course of this sketch, speaking still
nearer our own time with a judicial calmness,t pro-
nounces on some passages which he cites from the
lectures, that they " would reflect credit on any pro-
fessor the Academy ever possessed."

* 1815.
t 1830.

His Illness. 45

Unhappily, the course of lectures was never com-
pleted, as he only gave four out of the six lectures
prescribed to each professor.

" On the delivery of his first lecture in the Acad-
emy Opie was complimented by his brethren ; he
was escorted home by Sir Wm. Beechey, and ap-
peared to his wife in a flush of joy. Next morning
he said he had passed a restless night, for he was
so elated he could not sleep."

When Opie had finished his course of lectures,
Mr. Prince Hoare requested an article for his peri-
odical paper called The Artist. " I am tired," —
such was his answer — " I am tired of writing. I
shall be a gentleman during the spring months,
keep a horse, and ride out every morning." This
vision of happiness, such as it was, he lived not to
realize. He was attacked by a slow and a con-
suming illness, which bafHed the knowledge of five
skilful doctors : Pitcairn and Baillie were of the
number. They were unable to cure or even to com-
prehend it. When it was known that he was seri-
ously ill, his friends, and they were numerous and
respectable, came around him with affectionate soli-
citude.

Amongst those whom he loved most was Henry
Thomson, afterwards an Academician, and to him
he entrusted the finishing of the robes of the Duke
of Gloucester's portrait.

46 Life of John Opie.

" On Saturday, when the pictures were to be de-
livered for exhibition at Somerset House, the picture
of the Royal Duke was placed at the foot of his
bed. A fit of delirium had subsided, and he lifted
his head and said ' There is not colour enough on
the back-ground.' " More colour was added : Opie
looked at it with great satisfaction, and said with a
smile — " Thomson, it will do now — it will do now ;
if you could not do it, nobody could." The delirium
returned, and took its hue from the picture he had
just looked at.

He imagined himself employed in his favourite
pursuit, and continued painting in idea till death in-
terposed on Thursday, the 9th of April, 1807. On
dissection, the lower part of the spinal marrow and
its investing membrane were found slightly inflamed,
and the brain surcharged with blood. *

Mrs. Opie attributes his untimely end to his
'laborious industry' — "To the toils of the Artist
during the day (and he was never idle for a mo-
ment) succeeded those of the writer every evening;
and from the month of September, 1806, to Febru-
ary, 1807, he allowed his mind no rest, and scarcely
indulged himself in the relaxation of a walk, or the
society of his friends. To the completion, therefore,
of the lectures, his life perhaps fell an untimely sac-
rifice."!

* Allan Cunningham, British. Painters, vol. ii. Murray 1838.
t Preface to Lectures, page 1 1 .

His Death. 47

The respect which the Academy and the public
felt for talents thus prematurely lost to them took
the form of a desire that his remains should be
interred at St. Paul's Cathedral, near those of Sir
Joshua Reynolds, and his funeral, which was fixed
for the 2oth April, 1807, was attended by almost all
the members of the Royal Academy, and many of
the nobility and gentry.

The Gentleman s Magazine of April, 1807"" de-
scribes the funeral. It will be sufficient to state here,
that besides a hearse and six horses, three mourning
coaches, with six horses each, and twenty- seven
other mourning coaches and pair, with thirty private
carriages, sixty in all, formed the procession to the
grave.

The pall-bearers were, Lord De Dunstanville,
Sir John St. Aubyn, Sir John F. Leicester, Hon.
W. Elphinstone, Mr. S. Whitbread, and Mr. Wm.
Smith. A card of invitation to the funeral has been
preserved, of which the following is an exact copy :

" The honour of your attendance is requested on MONDAY
next, the 2oth instant, at twelve o'clock, to assist at the Funeral
of the late John Opie, Esq., Professor of Painting to the Royal
Academy. .

' You are desired to be at eleven o'clock at 8, Berners Street,
from whence the Funeral will proceed to St. Paul's.

The favour of an immediate answer is desired, addressed to
JOHN PENWARNE, ESQ., 8, Berners Street."

The card is undated.

* Vol. i, 387.

48 Life of John Opie.

Mr. Penwarne was one of the family of that
name, of Penwarne, near Falmouth, and was, to-
gether with his brother Edward, one of Opie's
earliest patrons ; the brothers remaining firm and
constant friends to him until his death. A group
of portraits of the family will be found in the Cata-
logue.

Mr. John Taylor mentions in the Records of his
life, that Mrs. Opie employed the elder Mr. Smirke
to design an appropriate memorial, from which an
excellent print was engraved, and distributed among
the numerous friends and connections who had been
invited to the funeral of the painter.'"" The plate is
6^2 by 53/6 inches, designed by R. Smirke, R.A.
and engraved in fine line by A. Raimbach, who was
subsequently David Wilkie's engraver. The design
is sculpturesque in character, and represents one end
of a coffin resting on a base of stone, and partially
covered by the pall, a male figure standing in profile
on the right, and a female figure on the left, each
classically draped and in an attitude of grief: a plain
rectangular panel forms the front of the platform on
which the figures stand, and is inscribed in Roman
capitals

FUNERAL OF THE LATE JOHN OPIE, ESQ., R.A.

PROFESSOR OF PAINTING IN THE ROYAL ACADEMY.

ST. PAUL'S CATHEDRAL, APRIL XX, MDCCCVII.

* Records of my Life, by John Taylor, author of 'Monsieur Tonson.'
Vol. 2. 1832. page 804.

Opinions of his Works. 49

The design is inclosed within an arch, and a
light is thrown from within it on the figures. "*

Little more need be added to this sketch of the
painter's life, which will be thought sufficiently full
for the generality of those who are likely to consult
the Catalogue. Readers who desire to follow in de-
tail the outline here given, are referred to the table
of authorities from which it has been framed.

One of the best biographical notices of Opie, is
that of Michael Bryan, in his Dictionary of Painters,
originally published in 1816, and subsequently en-
larged by George Stanley. It does not bear sum-
marizing, but may well be consulted, for a just
estimate of Opie's position as a painter.

Much fuller and more recent, is that of Richard
and Samuel Redgrave, in which, however, Opie's
Christian name is twice erroneously given as James
tor John. In other respects it seems to be compiled
from trustworthy sources of information, and besides
containing new matter, not to be found in any pre-
vious sketch, it has just criticisms of several of his
more important subject pictures, and concludes with
these general remarks :

" Reynolds, as we have seen, said Opie's art was
like Caravaggio and Velasquez. Dayes, no mean
critic, thought it approximated to Rembrandt. All

* An impression of the plate has been kindly lent from the Portfolio of a
friend.

50 Life of John Opie.

these three artists are distinguished by their power
and breadth, qualities which Opie possessed. His
colour, however, was deficient in purity; his lights
are often heavy and cold; his execution was broad
and spirited, but very coarse; his conception of his
subject real and vigorous, full of action, but show-
ing those defects which the neglect of early training
render inevitable. He had great claims to merit as
a portrait painter. His men are firm, bold, freely
handled, and sometimes well coloured; but his
women too often want refinement, are chalky in
colour, and their beauty is destroyed by his want of

execution." *

Mr. Leslie, in his useful Handbook for young
Painters, gives, incidentally, a sketch of Opie's life,
for the purpose of holding him up as an instance of
persevering study, and places him very high among
our British Artists.

He considers his Death of Rizzio his greatest
work, in spite of some slight anachronisms in the
costume of the characters represented, t

James Northcote, though a rival of Opie's, formed
a very high estimate of his talent; and he, at least,
did not recognize that coarseness of manner which
some have unduly dwelt on. A few extracts from

64-145.

* Century of Painters of the English School, vol. i, 336.

t Handbook for young Painters by C. R. Leslie, R.A., 80., 1870, pp.

Mrs. Siddons. 51

his ' Conversations' as recorded by William Hazlitt,
will suffice here.

" I wish you had known Opie; he was a very
original-minded man. Mrs. Siddons used to say: ' I
like to meet Mr. Opie, for then I always hear some-
thing I did not know before.' ' I do not say that he
was always right, but he always put your thoughts
into a new track that was worth following.' I was
very fond of Opie's conversation, and I remember
once when I was expressing my surprize at his
having so little of the Cornish dialect, 'Why,' he
said, ' the reason is, I never spoke at all till I knew
you and Wolcot.' He was a true genius."""

In another conversation, Northcote says: "Opie,
I remember, used to argue, that there were as many
different sorts of taste as of genius. He said, ' If I
am engaged on a picture, and endeavour to do it
according to the suggestions of my employers, I do
not understand exactly what they want, nor they
what I can do, and I please no one; but if I do it
according to my own notions, I belong to a class,
and if I can satisfy myself, I please that class.' You
did not know Opie. You would have admired him
greatly. I do not speak of him as an artist, but as
a man of sense and observation." t

* Conversations of James Northcote, R.A., by William Hazlitt, 1830,
page 26.

+ Ibidem, p. 250.

52 Life of John Opie.

John Taylor, who knew both Northcote and Opie
well, speaks of the great intimacy which existed
between them, and the respect which each enter-
tained for the talents and learning of the other.
He mentions the superior advantage in travel and
education, which Northcote possessed, as well as
from his intimacy with Sir Joshua Reynolds, and
concludes his reference to them by saying:

" Hence it was impossible that Mr. Opie could
have found a friend and companion who could have
contributed more [than Northcote] to the refinement
of his taste, to the improvement of his manners, and
the enlargement of his knowledge."4

A curious discussion has been raised with res-
pect to the portrait of Wolcot which has been long
thought to be discernible in one, if not both of
Opie's Assassination pictures, — -James the First of
Scotland, and David Rizzio, — and it may be more
convenient to notice it here than in its place in the
Catalogue. Mr. James Elmes, of Greenwich, in a
long note, in Notes and Queries, Second Series,
Vol. vii, 381, attributes the coldness which oc-
curred between Wolcot and Opie to the refusal of
the latter to praise his paintings. " I tell 'ee, ye
can't paint," said the blunt and honest Opie, " stick
to the pen."

This advice was too much for the distant 're-

* Records of my life, 1832, vol. i, 306.

Wolcot as Assassin. 53

lation of the Poet of Thebes' to receive from 'a
painting ape,'* and the feud was never healed.

Elmes proceeds to say that while Opie was paint-
ing his great historical picture of the Murder of
James ist, " being irritated by the satirist's malevo-
lence, he painted a portrait of him in one of his
most furious rages, and substituted it for the head
of the murderer. The pintiminto is still visible, and
the picture is in the waiting room of Guildhall,
London, one of the many munificent presents of my
old friend and early patron, Alderman Boydell."
The author of the notice of Wolcot in the Annual
Biography, for 1820, .fixes the story upon the other
picture. " He, (Wolcot) is depicted as one of the
assassins in the picture representing the death of
David Rizzio, and, by a strange whim, was actually
introduced in this horrible character by the artist
at his own particular request," t This was written
immediately after Wolcot's death, from professedly
good authority. But another writer, also anony-
mous, in the Gentleman's Magazine, carries the
story back to 1788,! when the pictures were quite
new, one having been painted in 1 786, the other in
1787.

He inserts the following powerful stanzas, "ad-
dressed,

* Peter Pindar's Lyric ode to the Royal Academicians for 1782, line 9.

t Page 303.

J Gentleman's Magazine for 1788, vol. Iviii, 1044.

54 Life of John Opic.

To Peter Pindar, Esq.,
On seeing his Portrait in two Historical Paintings.

' Farit Indignatio Versum? — Juv.

Amid the liberal Boydell's pictur'd store,

The Cornish youth* his native skill displays ;

Two scenes of murder prove his pencil's power,
And claim the tribute of peculiar praise.

Thy pupil, Peter, t by discretion taught,

From Scotia's annals drew each mournful tale,

But ably clothed his patron's mystic thought
In the slight shadow of th' historic veil.

Here Rizzio sinks beneath th' Assassin's arm,
Unheard a hapless Queen's imploring cries ;

There fierce attacks the regal couch alarm,

And guiltless James by treason's hireling dies.

Disloyal trifler ! 'twas thy latent scheme
To bid with royal grief the canvas glow,

And tutor'd art array'd thy favourite theme
In all the striking dignity of woe.

High in the scale shall these productions class,
If genuine taste the works of genius scan ;

Nor shall thy copy'd form unheeded pass,

Whose daring soul conceiv'd the horrid plan.

Thine, Peter, thine the strong-mark'd portrait there,
Twas thy own choice to wear the murderer's vest,

To slay the favourite of a Royal Fair,

And point the javeline at a Monarch's breast.

Well art thou mark'd amid the ruffian crew,

With eye of rancour, and with treacherous mien :
The cruel mind the skilful artist drew,

And made thee hero of each deathful scene.

* The Cornish youth is Opie.
t Peter is Dr. Wolcot.

Discussion. 55

Thy semblance there the present age will own

Alike in form and character portray'd,
And if to future times thy name be known,

They there shall execrate thy vengeful shade.

Now let thy rude assaults in triumph cease,
Confest thy skill to play the Traitor's part ;

To wound with lying lips a Monarch's peace,
Or plunge the ruthless ponia-d in his heart."

Now whatever may have been Opie's motive in
representing his patron as a murderer, the stanzas do
not seem to assert anything more than the just retri-
bution which the painter had awarded to Wolcot for
his scurrilous and frequent attacks in verse on the
private character and conduct of the King, George
III.*

It is very difficult now to recognise Wolcot's
portrait in either of the two pictures. The principal
assassin, Graham, in that of James I, is not unlike
the profile of Wolcot, though very much younger,
but so far from indicating the 'furious rage' of which
Mr. Elmes speaks, he seems to be entering on his
unpleasant duty in the most kindly manner, and with
the air of a light hearted well-bred gentleman.

No trace of a pintiminto is observable in either
picture, but it is remarkable that in that of James
I each of the three principal heads, namely the
King, the Queen, and Graham, has been painted on
a separate piece of canvas which has been inserted

* See further, Notts and Queries, Third Series, vol. xii, p. 462.

56 Life of John Opie.

in the picture, probably before the rest of the subject
was painted. The assassin in the rear has the head
of Opie himself in a very angry mood, and much
more ferocious than Graham, the supposed Wolcot.
These three heads are retained in the beautiful re-
duction from this picture which Opie himself made,
and also in a full sized replica by him, now at Bromp-
ton Hospital. Assuming, then, that Wolcot is repre-
sented here, it seems not improbable that each of
the three inserted heads is a portrait, and that they
were so used as suitable and convenient for working
into the picture, and not in any way with the sug-
gested object of insulting or punishing the patron to
whom the painter undoubtedly owed so much.

This is indeed not the only instance of the inser-
tion of a head in a work of Opie's; and the same
method of turning to account a portrait which satis-
fied the artist, was sometimes adopted by James
Northcote, if not by other painters, though it seems
to be a practice by no means to be commended, as it
is somewhat suggestive of an indolent disposition
which was quite foreign to Opie's nature.

Whatever may be the exact truth, however, with
regard to this supposed representation of Wolcot as
an assassin, it does not seem at all clear that he
ever bore any serious ill will to Opie for the causes
which undoubtedly led to their separation as partners
at the beginning of his career in London. Mr. G.

Separation — no Quarrel. 5 7

G. Cunningham, indeed, whose general accuracy has
already been admitted, after describing Opie's first
visit to London with Wolcot, thus relates their sepa-
ration, " after a short residence together, when their
joint expenses were supplied from a common purse,
this mode of life, as might have been expected, did
not continue long; and Mr. Opie, being the first
to perceive its inconveniences, communicated* his
opinion by letter to his friend, who happened to be
absent in the country; subsequently to this period
they were never cordially united; they met indeed,
and visited, but all their former attachment was
wanting: nor during the remainder of their lives did
a sincere reconciliation take place.""

The separation was in 1782, yet in 1784 he visits
Swansea, in Wales, together with Opie and his first
wife; in 1791, Nov. 14, Wolcot writes to his rela-
tion Thomas Giddy, "Jan Opie improves in History
exceedingly, and, taking Sir Joshua away, is nulli
secundus :" "' in June 1800, he writes to the same
friend, " The Academy exhibition is a hungry one.
No Historical exertion. The landscape painters, I
think, carry it. Opie has a good picture or two, but
finding it necessary to colour highly, like his Rivals,
in order to be seen, the modesty of his nature is
greatly outstepped. "t

* G. G. Cunningham's Lives of Eminent Englishmen. Glasgow, 1837,
vol. viii, 138.

t M.S. life of Wolcot at Enys.

58 Life of John Opie,

These passages seem to point rather to a vol-
untary separation than an angry quarrel. Indeed
Northcote is known to have said that Opie con-
tinued his intimacy with Wolcot until his second
marriage, when it seems to have ceased because
Amelia Opie could not bear the Doctor's manners.

John Taylor also, who was long intimate with
both, bears witness to the relations which existed
between them.

" The raillery which frequently took place be-
tween him and Opie, was highly diverting. Wolcot's
sallies were marked with vigour, with a classical
point, and Opie's with all the energy of a mind
naturally very powerful ; their controversies always
ended with laughter on both sides, and without the
least ill will. The contest was what Johnson applies
to the characters in Congreve's plays, an intellectual
gladiatorship, in which neither might be deemed the
victor."*

The following anecdote relates to an earlier work
than those which led to this discussion, viz : Age
and Infancy, exhibited in 1783.

J. T. Smith, in his memoir of Opie, appended to
his work on the Sculptor ' Nollckens and his Times'
relates, on the authority of Mr. Richard Wyatt of
Egham, an early patron of Opie's in London, that
he once painted a child asleep, over which a ghastly

* Records of my life, 1832, vol. ii, p. 326.

St. Paul's, &c. 59

assassin stood in the act of striking it with a poniard :
upon his shewing it to his patron, Mr. Wyatt ex-
claimed, ' Shocking ! shocking ! The child is so
beautiful, that even those who do not love children
would shudder at the idea.' He therefore advised
the artist, who had painted it upon speculation, to
put out the villain, and introduce a venerable old
man, and call it Age and Infancy. This he did,
and the picture immediately met with a purchaser.
The picture referred to must be that of Sir John
Smith, and not the Diploma picture, which bears the
same title, but is a different composition, and of ne-
cessity was never sold.

It has been stated already that Opie in 1792
published a proposal for the formation of a National
Gallery of Pictures. Two other objects of a public
character in connection with Art were advocated
by him subsequently, viz: 'A proposal for erecting
a public memorial of the Naval Glory of Great
Britain,' and another for decorating St. Paul's Ca-
thedral.

The former is to be seen in the form of a letter
addressed to the Editor of The True Briton, and
reprinted, without date, at the end of his Lectures,
4°., 1809, proposing to erect in London a building
on the plan of the Pantheon at Rome, to be decor-
ated internally with statues of heroes, and paintings,
illustrative of our Naval History. It is scarcely

60 Life of John Opie.

necessary to add that the suggestion has not been
acted on, and we have been content with such
records as the monuments of St. Paul's and the
Abbey, and the pictures in the Painted Hall at
Greenwich.

Of the other proposal we learn from Mr. North-
cote, in a letter of his which is quoted in the preface
to Bohn's Editon of his Fables, 8°., 1845, under date
1797, Feb. 8: " Opie, myself, etc., are upon a project,
in which I hope we may succeed, of getting paintings
into St. Paul's, which we hope will tend to raise the
drooping head, I may almost say of the expiring
Art, of painting. The Bishop of London, etc., gives
consent. We are to have a meeting soon." Readers
of Leslie and Taylor's Life of Sir Joshua Reynolds
will remember that a similar proposal was made by
Reynolds in 1773, was encouraged by Newton, then
Dean of St. Paul's, and taken up by the Academy
and the Society of Arts, and seemed in fair way of
success until the Bishop (Terrick) took alarm, and
refused his sanction to the introduction of paintings,
as identified with Popery. It has been left to our
own time to renew the attempt upon a different plan,
and with less perishable material.

It would have been interesting, and every endea-
vour has been made, to ascertain who were Opie's
pupils. Nothing is recorded of them in any of the
sketches of his life. Mrs. Opie herself is silent on

His Pupils. 6 1

the subject. Indeed it has been asserted that he
had no pupils. It is difficult however to believe, that
one who was so devoted to his art should not have
attracted pupils to his studio, or that if they offered
themselves, he would have rejected them. Accord-
ingly, enquiry amongst those most likely to know has
resulted in the discovery of a few who were more or
less under his direction as pupils after he became an
academician: viz: Henry Thomson, R.A., Theo-
philus Clarke, A.R.A., Miss Beetham, Revd. J.
Owen, and Thomas Stewardson. Of these, H.
Thomson and T. Clarke are known to be spoken of
by Mrs. Opie as pupils of her husband's. Thomson
was an historical and poetical painter, and became
keeper of the Royal Academy; he was an attached
friend of Opie's, and as has been already stated, put
the finishing touches to his portrait of the Duke of
Gloucester. Very little is known of his work, which
bodily infirmities prevented him from continuing,
and he died in 1843 after many years of failing
health.

Theophilus Clarke was born in 1776, and was
an A.R.A. from 1803 to 1832, but the date of
his death is not known. He chiefly practised por-
trait painting.

Miss Beetham is believed to have copied some
of Opie's pictures, and afterwards painted aqua tint a
likenesses; she married a London Solicitor, Mr.

62 Life of John Opie.

Read, and was the mother of Miss Read, whose
pictures, some by Opie, and some by Mrs. Read,
were bequeathed in 1871, to the Consumption Hos-
pital at Brompton.

Owen is more doubtful: not Wm. Owen, R.A.,
but John Owen, who corresponded with Opie, was
fond of art, and eventually entered Holy Orders.

Nothing seems to be known of Stewardson's
history, nor does it appear certain that he painted
professionally. Portraits of Miss Beetham, Owen,
and Stewardson, will be found in the Catalogue.

This sketch of the Cornish painter's life may not
inaptly close with a few lines written by one who
was poet as well as painter, Sir Martin Archer Shee,
Pres. R.A. He was one of Opie's intimate friends,
and recorded his sense of the public and private loss
occasioned by his death, in the tribute to his memory
from which the lines are extracted.

" No feeble follower of a style or school,
" No slave of system in the chains of rule;
" By his own strength his merits he amass'd,
"And liv'd, no dull dependent on the past;
" His genius kindling from within* was fir'd,
" And first in nature's rudest wild aspir'd.
" Warm at her shrine his early vows he paid,
" Secur'd her smile, and sought no other aid,
" Enraptur'd still her charms alone explor'd,
" And to the last with lover's faith ador'd

In Memoriam. 63

" His vigorous pencil, in pursuit oi art,
" Disdain'd to dwell on each minuter part,
" Impressive force — impartial truth he sought,
"And travell'd in no beaten track of thought;
" Unlike the servile herd, whom we behold,
" Casting their drossy ore in fashion's mould,
" His metal by no common die is known,
"The coin is sterling, and the stamp his own."*

* Tribute to the Memory of Opie, in Preface to his Lectures. 4°., 1809,
page 74.

PICTURES by JOHN OPIE, R.A.

PART I. PORTRAITS.

ABRAHAM, THOMAS.

Painted 1784, at the age of 16.

Canvas, 28 x 24 inches.

In possession of his nephew, Rev. Thos. Kitson, of Shiphay
House, Devon.

Seen to waist, ^ face to left of spectator;* brown hair combed
over forehead, bright brown coat with ornamental gilt buttons,
frill, with narrow black neck ribbon under shirt collar, and white
waistcoat. His left elbow rests on a table, a paper in left hand :
the flesh tints very fresh and bright.

A repetition of this portrait, by Opie, is at Mrs. Fisher's,
Hessenford.

ACLAND, FRANCES ANN, see LADY HOARE.

ADAM, WILLIAM, M.P.
Died 1839.

Painted and Exhibited No. 85 in Catalogue of Royal Acad-
emy, 1803.

Full length, seated, a letter in his right hand.
Engraved by S. W. Reynolds, 1804.

* Throughout the Catalogue, the terms right and left signify right and left
of the Spectator, unless otherwise expressed.

F

66 PICTURES BY JOHN OPIE, R.A.

ADAMS, REV. DR. WILLIAM.

Born 1707, Died 1789, aged 82. Master of Pembroke Col-
lege, Oxford; an intimate friend of Dr. Johnson.
Painted 1782-9.
Canvas, 29^ x 24^ inches.

In possession of his relative, Mr. F. A. Hyett, Painswick.
Seen to waist, full face, in black gown and wig.

ADKIN, THOMAS, of Norfolk.

Engraved by Elizabeth Reynolds, fo. Mezzo, half length, 1814.

ALDERSON, ELIZABETH (ne'e CANHAM),

Widow of James Alderson, of Raveorstonedale, Westmore-
land, and grandmother of Amelia Alderson, second wife
of John Opie, R.A.
Painted 1800-7.
Canvas, 30 x 26 inches.
In possession of Edward S. Alderson, Esq.
Seen to waist, full face, in black dress and mob cap, at the
age of 90.

ALDERSON, JAMES, M.D.,

Father of Amelia Opie.

Born 1742, Died 1825, aged 83.

Canvas, 30 x 26 inches.

In possession of Edward S. Alderson, Esq.

Seen to waist, ^ face to left ; in Morning dress, black coat,
white neck-cloth.

This Portrait is probably the subject of Mrs. Opie's ' Lays of
the dead,' 'portrait the fourth,' 8°., 1834.

Etched by Mrs. Dawson Turner, private plate.

ALDERSON, AMELIA,

Afterwards Mrs. Opie, 1798.
Born 1769, Died 1853, aged 84.
Painted 1787.

PART I. PORTRAITS. 67

Exhibited No. 88 in Catalogue of National Portrait Exhibi-
tion at South Kensington, 1868, by Mrs. Vincent Thompson, to
whom it was given by Mrs. Opie, who was her cousin.

Canvas, 30 x 25 inches.

In possession of Mrs. W. C. Sidgwick, daughter of Mrs. V.
Thompson.

Seen to waist, seated, open white dress, looking to the left, at
age of 1 8.

In excellent condition, a lovely picture.

ALDERSON, AMELIA,

Afterwards Mrs. Opie, (see preceding portrait).

Painted circa 1790.

Canvas 30 x 24 inches.

In possession of Captain Alderson, Ipswich.

Seen to waist, seated, in morning dress, head uncovered :
arm unfinished : at age of about 20.

ALDERSON, Miss ISABELLA,

Daughter of Robert Alderson, and cousin of Amelia Alder-
son, Opie's second wife.

Painted and Exhibited No. 78 in Catalogue of Royal Acad-
emy, 1802.
Formerly in possession of the late Baron Alderson, sold at

Christie's March u, 1871.

Seen to waist, nearly full face, looking to the right, in low
white dress, her right hand in amber necklace, her left hand across
her waist, resting. A very pretty and pleasing portrait.

ALTAMONT, COUNTESS OF,

Lady Louisa Catherine, dau. of Richard, Earl Howe, after-
wards Marchioness of Sligo, Died 1817.
Painted about 1787.
Canvass, 30^ x 25 inches.

In possession of her grandson, the Marquis of Sligo.
Seen to waist, seated at table, ^ face to left, in low white

68 PICTURES BY JOHN OPIE, R.A,

dress, frilled, black scarf over her right shoulder, one end in her
right hand, arm resting on table. Sky and buildings beyond.
Engraved Mezzo.

ARGYLL, GEORGE WILLIAM, 6TH DUKE OF.

Born 1768, Died 1839, aged 71.

Painted about 1784, for John, the 5th Duke.

In possession of the Duke of Argyll, at Inverary Castle.

Full length, seated, in the act of drawing a statue.

This portrait, together with the following, and those of their
sisters, Lady Augusta, and Lady Charlotte Campbell, happily
escaped the fire of 1877.

ARGYLL, JOHN DOUGLAS EDWARD HENRY, 7TH DUKE OF,

Brother of the 6th Duke.

Born 1777, Died 1847, aged 70.

Painted about 1784, for John, the 5th Duke.

In possession of the present Duke, at Inverary Castle.

Full length, standing, a child of about 7 years old, leading a
favourite dog.

APSLEY, LADY,

Georgiana, third daughter of Lord George Henry Lennox,
married 1789 to Lord Apsley, who became Earl Bathurst
in 1794.

Painted and Exhibited No. 218 in Catalogue of Royal Acad-
emy, 1789, as 'A lady'; identified as Lady Apsley in
Anderdon Coll.

ARMSTRONG, MRS.

Mary Anne Gurnell, wife of Major John Armstrong, 5th
Dragoon Guards.

Painted 1806, for her mother.

Canvas, 30 x 26 inches.

In possession of her daughter-in-law, Mrs. J. Armstrong.

Seen to waist, full face, in white dress, a landscape in back-
ground. Her arm and dress remain unfinished, because of Opie's

PART I. PORTRAITS. 69

death next year. The face beautifully painted : at the age of about
20, and before her marriage.

BADCOCK, JOHN.

Painted 1790-2.

Canvas, 23 x 18.

A family portrait, in possession of Thomas Field, Esq.

Seen to waist, ^ face to left. In Spanish costume, hat with
feather.

BADCOCK, JOHN,

Of Trengwainton, son of John Badcock above, and Grace,
his wife.

Painted 1790-2.

Canvas, 23 x 18 inches.

A family portrait, in possession of Thomas Field, Esq.

A boy in blue at the age of 8, seen to waist, standing, with a
rabbit in his arms.

BAGOT, WILLIAM, IST LORD.

Born 1728, Died 1798, aged 70.

Painted and Exhibited No. 273, in Catalogue of Royal Acad-
emy, 1790, as 'a Nobleman'; identified in Anderdon
Coll.

Canvas, 36 x 27 inches.
In possession of Lord Bagot.

Seen to below waist, in Windsor uniform, and his robes as
a baron.

BAGOT, LADY,

Louisa St John, daughter of John, 2nd Viscount Bolingbroke,
married to the ist Lord Bag*>t, 1760.

Painted 1790.

Canvas, 36 x 27 inches.

In possession of Lord Bagot

Seen to below waist, in white dress and black mantle, a bunch
of flowers in her right hand.

70 PICTURES BY JOHN OPIE, K.A.

BANNISTER, JOHN,

Known as Jack Bannister, the comedian.
Born 1760, Died 1837.
Painted probably about 1795.
Canvas 50 x 40 inches.

In possession of Mr. H. D. Clark, Piccadilly, previously of
Mr. Rd. Clark, of Kensington Square, and formerly of
Dr. Ingle, of Emsworth. Purchased at Christie's, Feb.
19, 1877.

Three quarter length : seated at a table, on which is a roll of
paper. A very intelligent face, with dark luminous hazel eye, and
fascinating expression, black eyebrows, powdered hair, ^ face to
right, looking over his shoulder at spectator. Dress, olive coat, a
darker cloak thrown over his left arm and back.

BANNISTER, JOHN,

The same.

Canvas 36 x 28 inches.

In possession of Mr. Jas. Fitzroy Morris, Salisbury.

Seen to waist, ^ face to left, dark hair, seated on a chair; in
black coat, waistcoat, and stock. His arm rests on a book, the
hand beautifully painted, hanging dowa Age about 33.

BANNISTER, JOHN,
The same.

In possession of H. Graves and Co., Pall Mall: bought by
them in 1867.

BARCLAY, MRS. CHARLES, see KETT.

BARTOLOZZI, FRANCIS, R.A.,

Celebrated engraver, a native of Florence.
Born 1730, Died 1813, aged 83, at Lisbon.
Painted 1788-90.
Canvas, 29^ x 27^ inches.

In the National Portrait Gallery; presented by Mr. G. P.
Everett Green in 1866; bought by him, through Adam-

PART I. PORTRAITS. 71

son, Bedford Street, from the collection of Bromley, the
engraver.

A kitcat, in black coat and waistcoat, red underwaistcoat, white
cravat, powdered bob wig, full face, gloomy expression; a graver in
his right hand. A red curtain behind. Age about 60.
Engraved, large Mezzo.

BASSET, FRANCIS,

Afterwards Lord De Dunstanville.
Born 1757, Died 1835, aged 78.

Painted for Sir John St. Aubyn, after Sir Joshua Reynolds'
portrait of him, at Tehidy, for which he sat March, 1777.
Canvas, 32 x 27 inches.

In possession of Sir John St. Aubyn, Bart., M.P.
Represented at the age of about 19, in a Vandyk dress.

BATEMAN, LORD, with his sister, Anne.

William Hanbury, son of William Hanbury, of Kelmarsh,
Northants, cr. ist Baron Bateman, 1837.

Born 1780, Died 1845. Anne married 1809 to Sir S. B. P.
Micklethwaite, Bart

Painted about 1790.

Canvas 50 x 40 inches.

In possession of Wm. Angerstein, Esq.

Full length; two children from 8 to 10 years of age, the boy
standing on a terrace step, his sister seated on the ground at his
feet, in white frock, a red shoe and mob cap, playing, in a rich
landscape; the heads are exquisitely painted, full of Sir Joshua
Reynolds' best manner, playful, natural and graceful ; the draperies
are sketched in rich tones, but unfinished.

BATHURST, COUNTESS, see LADY APSLEY.

BEARD, MRS. ELIZABETH.
Painted before 1781.

Exhibited at Polytechnic Hall, Falmouth, 1854.
Canvas, 30 x 25 inches.

72 PICTURES BY JOHN OPIE, R.A,

In possession of her grand-daughter, Miss Beard, Falmouth.
Seen to waist, in old lady's cap, and a kerchief on shoulders.

BEAUCHAMP, Miss.

Tainted and exhibited No. 186 in Catalogue of Royal Acad-
emy, 1805.

BEAUFORT, HENRY CHARLES, 6rH DUKE OF,

Born 1766, Died 1835.

Painted probably after 1782.

Canvas, 21x17 inches.

In possession of Viscount Falmouth.

A small Kitcat, age about 16; in blue coat, and buff waist-
coat, flowing hair cut short over forehead, fresh clear
flesh tints.

This portrait, and its pendant of Lord C. H. Somerset, the
Duke's brother, are painted gracefully in the manner of Gains-
borough.

BEAVER, CAPTAIN PHILIP, R.N.

Painted 1806-7.

Canvas, 30 x 25 inches.

In possession of his grandaughter, Mrs. Herbert Beaver.

Seen to waist, in Naval uniform, a telescope under his arm,
y± face, head uncovered, hands not shown ; apparently unfinished,
except the head, being one of the last portraits undertaken.

BEAVER, CATHERINE, see MRS. GILLIES.
BEETHAM, JANE, see MRS. READ.

BELL, MRS.,

Housekeeper at Clowance, in the service of the late Sir John

St. Aubyn, Bart., M.P.

Exhibited at Winter Exhibition of Royal Academy, 1876.
Canvas, 30 x 25 inches.
In possession of Sir John St. Aubyn, Bart., M.P., seated, with

a spaniel on her knees ; very large cap, full face.

PART I. PORTRAITS. 73

BELL, Miss HENRIETTA,

Daughter of George Bell, Esq.

Painted 1785.

Exhibited at Polytechnic Hall, Falmouth, 1834.

Canvas, 14 x n inches.

In possession of Lord Vivian.

Seen to waist, full face, black lace over neck, no head dress.

Inscribed at back, ' By John Opie, Cornishman, painted at
Falmouth 1785. Portrait of Miss Henrietta Bell, daughter of
George Bell, Esq., who first brought the Packets to Falmouth.
Presented to Sir H. Vivian by George Bell Lawrance, R.N.'

BELWARD, RICHARD FISHER, D.D., F.R.S.,

Master of Gonville and Caius Coll., Cambridge, 1796-1803.

Born 1746, Died 1803, aged 57.
Painted 1796.
Canvas, 30 x 25 inches.
In the Master's Lodge; painted and presented to the College

soon after his appointment as Master.

Seen to waist, ^ face to left, in his doctor's robes, and a wig.
Engraved by Facius, half-sheet, private plate, a large head,

1804.

BERNARD, SIR THOMAS, BART.,

One of the founders of the Royal, and British Institutions;
Treasurer of the Foundling Hospital, 1795. Born 1750,
Died 1 8 1 8, aged 68.

Painted and exhibited No. 142 in Catalogue of Royal Acad-
emy, 1804, as *T. Bernard, Esq.' He succeeded his
brother as baronet, 1809.

Opie appears to have painted two portraits of him, one en-
graved by W. Ward, undated, large fo. Mezzo, ' ^ length, standing,
holding a letter,' (Wm. Smith, MS. Cat.), another engraved by
Scriven, 4°. 'seated, at a table,' (Bromley), also undated; there is
also an engraving by S. W. Reynolds, Mezzo, 1805, in which he
is described as 'Thos. Barnard, Esq., Treasurer of Foundling
Hospital, &c.'

74 PICTURES BY JOHN OPIE, R.A.

BETTY, WILLIAM HENRY WEST,

Known as Young Roscius, juvenile actor.

Born 1791, Died 1874, aged 83.

Painted 1805.

Canvas, 72 x 48 inches.

In possession of the Garrick Club.

Full length, in character of Norval in the play of Douglas,
on a sloping hill; a spear in his right hand, his left hand raised
above his head. He first appeared in 1803. Engraved, sheet, by
Jas Heath, 1807, and by F. Egerton, 1808.

BEVAN, SILVANUS,

Died 1783, at Swansea.

Painted about 1783.

Canvas, 30 x 25 inches.

A family portrait in possession of Mrs. Wm. Bevan.

In green coat, white neck-cloth, his long hair falling over his
shoulders.

BIDDULPH, REV. THOMAS,

Vicar of Padstow, 1790.

Painted about 1780.

Canvas, 16x13 inches.

In possession of his grandson, Wm. P. Pinchard, Taunton.

Seen to waist, ^ face to right, in gown, bands, and powdered
wig.

BIDDULPH, MARTHA (n& TREGENNA),

Wife of Rev. Thomas Biddulph. She Died 1783.

Painted about 1780.

Canvas, 16x13 inches.

In possession of Mr. Pinchard.

Seen to waist, ^ face to left, in black dress, white stomacher
and frill, mob cap.

BIDDULPH, THOMAS TREGENNA,

PART I. PORTRAITS. 75

Son of the last named Mr. and Mrs. Biddulph, of Padstow,

and Minister of St. James's, Bristol.
Born 1763, Died 1838, aged 75.
Painted about 1780.
Canvas, 16 x 13 inches.
In possession of Mr. Pinchard.

A youth of 17, seen to waist, ^ face to left, in brown coat,
buff waistcoat, white cravat and frill.

BIRD, PENELOPE, (ne'e WHEELER),

Wife of W. Wilberforce Bird, of the Spring, Kenilworth.

Canvas, 29^ x 24}^.

Exhibited at Winter Exhibition of Royal Academy, 1875, by
Mr. F. W. Bird.

BLACKWELL, SIR LAMBERT,

The third Baronet, Born 1732, Died 1801, aged 69.
Reported to have been sold at Sir Wm. Foster's sale, in 1875.

BLIGH, ADMIRAL SIR RICHARD RODNEY, G.C.B.

Born 1737 in Cornwall, Died 1821, aged 84.

Engraved 8°. by Ridley, 1805, 'an oval half length, in his
uniform,' (Wm. Smith, MS.).

BLIZARD, SIR WILLIAM, KNIGHT,

President of the Royal College of Surgeons.

Born 1742, Died 1835, aged 93.

Painted 1804.

Exhibited No. 5 in Catalogue of Royal Academy, 1804, and
in the National Portrait Exhibition, 1868.

Canvas, 56 x 44 inches.

In possession of the Royal College of Surgeons.

Seated, ^ length, looking to the right, a paper in his left
hand, in the robe of the President of the College.

It is said that Opie induced his wife (Amelia) to engage Sir

76 PICTURES BY JOHN OPIE, R.A.

William in conversation whilst he sat for this portrait, in order to
secure his most animated expression.

Engraved by S. W. Reynolds, Mezzo, 1805.

BOADEN, JAMES,

Author of Fontainville Forest, &c.

Born 1762, Died 1839, aged 77.

Painted before 1795.

Seen to waist, ^ face to left, animated expression, coat
buttoned, full neck-cloth, powdered hair. The light admitted from
the right

Engraved by E. Bell, la fo. Mezzo, 1795, and by Ridley, 8°.

BONE, HENRY, R.A.,

The celebrated enameller to the King, George III.
Born at Truro, 1755, Died 1834, aged 79.
Painted 1795.
Canvas, 31 x 26^ inches.

In possession of his grandson, Mr. George Bone.
Seen to waist, y( face to right, in black coat, white cravat
At the age of 40.

This portrait was given to Henry Bone by Opie.

BONE, JAMES,

An old man of Helston.

Painted 1779-81, for Dr. Gould, of Truro.

Canvas, 48 x 36 inches.

In possession of Rev. R. J. Gould, Mortimer.

An old man grasping a stick with both hands, his right hand
uppermost, his head slightly inclined over his left shoulder.

Probably from the same model as that called Old Knecbonc
of Helston, but painted on a much larger canvas.

BORLASE, CAPTAIN SAMUEL,

Eldest surviving son of Dr. Walter Borlase, Vice- Warden of
the Stannaries; nephew of the Historian.

PART I. PORTRAITS. 77

Painted 1778.

Canvas, 24 x 21 inches.

In possession of John Borlase, Esq., Castle Horneck.

Full face, kitcat, in blue coat, natural hair; his hands leaning
on back of a chair, beautifully painted. In style and method like
the portrait of John Knill, painted in 1777, but superior in finish.
An excellent specimen of Opie's early work.

BOSCAWEN, see VISCOUNT FALMOUTH, and LADY ARTHUR
SOMERSET.

BOSCAWEN, HON. EDWARD,

Eldest son of George Evelyn, 3rd Viscount Falmouth; 4th

Viscount in 1808; cr. ist Earl in 1821.
Born 1787, Died 1841.
Painted about 1805, at the age of about 17, for Dr. Goodall,

Head Master of Eton, on his leaving school
Canvas, 30 x 25 inches.
In possession of Viscount Falmouth.
Half length.

BOVER, CAPT. PETER, R.N.

Died at Newcastle on Tyne.

Canvas, 23 x 193^ inches.

In possession of his nephew, Rev. Edward Hinchliffe. A
copy is said to exist, by a local artist, Robson.

Erect, in Naval Captain's Uniform ; the head extremely good.

Captain Bover changed his name from Beauvoir, being a
Bourbon emigrk, who joined the English service, and fought on
our side against the French Empire. His daughter was a reputed
beauty.

BOVER, CAPT. PETER TURNER, R.N.
Canvas, 24 x 21 inches.
In possession of his relative, Miss Stevens, Southsea, a family

portrait.
A bust, y± profile in Naval uniform.

78 /'/CTURES BY JOHN OPIE, R.A.

BRISTOW, GEORGE,

Clerk of Merchant Taylor's Company, Elected 1763, re-
signed 1802.

Painted by order of the Court held July 9, 1788.
The account books of the Company contain the entry, 1789,
paid to Mr. John Opie for painting the Clerk's Picture,
and to his Servant, ^£47 155. 6d.
Canvas, 50 x 43 inches.

In possession of Merchant Taylor's Company.
Three quarters length, seated in a red leather chair, in
wig and gown, ^ face to right, a roll of parchment in the right
hand

BRUCKNER, REV. JOHN,

Pastor of the Walloon Church in Norwich from 1753 to 1804,

invited to Norwich from Leyden.
Painted and exhibited No. 243, or 662, in Catalogue of Royal

Academy, 1800, as 'Portrait of a Gentleman.'
Canvas, 29^ x 24^ inches.
In possession of Mrs. Opie, at her death in 1853, now of

Daniel Gurney, Esq. of N. Runcton, Norfolk.
Three quarters the size of life.
This portrait formed the subject of Mrs. Opie's ' Lays of the

Dead, portrait the third.'
Pastor Bruckner was her French Master.
Miss Brightwell, in her life of Mrs. Opie, 1854, says, page 29,
' Mr. Opie painted an admirable likeness of him, which appeared
in the London Exhibition of 1800.'

BUCKNELL-GRIMSTON, SOPHIA,

see HONBLE. MRS. BERKELEY PAGET.

BULKELEY, CATHERINE EVCOTT (ne'e WILLIAMS),
Wife of Mr. Bulkeley of Bath.
Canvas, 30 x 25 inches.
In possession of her great nephew, Colonel R. H. Champion.

PAR T L PORTRAITS. 79

Seen to waist, ^ face to left.

The face remains untouched, but the dress is disfigured by
daubs of paint, said to have been applied intentionally, because
Mr. Bulkeley was dissatisfied with the representation of his wife,
who was a reputed beauty.

BUNN, Miss,

Sister of Opie's first wife.

Painted about 1788.

Exhibited No. 82 in Catalogue of Truro Exhibition, 1861.

Canvas, 32 x 27 inches.

In possession of Sir John St. Aubyn, Bart.

Seated, half length, in white dress, and a very large black
Spanish hat; the hands unfinished.

Engraved Mezzo, unknown.

BUNN, ELIZABETH, see MRS. MEYMOTT,
Sister of the preceding.

BUNN, MARY, see MARY OPIE.

BURKE, EDMUND, M.P.

Statesman,

Born 1730, Died 1797, aged 67.

Painted 1792.

Exhibited No. 560 in Catalogue of National Portrait Exhibi-
tion, 1867, by the Countess Delawarr.

Canvas, 29^ x 24^ inches.

At Knole, in Kent.

A bust, looking to his right; holding a paper in his right
hand.

This noble portrait was purchased by the Duke of Dorset in
1792, as appears by a label at the back.

It has never been re-lined, and on the back of the original
canvas is written with a free brush, as if by the painter himself,

'Opie Pinxit 1792

Ed. Burke, Esqre.'

8o PICTURES BY JOHN OPIE, R.A.

BURRELL, SIR MERRIK, Bart., M.P.,

Of West Grinstead Park, cr. Baronet, 1766, Died 1787.
Painted about 1785, for Mr. Richard Wyatt, of Egham.
Canvas, 29)^ x 24^ inches.
In possession of Arthur Wyatt-Edgell, Esq., Devon, Mr. R.

Wyatt's great grandson.
Full face, in a maroon coat, and wig ; a Kitcat.

BURTON, HENRY,

Painted about 1800.

Canvas, 28^ x 24 inches.

In possession of his relative, Mrs. Burton Daveney, of Heig-
ham Grove, Norwich.

Seen to waist, seated, full face, in blue coat with gilt buttons,
buff waistcoat, and white neck-cloth. Age between 60 and 70.

Another portrait of Mr. Burton has been reported from Nor-
wich, but I have failed to learn any particulars of it.

BURTON, ELIZABETH, (ne'e YOUNG).

Wife of Henry Burton.

Painted about 1800.

Canvas, 28^ x 24 inches.

In possession of Mrs. Burton Daveney.

Seen to waist, seated, ^ face to left ; her left arm rests on a
sofa; in dark blue dress, shewing a white habit shirt of muslin,
frill of white lace round throat, and white muslin turban. A
beautiful picture.

BURY, LADY CHARLOTTE, see LADY C. CAMPBELL.

CAMPBELL, LADY AUGUSTA,

Eldest daughter of John, 5th Duke of Argyll : married Gen-
eral Clavering, and Died 1831.
Painted about 1784, for the Duke.
In possession of the Duke of Argyll, at Inverary Castle.
Full length, seated, playing a guitar.

PART L PORTRAITS. 8 1

CAMPBELL, LADY CHARLOTTE SUSAN MARIA,

Second daughter of John, 5th Duke of Argyll. She married
first, in 1796, Colonel John Campbell, and secondly, in
1819, Rev. Edward Bury.
Painted about 1784, for the Duke.
In possession of the Duke of Argyll, at Inverary Castle.
Full length, seated, with a dog on her lap.

CAN HAM, ELIZABETH, see ALDERSON.

CARDEW, REV. CORNELIUS, D.D.,

Sometime Master of the Grammar School at Truro.

Born 1748, Died 1831, aged 83.

Exhibited at Taunton Castle, 1875.

In possession of Dr. Woodforde, Taunton.

CARPENTER, JOHN ESQ.,

. Of Mount Tavy, Devon. Died 1797.
Canvas, 29 x 24*^ inches.
In possession of Mr. J. Carpenter Gamier, M.P.

CARRINGTON, NICOLAS TOMS,

Schoolmaster at Plymouth, and Poet.

Born 1777, Died 1830, aged 53.

Painted about 1800.

Canvas, 13 x 9% inches.

Presented to the Athenaeum at Plymouth.

A small seated figure, seen to knees, ^ face, a paper in his
right hand, his left resting on the arm of the chair.

GARY, MRS.,

Of Torr Abbey.

Painted and exhibited No. 174 in Catalogue of Royal Acad-
emy, 1807.

Probably now at Torr Abbey.

A notice of Opie in the Literary Panorama, September, 1807,

G

82 PICTURES BY JOHN OPIE, Jt.A.

contains this reference : " His most graceful picture is that of Mrs.
Gary, in the present exhibition."

CAWSE, JOHN,
Portrait painter.
Canvas, 20 x 16 inches.

In possession of S. P. Knowles, Esq., and has been in his
family 50 years.

A bust, life size, turning to left, in dark brown coat buttoned
up, white neck-cloth. The picture is signed in the
corner, " J. Cawse, painted by J. Opie, R. A."

A line engraving, by Stalker, 4°., represents him at the age
of 20 to 30, and describes him as 'portrait and conversation
painter] with fac-simile of his signature ; but Mr. Knowles thinks
this must have been engraved from another portrait by Opie, as
the arrangement of hair, and the age represented, differ from his
portrait

CHAMBERLAIN, see THE CONJUROR.

CHARLOTTE, H.R.H. THE PRINCESS,
Painted 1799, signed and dated.

In possession of ' Scrutator.' Notes and queries, fourth Series,
Vol. XI, page 384.

If this portrait is correctly named, it probably represents
Charlotte Augusta Matilda, Princess Royal, daughter of George
III, born 1766, married 1797 to Frederick Charles William, Duke
of Wurtemburg, died as Queen 1828.

The Princess Charlotte, daughter of George IV, who was
born in 1796, would have been only three years old at the date
assigned to the picture.

CHATFIELD, MARY, MRS.

Exhibited No. 148, in Catalogue of British Institution, 1854,
and again No. 141, in 1 86 1, by F. Chatfield, Esq.

Canvas, 30 x 25 inches.

PART I. PORTRAITS. 83

Presented 1871, by her son, the late Fred. Chatfield, Esq.,
to the Free Library and Museum at Brighton.

Seen to waist, nearly full face, hair in small curls, powdered,
mob cap, gold and coral ear-rings, narrow black ribbon round
throat, dark dress, white chemisette, and girdle round waist.

CLARK, WILLIAM,

Of Meavy, near Plymouth.

Born 1757, Died 1832, aged 75.

Painted 1791, at Durnford St., Stonehouse.

Oval Canvas, 18^ x 15^ inches.

In possession of his grandson, Alfred Hinton, Esq., at Exeter.

Bust, y^ face to right; light hair with queue, slightly powdered,
hazel eyes; flesh finely painted. In drab Friends' coat, striped
waistcoat, and white cravat.

CLARK, JANE (ne'e Fox),

Wife of William Clark, of Meavy.

Painted 1791, at Durnford St., Stonehouse.

Oval Canvas, 18^ x 15^ inches.

In possession of Alfred Hinton, Esq.

Bust, y± face to left, dark brown hair, in Friends' cap and

neckerchief.
Mrs. Clark was 2nd daughter of John Fox, of Falmouth, and

married 1781.

CLARK, THOMAS BASKERVILLE,

Son of Mr. and Mrs. W. Clark, of Meavy.

Born 1787, Died 1862, aged 75.

Painted 1791, at Durnford St., Stonehouse.

Small oval panel of oak, 11x9 inches.

In possession of Alfred Hinton, Esq.

Seen to waist, half-size of life; full face, his right eye blind;
long light brown curly hair, cut in fringe on forehead, blue eye;
a brown beaver hat at back of head. Opal blue back-ground.
At the age of 4.

84 PICTURES BY JOHN OPIE, R.A,

CLARK, MARY,

Eldest daughter of William Clark, of Meavy, Died unmarried.

Painted 1791, at Stonehouse.

Canvas, 11x9 inches, oval.

In a white dress, at the age of about 9.

CLARK, JANE APPLEBEE,

Second daughter of William Clark, of Meavy, Died unmarried.
Painted 1791, at Stonehouse.
Canvass, 11x9 inches, oval.
In a white dress, at the age of about 8.
Mr. Hinton does not know where these two portraits are, but
remembers them.

CLARK, DEBORAH,

Third daughter of William Clark, of Meavy.

She married John Lawrence Hinton, 1812, and died 1829.

Painted 1791, at Durnford St., Stonehouse.

Small oval panel of oak, 11x9 inches.

In possession of Alfred Hinton, Esq.

Seen to waist, half-size of life, full face, hazel eyes, light brown
hair in flowing locks, white dress. At the age of 5.

CLARKE, REV. EDWARD DANIELL, LLD.

Traveller, and Professor of Mineralogy at Cambridge.

Born 1769, Died 1822.

Painted and exhibited No. 167 in Catalogue of Royal Acad-
emy, 1805.

Seen to waist, nearly full face, to right, natural hair brushed
up; black coat and loose white cravat, furred over-coat, or cloak.

Engraved by Golding, fine line, prefixed to his Travels, 4°.,
1811 ; also by W. J. Fry, prefixed to his Travels, 8°., 18x6.

CLARKE, REV. ED. D., LLD.
The same.
Painted 1807.

PART I. PORTRAITS. 85

Half length, the head turned to look over his left shoulder ;
natural hair, brushed up, black coat, white neckcloth ; in his acad-
emic gown and hood.

Engraved by E. Scriven, la. fo. 1825, again by Scriven 8°.,
with autograph, for his life by Otter, 8°., 1825.

A spirited etching, of the head only, by Mrs. Dawson Turner,
(anon.) forms the frontispiece of Otter's life of Clarke, 4°., 1824.

Otter thus speaks of it in his Preface, " To the kindness of a
"lady it" (the work) "owes an engraving of Dr. Clarke, which
" has been thought by many to exhibit a stronger likeness of him
"than any other portrait has presented before."

CLARKE, MRS.,

Exhibited No. 198, in Catalogue of Royal Academy, 1806.

CLAVERING, LADY AUGUSTA, see CAMPBELL.

COKE, THOMAS WILLIAM, M.P.

Of Holkham Hall, Norfolk, Born 1752, Died 1842; created
Earl of Leicester, 1837.

Painted about 1806.

Full length, standing, his left hand rests on a table ; in velvet
collared coat, light waistcoat and neck-cloth, hessian boots; a
landscape is seen through an arch, at the left ; the light admitted
from the right.

Engraved, sheet, Mezzo, by S. W. Reynolds, 1807.

This fine picture is not known at Holkham.

COLE, REV. JOHN, D.D.

Born 1758, Died 1819.

Rector of Exeter College, Oxford, 1808.

Canvas, 27^ x 23^ inches.

Presented to Exeter College by his nephew John Griffith
Cole, Esq., who was a fellow 1825-1839.

Three quarter face to left, in black coat and white neck-cloth.

COMBE, HARVEY CHRISTIAN, M.P.

86 PICTURES BY JOHN OPIE, R.A.

Lord Mayor of London, Died 1817.
Engraved by C. Turner, fo. 1812.

CONDELL, HENRY,

Musical composer.

Formerly in possession of H. F. Long, Esq. Sold at Put-
tick and Simpson's, March 4, 1864, and again at the same place,
Nov. 15, 1866.

COOMBE, WILLIAM,

A Merchant, a native of Cornwall, and friend of Opie's, Died

at Barnstaple.
Canvas, 24 x 18 inches.
In possession of Mr. James Leyson, who bought it at sale of the

effects of Miss Coombe, his daughter, at Swansea, 1873.
Bust, 24 face > probably painted at one sitting.

CORY, REV. NICHOLAS,

Vicar of Fowey, Died 1791.

Painted about 1780.

Canvas, 29 x 25 inches.

In possession of his great-grandson, Rev. Canon Cory, Con-

nemara, Ireland, bequeathed to him by the late Admiral

Cory.
Half-length, in black gown and bands, and a wig.

COURTENAY, FRANCES, see LADY HONYWOOD.

COXE, MRS.,

Wife of R. Albion Coxe.

Painted 1806-7.

c One of the last pictures on which his genius was employed,'
1 A very graceful portrait.' Mrs. Opie's Preface to her husband's
Lectures, 4°., 1809, pp. 36-7.

CRANE, MRS.

Painted and exhibited No. 150 in Catalogue of Royal Acad-
emy, 1803.

PART I. PORTRAITS. 87

CREWE, ELIZABETH ANNE, see VICOUNTESS FALMOUTH.

CRIPPS, MRS.

Painted and exhibited No. 259 in Catalogue of Royal Acad-
emy, 1806.

CROME, JOHN,

Landscape painter, and founder of the Norwich School of
Painting. Known as Old Crome.

Born 1768, Died 1821.

Painted about 1795.

Exhibited No. 42 in Catalogue of Winter Exhibition of Royal
Academy, 1878.

Canvas, 21^ x 16^ inches.

In possession of Sir Francis G. M. Boileau, Bart.

Bust, Y^ face to left, short brown hair, brushed over forehead.
Dark brown coat with high collar, white neck-cloth. At about the
age of 25-30.

DANBY, WILLIAM,

Of Swinton Hall. This portrait is mentioned by John Fisher,
in his History of Mas/iam, to have been in 1865 in the
possession of Admiral O. H. Vernon Harcourt, through
his wife, who was W. Danby's widow.

DANIELL, RALPH ALLEN, together with CAPT. MORCOM,

Son of Thomas Daniell, of Truro, and a leading adventurer
in Cornish mines. M.P. for West Looe, 1806 to 1813.

Painted 1786; a double portrait.

Exhibited No. 8 in Catalogue of Royal Academy, 1786, as
' a Gentleman and a Miner, with a specimen of copper
ore.'

Canvas, 39 x 49 inches.

In possession of W. C. Pendarves, Esq., at Pendarves; pur-
chased at Bath by the late Mr. Pendarves, M.P. Mr.
Daniell's mother was a niece of Mr. Allen, of Bath.

88 PICTURES BY JOHN OPIE, R.A.

Mr. Daniell is seated at a table, holding a specimen of copper
ore in his hand, whilst Captain Morcom stands at the table.

DAVY, REV. MARTIN, D.D.

Master of Caius Coll., Cambridge, 1803-1815.

Painted about 1803.

Canvas, 29^ x 24^ inches.

Painted and presented to the College soon after his appoint-
ment as Master.

Half-length, ^ face to left, in his Doctor's robes, and pow-
dered wig.

DEANE, MRS. SARAH,

Died about 1820, aged 80.

Painted about 1800.

Canvas, 32 x 28 inches.

In possession of Mrs. E. B. Tweedy, Falmouth, whose hus-
band was Mrs. Deane's grand-nephew.

Nearly full face, black dress, large lace cap and collar, fur
tippet.

DE BURGH, FLORINDA, MRS., (ne'e Gardiner).

Wife of Thomas de Burgh, M.P. of Oldtown, Naas, Ireland,

and sister of Luke, ist Viscount Mountjoy.
Canvas, 40 x 30 inches.

In possession of her great-grandson, Thomas John de Burgh,
5th Dragoon guards, Oldtown.

DELANY, MRS. (nee Mary Granville).

She married, first, Alex. Pendarves, of Roscrow, and secondly,
Rev. Patrick Delany, D.D. Born 1700, Died 1788, at
Windsor.

Painted 1782, for King George III.

Exhibited No. 708 in Catalogue of National Portrait Exhibi-
tion, 1867.

Canvas, 30 x 25 inches.

In the Royal Collection at Hampton Court.

PART I. PORTRAITS. 89

Seen to waist; as an old lady in black widow's cap, wearing a
locket with the Royal Initials, G.R. presented to her by the King.

DELANY, MRS.

A second portrait of her is in possession of Lady Llarrover, to
whose mother the Marquis of Bute gave it, as she was related to
Mrs. Delany. This portrait was painted for Lady Bute, (wife of
the Earl of Bute, who was prime minister, 1762-3), and is thus
mentioned in the Autobiography of Mrs. Delany, 1862. Vol. vi,
497: "Lady Bute induced Mrs. Delany to sit a second time to
" Opie, that he might paint a portrait of her from life, in exactly
"the same dress and position as the picture he had painted by
"command of King George III and Queen Charlotte, and which,
"during their lives, was hung in their bed chamber at Windsor
" Castle, and is now at Hampton Court."

Horace Walpole designed an ornamental frame for this picture,
for Lady Bute, after Mrs. Delany's death, the ornaments being
emblematic of Mrs. Delany's accomplishments, Music and Paint-
ing. A sketch of the design can be seen at page 498 of the
volume here cited.

Engraved by J. Brown, as frontispiece to the ist vol. of Mrs.
Delany's Autobiography.

DINGWALL, MR.

Painted 1807, one of his latest.

Exhibited No. 225 in Catalogue of Royal Academy, 1807.

The Literary Panorama of Sep., 1807, after criticizing Opie's
Subject pictures, says of his recent portraits: "Some of these are
" almost alive, * * * His portrait of Holcroft, of Tresham, and
" that of Mr. Dingwall almost breathe."

DOLBEN, SIR WILLIAM,

M.P. for Oxford University, 1780-1806, Died 1814, aged 88,

at Bury.

Painted about 1800.
Canvas, 30 x 24 inches.

90 PICTURES BY JOHN OPIE, R.A.

In the Gallery of the Bodleian Library, Oxford.
Three quarter face, in the dress of the period.

DUMERGUE, CHARLES,
Surgeon.
Engraved by Conde. (Evans' Catalogue).

DUNDAS, HENRY,

First Viscount Melville.
Engraved.

DURHAM, SHUTE BARRINGTON, BISHOP OF (1791-1826).
Born 1734, Died 1826.

Painted and exhibited No. 222 in Catalogue of Royal Acad-
emy, 1805.

EDWARDS, MRS. MAJOR, see Supplement.

ELLIOTT, MRS., (ne'e Maltby),

Sister of the Bishop of Durham. ,

Painted about 1800.

Canvas, 30 x 25 inches.

In possession of Mrs. Fraser Tytler, whose grandfather, Rev.
Prebendary Pretyman, of Norwich, bought it of Mr.
Opie.

Seen to waist, |^ face to left, blue eyes, brown hair curling
over forehead. In buff dress with white short sleeves, her right
elbow resting on a red-covered table, with her hand at her cheek.

A very graceful portrait, and in beautiful condition, untouched.
She is represented at the age of 20-25.

ELLIOTT, MRS.

A picture bearing the same title as above was sold at Christie's,
June 8, 1872 by Mr. Charles Cope's Exors. for 23 guineas.

ENNIS, MARY, see MRS. M. VIVIAN.
EXMOUTH, EDWARD PELLEW, ist Viscount,

PART I, PORTRAITS. 91

Famous Admiral, created a Viscount after his bombardment

of Algiers, 1816.
Born 1757, Died 1833.
In possession of his brother, Collector Pellew, in 1831, and

still, it is believed, in the family.

FALMOUTH, GEORGE EVELYN, 3rd Viscount,

Born 1758, Died 1808.

Painted about 1805.

Canvas, 30 x 25 inches.

In possession of Evelyn, 6th Viscount, at Tregothnan.

This portrait and the following are a pair of Kitcats in Opie's
best manner.

The Viscount is ^ face to right, in dark blue velvet coat,
bushy powdered hair.

FALMOUTH, ELIZABETH ANNE, VISCOUNTESS,

She was dau. and h. of John Crewe, and wife of the pre-
ceding, 3rd Viscount Falmouth.

Painted about 1805.

Canvas, 30 x 25 inckes.

At Tregothnan, (see Viscount Falmouth, above).

Kitcat, Y^ face to left, in black silk dress, powdered hair, and
a white kerchief folded over the shoulders.

FALMOUTH, EDWARD, EARL OF, see BOSCAWEN.

FANSHAW, JOHN,

Of Shabden, Born 1738, died 1807.

Painted probably about 1795-1800.

Canvas, 30 x 25 inches, re-lined.

In possession of Admiral E. G. Fanshawe, C.B.

Seen to waist, ^ face to left, powdered hair; in dark brown
coat, white waistcoat, frill and ruffles. The light admitted from
the right. A very good specimen.

FARINGTON, JOSEPH,

92 PICTURES BY JOHN OPIE, R.A.

Landscape painter, died 1818; brother of George Farington,
historical painter, who died 1788.

Painted and exhibited No. 97 in Catalogue of Royal Acad-
emy, 1794, as 'Portrait of a Gentleman.'

This portrait is named ' Sir J. Smith, in margin of Anderdon
Coll. of Catalogues ; but as the engraving there inserted is marked
as being after a portrait of him painted by Opie in 1784 (the
date is cut off from the inserted copy), I prefer the authority of a
contemporary newspaper quoted to me by Mr. Algernon Graves,
which names it ' Faringdon, the painter.'

FENWICK, MRS. N. L., see SEBRIGHT.

FINCH, HON. MRS. CHARLES,

Painted and exhibited No. 162 in Catalogue of Royal Acad-
emy, 1 80 1.

FOOT, JESSE,

Surgeon, Died 1826.

The Anderdon Coll. has, in Catalogue of 1798, an inserted
engraving by Freeman, published by C Dyer, Soho, undated,
plate 6y2 x 4^ inches.

Half length, to waist, neglige, ^ face to left, in velvet col-
lared coat, buttoned across breast, light waistcoat, ample white
neckcloth, and crumpled shirt collar.

FORSTER, REV. SAMUEL, D.D.

Head Master of Free School, Norwich, and a Fellow of SL
John's ColL, Cambridge, 1776-83.

Died 1843, aged 91.
Painted about 1804.
Canvas, 95 x 59 inches.
At St John's ColL, Cambridge.

Full length, standing, a little to right, full face, natural hair,
in cassock and bands, with full sleeved gown as D.D.
Engraved by E. Bell, sheet, Mezzo., 1805.

PART I. PORTRAITS. 93

FORTESCUE, SIR JOHN, KNIGHT.

Made Lord Chief Justice of the King's Bench, 1442; author

of the famous treatise, ' De laudibus legum Anglice?
Died in Gloucestershire, aged 89.

Painted for Colonel Fortescue, of Buckland Filleigh, from the
original at Castle Hill, which is attributed to the School
of Mabuse.

Octagonal Canvas, 30 x 22 inches.

In possession of J. W. Peard, Esq., who bought it in 1841, at
Tavistock, at sale of Mr. Bridgeman, who had bought
it at the sale at Buckland Filleigh, after the death of
Colonel Fortescue, in 1840.

Seen to waist ; ^ face to right, in red robe edged with fur at
neck and wrist, black scarf and cap, flowing hair, and slender
moustache, the hands folded and raised as in prayer.

The portrait is inserted in the upper part of a mirror-frame ;
a shield beneath the portrait is inscribed, " De laudibus legum
Anglice" the title of his famous treatise. The Mirror-plate, 34 x
50 inches, is inserted in an elaborately carved frame of cupids,
flowers and foliage.

FOX, RIGHT HON. CHARLES JAMES,

Famous Statesman. Born 1748, Died 1806.

Painted 1804, for Mr. Coke, Earl of Leicester.

Exhibited No. 82 in Catalogue of Royal Academy, 1805.

Canvas, 8 f. 10^ x 6 feet

In possession of The Earl of Leicester, at Holkham.

Full length, in the Fox livery, blue coat and buff waistcoat,
standing, his left hand on a table. Dated in left corner, below,
1804.

Mr. T. J. Smith, in his ' Nollekens and his times,' voL ii, p.
289, relates of this portrait — " It is a curious fact that Opie's
" picture of Fox was not wholly painted from the life ; since Opie
" was obliged, in consequence of the few sittings which the min-
" ister could allow him, to borrow Nollekens' bust to finish from."
See Pref. to Opie's Lectures, page 72, and BrightweW s Life of
Mrs. Opie, page 105.

94 PICTURES BY JOHN OPIE, R.A.

Engraved by S. W. Reynolds, la. fo. Mezzo, 1806, and ^
length only, by H. Robinson, mixed, in Lodge's Portraits, 1835,
voL xii, reduced in size.

FOX, RIGHT HON. CHARLES JAMES.

Another portrait of him was sold at Christie's, June 14, 1862
to Mr. Wm. Cox, for .£42.

FOX, JANE, see MRS. WM. CLARK.
FRY, MRS. A. F., see J. S. S. WESTCOTT.

FUSELI, HENRY, R.A.

Painter. Born at Zurich, about 1739, Died at Putney Hill,

1825.

Painted 1794.
Exhibited No. 29 in Catalogue of Royal Academy, 1794, as

' a Gentleman,' identified in Anderdon Coll.
Half-length, in an oval, nearly full face, to right, grey hair,
velvet collared coat, and white neck-cloth.

Engraved by Ridley, 8°., 1801, for the Monthly Mirror.

FUSELI, MRS.

Wife of H. Fuseli, R.A

Painted and Exhibited No. 42 in Catalogue of Royal Acad-
emy, 1794, as 'a Lady,' indentified in Anderdon Coll.

GALIAGAN, MR.,
Of Soho Square.

Painted and exhibited No. 147 in Catalogue of Royal Acad-
emy, 1787, as 'Portrait of a Gentleman.' Identified in
a contemporary newspaper.

GARDINER, FLORINDA, see MRS. DE BURGH.

GAY, JOHN,

Of Norwich. Painted 1799.
Canvas, 28 x 24 inches.

PART I. PORTRAITS. 95

A family Portrait in possession of his grandson, Rev. Canon

Wm. Harding Girdlestone ; in excellent preservation.
Half length. 'The most speaking likeness ever painted.'
(W. H. G.).

GAY, Miss,

Daughter of Mr. John Gay of Norwich.
Painted 1799.
Canvas, 28 x 24 inches.

In possession of Rev. Canon Girdlestone; in excellent pre-
servation.
Half-length, at age of 19, in white dress, black scarf.

GEARE, MRS., see CHARLOTTE GULLETT,

GIDDY, DAVIES, M.P. (DAVIES GILBERT, 1817).

Succeeded Sir Humphrey Davy, as President of the Royal

Society, Nov. 30, 1827. Born 1767, Died 1839.
He took the name of Gilbert after his marriage in 1808, with

the heiress of Thomas Gilbert, of Eastbourne.
Painted 1805, marked ' Opie, JR. A., 1805.'
Exhibited No. 227 in Catalogue of Royal Academy, 1806.
Canvas, 29 x 24 inches.

In possession of Hon. Mrs. Davies Gilbert, at Trelissick.
Seen to waist, full face, in black coat, powdered hair, white
neck-cloth.

A letter of Mrs. Opie relating to this portrait is preserved at

Enys, addressed to ' D. Giddy, Esq., M.P.' :
"Monday, 31 March, 1806. Dear Sir, can you give Mr.

" Opie a sitting to-morrow or Wednesday Morning that

" he may brush up your picture against the Exhibition.

" A Opie, at 9 o'clock."

GIDDY, MARY, see MRS. GUILLEMARD.

GIDDY, MRS.,

Probably the mother of Thomas Giddy, who married Mary,
sister of Dr. John Wolcot (Peter Pindar).

96 PICTURES BY JOHN OPIE, X.A.

Her maiden name was Anne Collins, of Phillack.

Painted probably before 1781.

Canvas, 22 x 18^ inches.

In possession of Mr. E. Trewbody Carlyon, and previously of

the late Charles Giddy, her grandson.

Bust, y^ face, looking over her right shoulder, in evening
dress.

GIFFORD, Miss.

Painted and exhibited No. 22 in Catalogue of Royal Acad-
emy, 1806.

GILBERT, DAVIES, P.R.S., see D. GIDDY.

GILLIES, JOHN, M.D., F.R.S.,

Historiographer for Scotland. Born 1747, Died 1836.

Painted 1795, for himself.

Canvas, 30 x 24 inches.

In possession of Mrs. Mennell, bequeathed by Lord Gillies.

Seen to waist, seated, ^ face to right, powdered hair; in
high-collared coat, buttoned at waist, white neck-cloth. His right
hand rests on a book on his knee, which is unseea

Engraved by K. Mackenzie, 8°., 1800, and by C. Picart, 4°.,
1813, for CadelFs British Gallery, at which date the original was
in possession of Dr. Gillies himself.

GILLIES, CATHERINE (ne'e BEAVER) MRS.,
Wife of Dr. John Gillies, above.
Painted 1795.
Canvas, 30 x 24 inches.

In possession of Miss Helen Elizabeth Gillies.
Half-length, seated.

GILLIES, MRS.,

The same as the preceding, but a later and different portrait.

Painted 1805.

Canvas, 35^ x 27^ inches, relined.

PART I. PORTRAITS. 97

In possession of her relative, Henry Smith, Esq., Ellingham

Hall.

Three quarters length, powdered hair bound with blue ribbon ;
blue and white sash; no shawl, hands in light brown gloves.

GIRTIN, THOMAS, see Supplement.

Landscape painter in water colours. Born 1773, Died 1802.

Painted 1800-2.

Exhibited at Winter Exhibition of Royal Academy, 1875,
together with a collection of Girtin's Water-colour Pic-
tures.

Canvas, 29 x 24^ inches.

In possession of his grandson, George W. H. Girtin.

Seen to waist, ^ face to right. In black coat, and white
neckcloth ; a palette and crayon in his hands.

Engraved by S. W. Reynolds, Mezzo, 1817, and by E. Scriven,
for Libraiy of Fine Arts, 1832.

GLASS, THOMAS, M.D.,

A Physician at Exeter, Died 1786.

Painted about 1781.

Exhibited No. 154 in Catalogue of Portraits of Devon and
Cornwall at Exeter, 1873.

In possession of Devon and Exeter Hospital.

Half-length, seated, in wig and Doctor's red gown, a gold-
headed cane in hand.

Engraved by E. A. Ezekiel, 1788.

GLOUCESTER, H.R.H. WILLIAM HENRY, DUKE OF,
Brother of King George III, Born 1743, Died 1805.
Painted about 1782.

GLOUCESTER, H.R.H. MARIA, DUCHESS OF,

Countess Dowager Waldegrave, married to H.R.H. William

Henry, Duke of Gloucester, 1766.

This Portrait, and that of the Duke, are mentioned as painted

H

98 PICTURES BY JOHN OPIE, R.A.

by Opie in a MS. Memoir of his patron Dr. Wolcot by Mr.
Edward Collins Giddy, who was Wolcot's nephew. Wolcot also
mentions Opie's engagement to paint both portraits, in a letter
written in 1782 from London, and quoted in the Biographical
Sketch, page 23.

GLOUCESTER, H.R.H. WILLIAM FREDERICK, DUKE OF, K.G.,

Chancellor of the University of Cambridge 1811-34, Born
1776, Died 1834.

Painted 1806-7.

Exhibited No. 161 in Catalogue of Royal Academy, 1807.

Canvas, 8 f. 6 in. x 4 f. 10 inches.

In the Combination room at Trinity College, Cambridge.

Full length, standing, in black gown, breeches and white
stockings, a star upon his breast.

Finished by his pupil Henry Thomson, by directions from
Opie on his death bed, as related by Mrs. Opie, Preface to Lec-
tures, 4°., 1809, page 51.

Engraved by S. W. Reynolds, fo. Mezzo, also by Henry
Meyer, after a drawing by R. W. Satchwell, composed from this
picture, as a frontispiece to Ackermanris History of Cambridge,
4°., 1815. The Chancellor's embroidered robe is substituted for
Opie's black gown, &c.

GODWIN, MRS. WILLIAM,

Mary Wollstonecraft, first wife of William Godwin, whom she
married, 1797.

Born 1759, Died 1797.

Mother of Mrs. Shelley, the Poet's wife.

Painted about 1797, for Godwin.

In possession of Sir Percy Shelley, Bart.

Seen to waist, ^ face to left, auburn hair, loosely arranged;
in white dress, shewing the neck, sleeved to elbow; dark green
gauze head dress.

A very graceful portrait, in perfect preservatioa •

Engraved by W. F. Annis, 4°., Mezzo, and 8"., 1815, pub-

PART I. PORTRAITS. 99

lished by Dean and Munday; a Woodbury-type also as frontispiece
to voL ii of Godwin and his friends, 8°., 1876.

GODWIN, MRS.. WILLIAM,

Same as the preceding.

Exhibited No. 173 in Catalogue of British Institution 1861,
and No. 689 in Catalogue of National Portrait Exhibi-
tion, 1867.

Canvas, 30 x 25 inches.

In possession of William Russell, Esq.

Seen to waist, seated, to right, open book in right hand.

GODWIN, MARY WOLLSTONECRAFT,

Only daughter of William Godwin by his first wife, married to
Percy Bysshe Shelley, the Poet.

Born 1797, Died 1851.

Sold as Portrait of Mary Wollstonecraft Godwin at the sale of
Opie's Pictures, June 6, 1807, after his death.

GOODRIDGE, JOHN, R.N.,

Commander of a Falmouth Packet, and author of a book on
tactics, and an essay, ' The Phoenix?

Died 1781, aged 72.

Painted 1780, at Flushing; restored 1874.

Exhibited at Polytechnic Hall, Falmouth, 1854, by Mr. Falk.

Canvas, i o x 8 inches.

In possession of Mrs. Gay, Falmouth, from Mr. Falk, of
Budock, whose wife was Capt. Goodridge's daughter.

Half-length, ships at sea in distance.

Engraved by J. Heath, 8°., 1781, oval in a square, "aged 71,"
as frontispiece to ' The Phoenix?

GORDON, LIEUT. -COLONEL HUGH MACKAY,

Quarter Master General of forces in India.

Seen to waist, full face, bluff features, short hair; in plain
coat, buttoned, white cravat.

Engraved by W. W. Barney, Mezzo.

100 PICTURES BY JOHN OPIE, R.A.

GRAHAM, SIR JAMES, M.P.,

The first Baronet. Born 1753, Died 1825.

Exhibited No. 167 in Catalogue of British Institution, 1854,

by Sir A. Dalrymple.
Half length, holding a book.
Engraved by C. S. Taylor, 4°., private plate.

GRANDI, MR.,

Inventor of a composition for painters' canvas.

This Portrait was painted by Opie on a canvas so prepared
by him, as an experiment.

Canvas, 17 x 14 inches.

Bequeathed to the University Galleries, Oxford, by Rev. T.
Penrose, D.C.L.

A Bust, life size, a handsome man about the age of 40, black
hair.

" Grandi, the Italian colour-grinder, sat to Reynolds for King
Henry VI in the death of Cardinal Beaufort." Hazlitfs conv. of
James Northcote, 1830, page 174.

GRANVILLE, MARY, see MRS. DELANY.

GRAVES, MRS. MARY,

Daughter of Vice Admiral Sir Thomas Graves, K.B.

Painted before 1780.

In possession of Sir Charles Graves Sawle; a very pretty

family portrait. Half-length, in a hat, holding a basket

of flowers; at age of 16.

GREY, CHARLES, ist EARL,

Father of Lady Elizabeth Whitbread. Born 1729, Died

1807.
In possession of Samuel C. Whitbread, Esq., Southill.

GRIBBLE, CAPTAIN C. B.,

In Hon. East India Company's Service.
Painted about 1806.

PART I. PORTRAITS. IOI

Exhibited at Taunton Castle, 1875.
Canvas, 30 x 24 inches.

In possession of his daughter, Mrs. Turner, of Taunton.
Seen to waist, ^ face to left, in the uniform of the E.I. Co.'s
Service ; at the age of 34.

GRYLLS, MRS. R. GERVEYS,

Charity, eldest daughter of William Hill, of Carwythenick,
married to Rev. Richard Gerveys Grylls, 1783.

Painted 1779-81.

Canvas, 21^ x 18^ inches.

In possession of Lieut.-Col. Grylls, Lewarne.

Seen to waist, ^ face to left ; in a dark green dress, shewing
white kerchief in front, her hair dressed high over rollers. A very
pretty portrait

GUILLEMARD, MRS.,

Mary Philippa Davies, only daughter of Rev. Edward Giddy,
of Tredrea, married in 1804 to John Guillemard, Esq.

Painted 1805.

Canvas, 29 x 24 inches.

In possession of Hon. Mrs. Davies Gilbert, at Trelissick.

Seen to waist, seated, ^ face to left, in russet brown dress,
short sleeves, a black crape scarf over her right arm, rich brown
hair bound by a black velvet fillet ; a landscape in background.

The canvas is marked on lower left corner, ' M. P. D. Giddy,
Opie p. 1805.'

GULLETT, CHRISTOPHER, together with his wife, ANNE, and

their youngest child, GEORGIANA, of Collins, near Tavi-

stock, Clerk of the Peace for Devon.
Painted, together with the two following pictures, at Collins,

during a six weeks' visit, about 1790.
Canvas, 51 x 40.
In possession of Miss Geare, Exeter, whose brother, John

Geare, married Charlotte Gullett.

102 PICTURES BY JOHN OPIE, R.A.

A group of three figures ; the parents seated, the child stand-
ing. Mrs. Gullett in low white satin dress, and black velvet ribbon
round throat; Mr. Gullett in olive brown coat and waistcoat, with
curled lawyer's wig. He is on the left, she on the right of picture.
The child, about 4 years old, in white cotton dress, resting her
arms on her mother's lap, between them.

GULLETT, ANNE, CHRISTOPHER, and JOHN,

Eldest daughter, and two sons of the last named Christopher
and Anne Gullett. Both the sons were afterwards bar-
risters.

Painted about 1790, (see above).

Canvas, 5 1 x 40 inches.

In possession of Miss Geare, Exeter.

A group of three figures, ^ length; Anne as a girl of 15,
playing a spinette; Christopher, 16, in crimson coat, and white
neck-cloth, stands by her with his flute; John, 12, in light grey
coat, frilled, has a roll of music in his hand. Base of fluted
column in upper right corner.

GULLETT, MARY, CHARLOTTE, CAROLINE, and ELIZA,

Four younger daughters of same Christopher and Anne Gul-
lett Charlotte married Mr. John Geare, of Exeter; the
rest died unmarried.

Painted about 1790, (see above).

Canvas, 5 1 x 40 inches.

A beautiful group of 4 girls of 4 to 1 2 years of age, in varied
attitudes. Mary, seated on a stool, at left, in dark grey silk dress,
cap frilled and feathered; Charlotte, standing, on right, in muslin
over a primrose silk dress, and frilled cap ; Caroline and Eliza,
each in white, without caps : all dark hair.

These three pictures have been excellently preserved

GURNELL, Miss, see MRS. ARMSTRONG.

GURNEY, JOHN,

Of Earlham, Norfolk. Born 1750, Died 1809.

PART I. PORTRAITS. 103

Painted about 1799, and most probably the picture exhibited
No. 187 in Catalogue of Royal Academy, 1799, as Mr.
Gurney, of Norwich.

Canvas, 29 x 24 inches.

In possession of John Gurney, Esq., of Sprowston Hall.

Seen to waist, nearly full face, at age of about 50.

GURNEY, JOHN, junr.,

Eldest son of the preceding John Gurney, of Earlham, mar-
ried his cousin, Elizabeth Gurney, and died s. p. 1814.
See fancy portrait of him, as a boy, in ' The Fortune-teller,'1

GURNEY, HUDSON, M.P.,

Of Keswick. Born 1775, Died 1867. He represented Shaftes-

bury, 1812, and Newtown, Hants, 1816-1832.
Painted 1797.

Canvas, 29^ x 243^ inches, (sight).

In possession of Daniel Gurney, Esq., North Runcton, Norfolk.
Half-length, etched, 4°., by Mrs. Dawson Turner.

GURNEY, JOHN,

Of Trevorgus, Cornwall, father of Sir Goldsworthy Gurney ;
Born 1753, Died 1823.

Painted before 1781.

Canvas, 28 x 22 inches.

In possession of his grand-daughter, Miss Gurney, Reeds,
Bude.

Half-length, ^ face to left, in claret coat and ruffles, white
neck-cloth with heart-shaped brooch inserted ; his right hand half
hid in his waistcoat ; dark natural hair.

GURNEY, HANNAH, (LADY BUXTON) and RICHENDA, see ' The
Fortune-teller^

GURNEY, HANNAH, see MRS. T. KETT.

HAMILTON, LADY,

Emma Harte, 2nd wife of Sir William Hamilton, Ambassador

104 PICTURES BY JOHN OFIE, R.A.

at the Court of Naples, Born 1761, Married 1791, Died
1815.

Painted between 1785 and 1795.
Canvas, 29 x 25 inches.

A family portrait, in possession of Captain B. Hamilton, of
H.M. Indian Navy, presented by Opie to his father-in-
law, Mr. Bunn.

Seen to waist, ^ face looking over her right shoulder, golden
hair with ivy leaves tossed by the wind ; arch expression ; her right
hand gracefully raised to her lip ; in cream white dress ; in a land-
scape.

The influence of Reynolds is apparent in the picture, but it
is said to be differently treated from his representation of her as a
Bacchante.

HAMILTON, MR. and MRS. JOHN,

Of Brownhall, Donegal, Ireland, his wife was Isabella Stewart,
who died 1832. He Died 1811.

Canvas, 50 x 49 inches, relined 1862 by Anthony.

In possession of their great grandson, Major James Hamilton.

Two portraits on one canvas. Both seated at a round table,
a curtain drawn back to right. He, full faced, in centre, holds up
an open letter in his left hand, in brown velvet suit, and wig. She
on the left, ^ face to right, in white morning dress, with rose
coloured sash, her hair full and powdered; an inkstand on the
table.

HANBURY, WILLIAM and ANNE, see LORD BATEMAN.

HANKEY, JOHN CHAPLIN, M.P.,

Represented Wareham 1799-1801.

Engraved by C. Watson, 4°., 1793.

' Half-length, sitting, holding a letter,' (Evans, and W. Smith
MSS.).

HANCOCK, JOHN EASTMAN,

Born 1755, Died 1832, brother of Mrs. John Westcott, post.

PART / PORTRAITS. 105

Canvas, 29 x 24 inches, relined.

In possession of Mr. Danby P. Fry, grandson of John Westcott.

Seen to waist, seated in a chair, in dark blue coat, striped
buff waistcoat; full face, powdered hair; his right hand holds a
letter, his left hand gloved; white neck-cloth and frill, red under-
waistcoat just seen at left: 2 books lie on a table at his left; a red
curtain at back.

HANCOCK, HANNAH, see WESTCOTT.

HARCOURT, LADY,

Mentioned as having been painted in 1782, both by Wolcot,
and his nephew, Ed. Collins Giddy : MSS. cited in Biographical
Sketch.

HAREWOOD, COUNTESS OF, see SEBRIGHT, HENRIETTA.

HARDING, JOHN,
Born 1758.
Painted 1799.
Canvas, 28 x 24 inches.
A family portrait, in possession of his great nephew, Rev.

Canon Girdlestone.
A half-length, in excellent preservation.

HARMER, SAMUEL,

Speaker of the Common Council of Norwich.

Died 1808, at the age of 86.

Painted about 1798, for the Council

Canvas, 93 x 58^ inches.

In the magistrates' room, at the Guildhall, " presented by the
"Common Council, Sep., 1798, as a mark of their approbation
"of his uniform conduct in supporting the rights of his fellow
" citizens," — (inscription).

Full-length, in his robes as Speaker; full face; within an arch.
A very fine, picture ; dignified and resolute.

Engraved by S. W. Reynolds, sheet, Mezzo, 1805.

106 PICTURES BY JOHN OPIE, R.A.

HARRIS, HENRY,

Third son of Thomas Harris, of Rosewarne, near Camborne,
settled at Rosteage, in Gerrans, Died 1830.

Painted before 1781.
Canvas, 30 x 26 inches.
At Rosewarne, Camborne.

Seen to waist, ^ face to left, in blue coat, embroidered buff
waistcoat, white neck-cloth and ruffles, natural hair.

HARRIS, MARY,

Only daughter and heiress of William, eldest son of Thomas
Harris, of Rosewarne. She married Henry Winchcombe
Hartley, of Berkshire; Died 1868.

Painted before 1781.
Canvas, 30 x 26 inches.
At Rosewarne, Camborne.

Seen to waist, ^ face to left, in dove-coloured evening dress,
her hair dressed over a cushion, with pearls; throat ribbon.

HARRIS, WILLIAM,

Eldest son of Thomas Harris, of Rosewarna Sheriff of

Cornwall, 1773, Died 1815.
Painted before 1781.
Canvas, 30 x 26 inches.
At Rosewarne, Camborne.

Seen to waist, ^ face to left, powdered hair; in drab coat
faced white, white neck-cloth, and frill.

HARRIS, PETER BOWN,

Of Rosemerryn, Falmouth, J.P. and D.L. Died 1830, at the

age of 64.

Painted about 1786.
Canvas, oval, 8x6 inches.

In possession of his relative, Mr. G. B. Millett, Penzance.
He is represented as about 20 years of age.

PART I. PORTRAITS. 107

HARRIS, PETER BOWN,

The same.

Painted about 1796.

Canvas, 28 x 24 inches.

Also in possession of Mr. G. B. Millett.

Half-length, standing, ^ face to left, long hair, powdered;
in claret coloured coat, and striped waistcoat. At the
age of about 30. .

HARTLEY, MRS. HENRY W., see MARY HARRIS.

HARVEY, JOHN,

Mayor of Norwich, 1792; commanded the Norwich light
horse Volunteers, 1797.

Painted for that Corps, and exhibited No. 1 1 6 in Catalogue
of Royal Academy, 1802.

Canvas, 102 x 70 inches.

In St. Andrew's Hall, Norwich.

Full-length, in uniforn, ^ face to right, his hat and plume in
his left hand, whilst his right hand holds the bridle of his charger,
with shaggy mane and docked tail.

Inscribed, "This portrait of John Harvey, Esq., mayor of
"this city, 1792, Major Commandant of the Norwich light horse
"Volunteers, established 1797, was presented by that Corps in
"testimony of their attachment, esteem, and regard."

HASTINGS, MARQUIS OF, see LORD MOIRA.

HAWEIS, REV. THOMAS, M.D.,

Rector of All Saints, Aldwinkle, Born at Redruth, 1733,
Died 1820.

HAWKER, JOHN NICHOLS,

Merchant of Plymouth, Colonel of Volunteers.

Canvas, 23^ x 19^ inches.

In possession of his grandson, Rev. Treasurer Hawker.

Seen to waist, nearly full face, to right; in blue velvet coat,

108 PICTURES BY JOHN OPIE, R.A.

white collar, turned over, frilled shirt, powdered hair, and queue;
a flute in his hand. About 30 years of age.

HEAME, BENJAMIN,

Of Penryn; Supervisor of Tin for Devon and Cornwall,
Lieut -Colonel of Penryn Volunteers, enrolled 1794.

Painted about 1778, as a young man.

Canvas, 23 x 21 inches.

In possession of his nephew, Mr. f. A. Spargo.

Bust, y^ to left, powdered hair, in light green coat, and red
waistcoat, white neck-cloth, and frilled shirt

HEATHCOTE, MRS. R.,

Represented as Miranda.

Painted 1807; one of his last; mentioned by Mrs. Opie as
'a faithful copy of the beauty it professed to represent' Preface
to his lectures, p. 37.

HENDERSON, COLONEL,

Painted and exhibited No. 210 in Catalogue of Royal Acad-
emy, 1790, as 'Portrait of a Gentleman'; identified by
Mr. Alg. Graves from a contemporary newspaper.

HERRING, JOHN,

Mayor of Norwich, 1799.

Painted, and exhibited No. 26 in Catalogue of Royal Acad-
emy, 1 80 1.

Canvas, 96 x 60 inches.

In St Andrew's Hall, Norwich.

Full-length, in his robes as Mayor; ^ face to left, in his right
hand a scroll; buildings and soldiers in back ground.

Superscribed on frame, "As a tribute for the vigilance, fidelity,
"and impartiality with which John Herring, Esq. executed the
"important office of Chief Magistrate of this city, in the year
" 1799, and for his assiduous and humane attention to the soldiers
" on their return from the Continent, for which he received the
" thanks of the Government, the citizens of Norwich have caused
"this portrait of him to be placed in their Public Hall."

PART 7. PORTRAITS. 109

HILL, REV. ROWLAND,

Third son of Sir Rowland Hill, Bart., and some time Min-
ister of Surrey Chapel, London. Born 1744, Died 1833.

Painted about 1804.

Canvas, 10^ x 8^ inches.

In possession of Mr. J. Fitzroy Morris, Salisbury.

Seated in a pulpit in his gown, full face, his right hand resting
on a book.

HILL, CHARITY, see MRS. GRYLLS.
HINTON, MRS. J. L., see CLARK.

HO ARE, MR.,

Painted, and exhibited No. 79 in Catalogue of Royal Acad-
emy, 1800, as Mr. Hoare, of Norwich.

HOARE, PRINCE,

Dramatic author, and Secretary to Royal Academy. Born
1755. Died l834-

Engraved by Hopwood, 8°., square, half-length in a border,
(W. Smith, MSS.). He wrote a short sketch of Opie's life for
The Artist^ No. vii, April 25, 1807, reprinted in Opie's Lectures,
1809.

HOARE, SIR RICHARD,

The first Baronet, cr. 1786.

Painted about 1785 for Mr. Richard Wyatt, of Egham.

Canvas, 29^ x 24}^ inches.

In possession of Mr. Wyatt's great grandson, Mr. Arthur
Wyatt-EdgelL

A Kitcat, full face, in blue coat, striped waistcoat, powdered
hair.

' Mr. Wyatt was one of Opie's early friends,' — ' He was in-
' strumental in bringing that artist out of his humble and modest
' lodging in Orange Court, Leicester Fields, to his home in Queen
' Street.' J. T. Smith's Book for a Rainy Day, 1861, p. 82.

110 PICTURES BY JOHN OPIE, R.A.

HOARE, LADY,

Francis Ann Acland, married in 1761 to Sir Richard Hoare,

above.

Painted about 1785, also for Mr. Rd. Wyatt.
Canvas, 29^ x 24^ inches.
In possession of Mr. A. Wyatt- Edgell.
Full face, in a large hat, powdered hair.

HOBART, HON. HENRY, M.P.,

Fourth son of John, ist Earl of Buckinghamshire; many
years M.P. for Norwich; Died 1799, aged 60.

Painted 1802, for presentation to the Corporation of Norwich.

Canvas, 80 x 60 inches.

In St. Andrew's Hall, Norwich.

Full-length, y( face to right; in dark blue coat, breeches,
white stockings.

Subscribed, " The portrait of the Hon. Henry Hobart, one of
"the representatives of this city in three successive Parliaments,
"and chairman of the Committee of Ways and Means in the
"House of Commons: Painted in 1802."

Wm. Smith's MS. has an engraving by E. Bell, la. fo. Mezzo,
1804, ' Half-length, in a border'; possibly reduced from this.

HOLCROFT, THOMAS,

Dramatist and Comedian, Born 1744, Died 1809.

Painted probably about 1782, for Mr. HolcrofL

Canvas, 29 x 24 inches.

In possession of Mr. John Miers, F. R. S., to whom it was
bequeathed by Mr. Francis Place, to whom Mrs. Hoi-
croft gave it after her second marriage, in memory of
kindnesses shown by him to her husband.

Seen to waist, ^ face to right; in black coat buttoned over
red waistcoat, white neck-cloth, short crisp brown hair.

HOLCROFT, THOMAS,
The same.

PART I. PORTRAITS, III

Painted about 1798.

Holcroffs Diajy (by Hazlitt, 3 vols. 12°., 1816) mentions,
1799, that Mr. G. (probably Mr. Godwin) had also a portrait of
Holcroft, by Opie, ' exhibited last year,' — ' a most admirable paint-
ing and likeness'; see 'Godwin and his friends] 2 vols., 1876.

HOLCROFT, THOMAS,
The same.

Painted, and exhibited No. 123 in Catalogue of Royal Acad-
emy, 1804.

Canvas, 30 x 25 inches, untouched.

In possession of Mr. Charles L. Kenney, whose father married
Holcroffs widow; given by Opie to Mrs. Kenney, who
gave it to Madame Mergez, Holcroft's daughter, from
whom it passed to Mr. C. L. Kenney.

Seen to waist, full face, short hair, stern expression, coat
buttoned; holds spectacles in his left hand.

Holcroffs Diary (by Hazlitt, 3 vols. 12°., 1816) mentions 13
sittings to Opie in January -March, 1799, for a portrait ''intended
for Colonel Barry? If this was declined by Barry, it was probably
this picture.

Engraved anon: Longmans Exc. 1816, 4°., Mezzo, and by T.
Blood, 12°., for Hazlitt' 's Diary, above, 1816.

HOLCROFT, MRS. THOMAS,

Louisa (Mercier) wife of Thomas Holcroft, and subsequently

wife of James Kenney, Dramatist.
Painted 1799, for her.
Canvas, 30 x 25 inches, in original state.
In possession of her daughter by Mr. Kenney, Madame Le-

crosnier, in Paris, given her by Mrs. Holcroft, after her

second marriage.

Seen to waist, ^ face to right, short dark hair over her brow,
in evening dress, and fichu of white muslin.

HOLCROFT, Miss,

Daughter of Thomas Holcroft, dramatist.

I I 2 PICTURES BY JOHN OPIE, R.A.

Canvas, 29^ x 24^ inches.

In possession of Mr. J. L. MieVille, bought at Christie's 1877.

Seen to waist, full face, in white dress.

HOLE, REV. HUMPHRY ARAM,

Rector of Okehampton, Died 1824, aged 49.

Painted about 1796.

Canvas, 30 x 24 inches, in the finest state.

In possession of Mrs. H. M. James (ne'e Hole).

Half-length, full face, powdered hair, in light brown coat,
white waistcoat and neck cloth, age about 21, before his ordina-
tion, a very graceful portrait of a handsome man.

HOLLIS, JOHN,

Died 1824. Engraved by C. Warren, 4°. (Evans).

HONYWOOD, LADY,

Probably Frances, eldest daughter of William, 2nd Viscount
Courtenay; Married 1779 Sir John Honywood, 4th
Bart., who died 1806.

Exhibited No. 109 in Catalogue of Royal Academy, 1784, as
" Portrait ;" identified by Alg. Graves from a contem-
porary newspaper.

HOSKING, JOHN,

Painted about 1798. Exhibited at Royal Academy, year
unknown.

Canvas, 35 x 27]^ inches.

In possession of his grandson Mr. Richard Hosking, Pen-
zance.

Seated, in brown coat, white wig, a stick in his left hand, his
hat in his right hand, a red curtain looped back shews the base of
a column ; a landscape of wood and water beyond. Age about
65. A very good picture.

HOWE, LADY LOUISA CATHERINE, see SLIGO.

PART f. PORTRAITS. 113

JACKSON, WILLIAM,

Musical composer, organist of Exeter Cathedral from 1777 to

1803. Born 1730, Died 1803.

Painted and exhibited No. 61 in Royal Academy Catalogue
1783, as 'Portrait of a Gentleman,' identified by Alg.
Graves.

Canvas, 30 x 25 inches, untouched.

In possession of Rev. John Abbott, at Cowick Barton, Exeter,
given to his great uncle, Mr. Counsellor White, by
Jackson.

Seen to waist, seated in a green backed chair, ^ face to left,
powdered hair, stiffly curled at ears, pale face, hazel eyes; in crim-
son coat, white neck-cloth, laced frill and ruffles. His left hand
rests on his knee, his right hand folded across waist, holding a
small green-edged book. In a light coloured panelled room.

Dr. Wolcot celebrated this portrait by a sonnet :

' Speak, Muse, who formed that matchless head ?
' The Cornish boy in tin mines bred,
' Whose native genius, like her diamonds, shone
' In secret, till chance gave him to the sun.
' Tis Jackson's portrait, — put the laurel on it,
' Whilst to that tuneful swain I pour a sonnet. "

The sonnet follows. Lyric Odes, 1783.
JACKSON, JOANNA T., see MRS. GEO. MOORE.

JAMES, JOHN,

Known as Captain James, formerly Steward at St. Michael's
Mount.

Painted early.

Canvas, 49^ x 39^ inches.

In possession of Sir John St. Aubyn, at the Mount.

Seen to below knees, seated in an arm chair, ^ face to left,
powdered hair, in blue coat, with gilt buttons, white waistcoat, buff
knee breeches, ruffles at wrist; a red curtain behind, shewing trees
and rocks at left.

I

114 PICTURES BY JOHN OPIE, R.A.

JAMES, JAMES,

Of Germoe, known as 'the Marquis James.'

Painted about 1800.

Canvas 29}^ x 24*^ inches.

In possession of his grandson, Major Frank James, Staff
corps, India, at Honiton.

Seen to waist, seated, full face, white wig, claret coat, red
satin waistcoat, lace frill and ruffles, his left hand on chair back.
A beautiful picture.

JERNINGHAM, SIR WILLIAM,

Of Shifnal, Salop, Died 1809, aged 73.
Engraved by Goldby, 8°. (Evans).

JERNINGHAM, LADY,

Mary, widow of Sir George Jerningham, Bart, who Died
1774-

Painted 1782.

Kitcat of an elderly lady, in cap, kerchief to neck, short
sleeves, seated; her right hand holds a spinning whorl, her left a
distaff; a coat of arms in upper right corner.

In the Gallery at Stafford Castle, mentioned in Mrs. Delany's
life, page 1 13 of vol. vi, to which an engraving by J. Brown forms
the frontispiece.

JEWEL, JOHN,

Of Tregony, Surgeon.

Painted about 1800, at St. Columb.

Canvas, 29^ x 25 inches.

In possession of his grandson, Mr. Henry Jewel, Mylor.

Half-length, ^ face ; his right hand inserted in his waistcoat
Bookcase and curtain at back.

JEWEL, GEORGE, M.D.,

Brother of John Jewel, surgeon, whom he succeeded in prac-
tice.

PART I. PORTRAITS. 115

Painted about 1800.

Canvas, 23 x 19 inches.

In possession of his great grandsons, George and Charles

Wilton, Wadebridge.
Half-length, in powdered hair.

JEWEL, MRS. GEORGE,

Thomasine, wife of Dr. George Jewel

Painted about 1800.

Canvas, 23 x 19 inches.

In possession of her great grandsons, George and Charles

Wilton, Wadebridge.
Half-length, in powdered hair.

INCHBALD, MRS. ELIZABETH,

Novelist and dramatic author; Born 1753, Died 1821. Wife

of Mr. Inchbald, an actor, who died 1779.
Canvas, 29 x 24^ inches.
At Petworth House.

JOHN, THOMAS,

Connected with the Miners' Bank, at Truro.

Painted 1776-7.

Canvas, 24 x 15 inches.

In possession of Mr. Willyams, of Carnanton.

A Kitcat, a handsome face, his hair cut square in front, long
behind ; in blue coat, and laced cravat.

JOHNSON, SAMUEL, LL.D.,

The famous lexicographer; Born 1709, Died 1784.

Painted 1782.

Canvas, 30 x 25 inches.

In possession of Mrs. H. M. James, Exeter, from her grand-
father, Rev. H. A. Hole, whose portrait by Opie will be
found above.

Seen nearly to waist, -% ^ace to left* m verX bushy powdered

Il6 PICTURES BY JOHN OPIE, R.A.

wig, slightly stooping, the eyes dim with age, lower lip rather
pouting. In brown coat and waistcoat, the latter buttoned to
throat, white neck-cloth dimly seen in shadow. Very fine, solemn,
thoughtful expression.

Engraved by Heath fo. line, 1786, inscribed, "from an orig-
" inal painting by Opie, in the possession of Mr. Harrison. The
"sarcophagus and other ornamental parts designed by Mr. R.
"Smirke." Published by Harrison and Co., Paternoster Row.
The portrait is inserted in an oval, wreathed, and set on a sarco-
phagus which has a bas relief of Hercules slaying the Hydra.

Also, engraved Mezzo, by Townley, 1792, and etched by P.
L. Lamborn, 8°. (Bromley). Wm. Smith's MS. Catalogues men-
tion the following engravings also, apparently after Heath's of
1786, viz: sm. fo. by Davenport: and 12°., 1819, by the same;
and another published by T. Tegg, 1826. These which follow are
also given by Mr. Smith as engraved after Opie, though not neces-
sarily from this picture, viz : an oval, 1 2 ". unnamed ; oval ^
length 12°. by J. Dadby ; oval Vz length by Hall ; a medallion
with 4 others by S. Fittler, 1 806 ; a small head in the Biogra-
phical Magazine, 1794, by Audinet; and a square ^ length 8°. by
J. Rogers, n.d. — No less than 108 separate engraved portraits of
Dr. Johnson are entered in W. Smith's MSS.

JOHNSON, SAMUEL, LL.D.,
Painted about 1782.

Exhibited No. 137 in Catalogue of British Institution, 1857,
and No. 42 at Winter Exhibition of Royal Academy,
1871.

Canvas, 29^ x 24^ inches.

In possession of Lord Overstone, formerly of Sir John St.
Aubyn, sold at Lime Grove after Lady St Aubyn's death
in 1856.

As far as can be determined, without a comparison of the two
pictures, this seems to differ very slightly from the preceding por-
trait.

Seen to waist, ^ face to left, looking down, and to his right,
in brown coat and waistcoat, grey wig ; hands not seen ; lower part

PART I. PORTRAITS, 117

of picture sketchy and indistinct, as if intended for an oval ; a
bright light casts a strong shadow under the nose.

The influence of Gainsborough is so marked in this portrait,
that it has been considered by some to be his work, and was ex-
hibited as his in 1857.

A very delicate pencil miniature by R. Cosway, in the posses-
sion of Dr. T. K. Chambers, has the appearance of being after
one of these two fine heads of Johnson.

JOHNSON, SAMUEL, LL.D.,

Painted 1783-4, commenced in 1783, interrupted by John-
son's illness, resumed in 1784, but never completed.
See Croker's BoswelFs Johnson, ed. 1847, page 777, and
NichoVs Literary Hist, of i8th century, vol. vii, p. 459.
Canvas, 35 x 28 inches.
In possession of Sir John Neeld, Bart, purchased by Mr.

Neeld from Dr. T. Frognall Dibdin, about 1829.
Head nearly in profile, to the left, eyes looking down, natural
hair, in a loose dressing gown, open at throat. The light is ad-
mitted from the right.

An enamel miniature by Henry Bone, R.A., from this picture,
was exhibited at the Royal Academy in 1853, and sold at Mr.
John Bowman's sale at Clapham, Feb. 1876.

JONES, CALVERT,

Painted about 1784, at Plas House, Swansea, when Opie was

at Swansea with his first wife and Dr. Wolcot.
Canvas, 30^ x 24}^ inches.

In possession of his grandson, Rev. Calvert R. Jones, Bath.
Seen to waist, in green silk coat, white satin waistcoat richly
embroidered.

KEDINGTON, ANNE, see MRS. PRETYMAN.
KEKEWICK, MRS. GEO., see E. M. SEALE.
KEMBLE, FANNY, see MRS. F. Twiss.

Il8 PICTURES BY JOHN OWE, R.A.

KENNEY, MRS. JAMES, see MRS. HOLCROFT.

KEN YON, LLOYD, IST LORD,

Born 1732, Died 1802, Master of the Rolls in 1784, Chief
Justice and Baron Kenyon in 1788.

Painted and exhibited No. 187 in Catalogue of Royal Acad-
emy, 1789, as 'a Judge,' identified in Anderdon Coll. —
and No. 837 in National Portrait Exhibition, 1867.

Canvas, 5 2 x 40 inches.

In possession of Lord Kenyon.

Half-length, seated, in full dress robes as Master of the Rolls.

Engraved by J. Fittler, fo., 1789.

KERRISON, SIR ROGER, KNIGHT,

Sheriff of Norfolk in 1800, Born 1741, Died 1808.

Wm. Smith's MSS. contain an engraving by E. Bell, ^ sheet,
Mezzo, 1804, ' 24 length, sitting, holding a letter in his right hand.'

KETT, THOMAS,

Of Seething Hall, Norfolk, Died 1820.

Painted about 1799.

Canvas, 29*^ x 24*^ inches.

In possession of Viscount Canterbury.

Seen to waist, full face, in evening dress.

KETT, MRS. THOMAS,

Hannah, ne'e Gurney, wife of Thomas Kett, of Seething HalL

Painted about 1799.

Canvas, 29*^ x 24}^ inches.

In possession of Viscount Canterbury.

Seen to waist, looking to left, in white dress, white turban,
fur tippett, and powdered hair.

KETT, ANNE MARIA, with JULIANA KETT,

Daughters of the said Thomas and Hannah Kett; at the age
of 17 and 1 6. The former married Charles Barclay,

PART I. PORTRAITS. 119

of Bury Hill, the latter married Charles Thompson of
Wilstringham Hall, Norfolk, and was the mother of the
Dowager Lady Canterbury.
Painted about 1799.
Canvas, 35^ X4i^ inches.
In possession of Viscount Canterbury.

The two sisters in one picture, seen to below the waist, in
white dresses, looking toward each other; the elder, with light hair,
holds a distaff in her hand; the younger, with dark hair, wears a
black scarf, with one arm round her sister's neck.

KNEEBONE, OLD, OF HELSTON,

Mentioned in a letter of Dr. Wolcot's (London, 1782) as one
of the four pictures taken by him to George III, at
Buckingham House, in March of that year.

Painted about 1780.

Canvas, 29 x 23 inches.

In possession of Hon. Mrs. Davies Gilbert, at Trelissick.

An old man, full face, seen to waist, supporting himself on a
stick, which he grasps with both hands, his head inclined over his
left shoulder; in brown dress, with long grey hair. No tradition
of him is preserved at Helston, though the name is known there.

KNILL, JOHN,

Of Tregonnett, near Callington, and Gray's Inn, London,
Born 1734, Died 1811.

Painted for him, 1777.

Exhibited at Cornwall Polytechnic Hall, 1854.

Canvas, 27^ x 20 inches, relined.

In possession of J. Jope Rogers, Penrose.

Seen to below waist, seated at table, ^ face to left, in blue
coat, frill and ruffles; a letter in his left hand, addressed to him at
Dublin Castle whilst Secretary to the Earl of Buckinghamshire,
who was then Lord Lieutenant of Ireland.

The following memorandum, signed by J. Knill, is preserved :

"Paid Mr. Acres for painting the hands and blue coat to u

1 20 PICTURES B Y JOHN OPIE, R.A.

"portrait of me by Opie, painted at Penzance in 1777, who only
" finished the head, for which I paid Opie one guinea, and now
"Mr. Acres one pound one shilling. Dec. 30, 1808. J. K."
[John Knill].

The light is admitted from the right.

LAKE, REV. JOHN,

Naval Chaplain, with Admiral Reynolds, drowned at sea.

Painted before 1781.

Canvas, 24 x 20 inches.

A family portrait, in possession of Mrs. Francis Passingham.

A youth, seen to waist, looking to left, long curling hair at
back, large frilled collar, his arm round the neck of a large dog.

LAKE, WILLIAM,

Brother of Rev. John Lake, Died in Madeira.

Painted before 1781.

Canvas, 24 x 20 inches.

A family portrait, in possession of Mrs. Francis Passingham.

A youth, seen to waist, looking to left, long curling hair at
back, large frilled collar, his hand resting on a bird cage.

LAM BART, ELIZABETH MARY, see LADY PRICE.

LAWRANCE, LIEUT. GEORGE BELL, R.N.,

Drawn in coloured crayons, 1785, at Falmouth.

Paper, 17)^ x 14 inches, oval.

In possession of his daughter, Miss Margaret E. Lawrance,
Lostwithiel.

Seen to waist, a boy of 7 years old, % ^ace to kfy m Pa^e
yellow open jacket, light hat, with black feather.

LENNARD, SIR THOMAS BARRETT, BART.,

Born 1761, Died 1857, cr. Baronet 1801, married Dorothy,

sister of Sir John St. Aubyn, 5th Bart., 1787.
Canvas, 30 x 25 inches.
In possession of his son, Sir T. Barrctt-Lennard, Bart.

PART f. PORTRAITS. 121

Bust, y± face to right, in black coat, deep white neck-cloth,
powdered wig.

LENNARD, LADY BARRETT,

Dorothy St. Aubyn, of Clowance, wife of Sir J. Barrett-Len-
nard, ist Bart.

Canvas, 29}^ x 25 inches.

In possession of her son, the 2nd Bart.

Bust, 24 face to right, in dark dress, large white tucker, and
blue ribbons. A dog looking over her left shoulder.

LEVERTON, HENRY,

Son of Thomas Leverton, Architect, Bedford Square : Born

1775-

Canvas, 72 x 53 inches.

In possession of Mr. Lolan, Oundle, through his wife, a rela-
tive of Leverton.

Full length, a youth of 16 in a landscape, leaning against a
pillar surmounted by an urn ; a favourite spaniel at his feet, and
loose music on the ground ; long hair, face looking to the left ; in
brown dress, knee breeches, frilled collar open at neck.

LISTER, MRS. THOMAS, see HARRIETT SEALE.

LONG, EDWARD,

Chief Judge of the Vice Admiralty Court, Jamaica.

Born at St. Blazey, Cornwall, 1734, Died 1813.

Painted about 1795.

Engraved by W. Sharp, line, fo. dated 1796.

Seen to waist, seated, ^ face to left ; in high collared coat,
buttoned up; both hands hold a paper, the right resting on a
table, on which are a large book, ink and paper.

LOWTHER, LORD,

Born 1757, Died 1844, cr. Baron and Viscount Lowther

1797, Earl of Lonsdale 1807.

Painted and exhibited No. 36 in Catalogue of Royal Acad-
emy, 1807.

122 PICTURES BY JOHN OPIE, R.A.

Engraved by S. W. Reynolds, fo. Mezzo. In his Peers' robes,
with arms, (Bromley, and Evans).

LUKE, STEPHEN, M.D.,

Born at Penzance, 1763, Died in London, 1829.
Painted about 1800.
Canvas, 28^ x 23^ inches.
In possession of his son, Mr. William Luke.
Kitcat, y± face to left, in morning dress, dark coat, coloured
waistcoat, natural hair, brushed up.

LUTTRELL, JOHN FOWNES, M.P.,

Of Dunster Castle, Somerset. Died 1816.

Canvas, 28 x 24 inches.

A family portrait, in possession of J. S. Townsend, Esq.

In powdered hair, his head on one side ; in brown dress, the
lappets of his coat faced white.

MACINTOSH, SIR JAMES, M.P.,

Recorder of Bengal in 1803, and after his return home M.P.
for Nairn, and Historian. Born 1765, Died 1832.

Painted and exhibited No. 56 in Catalogue of Royal Acad-
emy 1803, as Mr. Macintosh.

In his gown, nearly full face, to left, curly dark hair ; the light
admitted from the right

Engraved by Ridley, 1804, for Monthly Mirror.

McDONOUGH, LIEUT.,

Lieut, in the 39th regiment, 1813.

Painted and exhibited No. 1 20 in Catalogue of Royal Acad-
emy, 1794, as 'Portrait of a boy,' and at Burlington
House, Old Masters, 1876.

Canvas, 53 x 43 inches.

In possession of Mr. George Williams, Scorrier, bought in
1876, from the collection of Mr. Hardy Wells, at Chris-
tie's.

PART I. PORTRAITS. 123

A boy about 10 years of age, playing at cricket, in a red
dress ; identified by a miniature of him purchased at same time,
and described in Catalogue as 'The Red boy, Lieut. McD., H.M.
39th Regt., 1813.'

MACKLIN, CHARLES, or MACLAUGHLIN,

Celebrated veteran actor and dramatist.

Born at Westmeath, Ireland, 1690, Died 1797, aged 107.

His age has been questioned by Mr. W. J. Thorns, in his
Longevity of Man, 8°., 1873, and it is remarkable that,
whilst his age is given as 107 on his monumental slab
at St. Paul's, Covent Garden, his coffin-lid, removed in
1859, gives 97. The balance of evidence, however,
seems to favour the age of 107.

Painted about 1782, at the reputed age of 93.

Canvas, 36 x 26 inches.

In possession of the Garrick Club.

Three-quarter length, seated at a table, inkstand and pen at
his right, a paper in his right hand. Curtain at back.

In the old catalogue of the club he is styled " The Jew that
Shakspeare drew," in allusion to his famous character of Shylock.

Engraved by Conde for his Works, by Murphy, 4°.

MACKLIN, CHARLES,

The same.

Painted 1796, at the age of 106.

Canvas, 36 x 24}^ inches, in original state.

In possession of Mr. Louis Hermann, Great Russell Street
This is probably the portrait mentioned by John Taylor, (' Records
of my life,' 1832, voL ii, 12) "as painted by Opie for a clergyman
named Clarke, who went abroad " ; sold at Christie's in March,
1856 for a gentleman named Clarke, when it was bought by Mr.
Hermann for John Green, of Covent Garden, for whom it was
sold again at Christie's, July, 1871, to Hermann.

A very old man, with deeply wrinkled face, seated at table,
full face, slightly to left, in a wig, white neck-cloth, frill and ruffles;

124 PICTURES BY JOHN OPIE, R.A.

both hands rest on the table, his left supporting a book. The
light admitted from the right

MADAN, CHARLOTTE, see MRS. WARDE.
MALTBY, Miss, see MRS. ELLIOTT.
MARSH, SARAH, see MRS. F. SMITH.

MARSHALL, DIGORY KING,

Of Truro, Surgeon, Died 1833, aged 79.

Painted very early, before 1780.

Canvas, 28 x 24 inches.

In possession of his relative, Lieut -General Cavenagh, of
Long Dittoa

MARTIN, SIMON,

Member of the Society of Friends; many years Manager of

Gurney's Bank, Norwich, Died 1808, aged 66.
Painted after 1790.
Canvas, 29 x 23^ inches.
In possession of Mess: Gurneys, at the Bank, Norwich.

MASON, Miss, see MRS. TIPPETT.
MERCIER, LOUISA, see MRS. HOLCROFT.
MEUX, SIR HENRY, see Supplement.

MEYMOTT, MRS. ELIZABETH,

Daughter of Mr. Bunn, Solicitor, Deputy for Portsoken Ward,

London, sister of Opie's first wife, married Mr. Meymott,

a surveyor.

Painted between 1782 and 1786.

Engraved by J. R. Smith, fo. Mezzo, 1787, as Almeria.
Y± length, seated, in a large hat, hands clasped.

MILNER, REV. ISAAC, D.D., F.R.S.,

Professor of Chemistry, &c. at Cambridge, Dean of Carlisle,
Born 1751, Senior Wrangler, 1774.

PART 1. PORTRAITS. 125

Painted before 1798.
Engraved by Facius, fo., 1798.

Seen to knees, seated, in his gown, full face; an alembic on
the table at left, drapery behind.

MOIRA, LORD,

Second Earl of Moira, Born 1754, Died 1836; Governor
General of India, cr. Marquis of Hastings, 1816.

Sold at Christie's, May 10, 1862 for Mrs. Vaughan, to Herring
A. Hastings, for 151 guineas.

Whole length, in uniform, pointing to a map which lies on a
table at his side; a spaniel at his feet

MONTAGU, BASIL, Q.C.,
Born 1770, Died 1851.
Exhibited at Nat. Portrait Exhibition, 1868,
Canvas, 50 x 40 inches.
In possession of Mr. Bryan Waller Procter.
Seated, looking to left, black dress, a paper in his left hand.

MORCOM, CAPTAIN, see R. A. DANIELL.

MOORE, MRS. GEORGE,

Joanna Tregosse, ne'e Jackson, wife of Rev. George Moore,
Rector of Ladock, and Prebendary of Lincoln.

Painted about 1786.

Canvas, 28 x 24 inches.

In possession of her son, Rev. Charles Moore.

Seen to waist, ^ face to right, in a hat, her hair falling over
her back; she holds a King Charles spaniel in her arms. Age
about 14.

MORE, HANNAH,

Eminent authoress, Born 1744, Died 1833.
Painted 1786, for Mrs. Boscawen.

Exhibited No. 150 in Catalogue of Nat. Portrait Exhibition,
1868.

126 PICTURES BY JOHN OPIE, R.A.

Canvas, 30 x 25 inches.

In possession of the Duke of Manchester.

Seen to waist, seated, in black dress, powdered hair, white
neckerchief, ^ face to left ; the light admitted from right hand.

Horace Wai pole had, in 1788, a copy of this picture painted
by Roberts, which was sold at Strawberry Hill Sale, Friday, May
6, 1842, to Mr. Money, for £& i8s. See Roberts' Memoirs of
Hannah More, 2nd ed., 8°., 1834, vol. ii, under dates 1786, and
1788.

Engraved by Heath, 4°., 1798, for Lord Orford's Works, and
by Woodman, 12°., 1838, for Roberts' Memoirs of Hannah More.

MORRISON, JOHN,

Deputy Commissary General in America.

Painted at the age of 35 to 40.

Canvas, 30 x 25 inches.

In possession of W. R. Bingley, Esq., bequeathed by Miss
Abigail W. Morrison.

Seen to waist, ^ face to left, seated, in his official uniform,
white neckcloth, ruffles, powdered hair, hazel eyes, the head well
executed; the light admitted from the right hand.

MORSHEAD, SIR JOHN,

Cr. Baronet, 1783; Surveyor General to H.RH. Prince of
Wales, 1796; Lord Warden, 1798; Died 1813

Painted for himself; given by him to Rev. E. Morshead,

Calstock.

Canvas, 30 x 24^ inches.
In possession of Sir Warwick Morshead, Bart, from his aunt,

Lady Mill, who was cousin of Rev. E. Morshead
Half-length, in Windsor uniform, powdered hair, ^ face to left.

MUDGE, CAPT. ZACHARY, RN.,

Born 1770, Died 1852; Rear Admiral of the White.
Painted about 1800.
Canvas, 29^ x 24^ inches.

PART f. PORTRAITS. 127

In possession of his grandson, Arthur Mudge, Esq.
Seen to waist, ^ face to left, in naval uniform.

MUNDEN, JOSEPH SHEPHERD,

Famous comedian; he acted from 1790 to 1824. Born 1758,
Died 1832.

Painted about 1801, at about the age of 45.

Canvas, 30 x 24 inches.

In possession of the Garrick Club.

Half-length, ^ face to left, seated, a paper in his right hand;
a red curtain at back.

Engraved by S. W. Reynolds, fo. Mezzo.

NANKIVELL, JOYCE,

Second daughter of Thomas Nankivell, of Rose-in-vale, St.
Agnes, Born 1743, Married 1773, to Rev. Joseph Town-
send, of Pusey, Wilts.
Painted about 1775, one of Opie's earliest portraits; relined

by Graves, in excellent state.
Canvas, 28 x 23 inches.
In possession of her grand-daughter, Miss Frances Taunton,

of Ashley.

Seen to waist, ^ face to right, in laced evening dress, her
hair drawn back and encircled by a jewelled fillet; her left hand at
waist; beautifully painted.

NEWNHAM, MR. ALDERMAN NATHANIEL,

Lord Mayor of London, Nov., 1782.

Painted and exhibited No. 161 in Catalogue of Royal Acad-
emy, 1788, as 'Portrait of a gentleman'; identified by
Thos. Park, in Anderdon Coll.

In his official robes.

NEWNHAM, COUNSELLOR,

Painted and exhibited No. 176 in Catalogue of Royal Acad-
emy, 1788, as 'Portrait of a gentleman'; identified by
Thos. Park, in Anderdon Coll.

128 PICTURES BY JOHN OPIE, K.A.

NEWNHAM, COUNSELLOR, two children of,

Painted and exhibited No. 100 in Catalogue of Royal Acad-
emy, 1792, as 'Two children, a horse and a dog.'

NICHOLS, JOHN,

Wm. Smith's MS. Catalogue has this portrait, as engraved by
Ridley, 1799, for the Monthly Mirror; oval, in a square.

NORFOLK, CHARLES, IITH DUKE OF,

Born 1746, Died 1815, mentioned in Cartwright's History of

the Rape of Arundel.
Full length, in his Peers' robes, with his Marshal's Baton.

NORTHCOTE, JAMES, R.A.,

The painter; friend and rival of Opie; Born 1746, Died

1831.
A 4°. Mezzo of this, unfortunately clipped, and retaining

neither name of sitter nor engraver, but believed to be

after Opie.
Bust, y± face to right, in velvet coat, erect collar.

GATES, CAPTAIN MARK, R.M.,

Of Perran Zabuloe, neighbour and early friend of Opie's;
Captain of Pendennis Castle. His early drawing of a
butterfly is said to have first excited Opie's emulation;
see Biographical Sketch. He painted portraits, and
made the copy of Opie's Portrait of his Mother, now at
Brompton Hospital.

Canvas, 23 x 19 inches.

In possession of Rev. J. H. Glencross, whose father bought it
about 1837.

Bust, y± face to right, in dark green dress, powdered hair.

OLLIVANT, MRS. WM.,

Mother of the Bishop of Llandaff.

Painted about 1803.

Canvas, 28^ x 24 inches.

In possession of the Bishop of Llandaff.

PART L PORTRAITS. 129

Seen to waist, ^ face to left, in low white dress, a dark blue-
green mantle thrown over shoulders, dark brown hair falling over
the forehead; behind, a dark curtain shewing a peep of distant
landscape; the light admitted from the right hand.

OPIE, EDWARD,

A village carpenter of St. Agnes, near Truro, father of John
Opie, R.A.

Amelia Opie mentions this as the painter's first portrait,
painted when he was a boy of 10 or n years old, (Preface
to Lectures, page 12). Polwhele also mentions it as painted
when he was 'about eleven years of age,' (Biogr. Sk. ii, p.
1 1 6). The portrait is lost, and it's precise fate is unknown in
the family.

OPIE, MRS.,

Mary, wife of Edward Opie, the painter's mother, Died 1805,

aged 92.

Painted about 1791; Polwhele Biogr. Sk. ii, 127.
Exhibited by Amelia Opie, No. 14 in Catalogue of British

Institution, 1817, and at Polytechnic Hall, Falmouth,

1836.
Canvas, 30 x 24 inches.

In possession of Lady Williams, Tregullow, purchased from
the family in 1836.

Seated at a table covered with dark green cloth, a Bible before
her, which she turns with her left hand; spectacles in her right
hand; ^ face to left; widow's cap, with black skull cap over it;
a black shawl over white kerchief. Full of character.

OPIE, MRS.,

The same. A small portrait of her was seen by Mr. Edward
Opie at Norwich in 1826, believed to be sold there subsequently,
about 1859.

These two are the only known original portraits by Opie of
his mother.

K

130 PICTURES BY JOHN OPIE, R.A.

OPIE, JOHN, R.A.

Son of Edward and Mary Opie, of St. Agnes, near Truro,
Born 1761, Died 1807, aged 46.

Painted 1775-6.

Canvas, 13 x ioj^ inches.

In possession of Mr. Rogers, of Penrose; formerly of Sir
John St Aubyn, the painter's early patron.

Head of a youth of about 15 years old, ^ face to left, white
cravat; the light admitted from the right; shews his early and
intuitive knowledge of chiaro scuro.

OPIE, JOHN, R.A.

Painted 1777-8.

Canvas, 13x9 inches.

In possession of C. G. Prideaux-Brune, Esq., whose ancestor
obtained it from the painter.

Life sized head of a youth, aged 16, ^ face to right, white
neck-cloth.

OPIE, JOHN, R.A.
Painted 1777-80.
Canvas, 30 x 25 inches.

In possession of G. P. Boyce, Esq., bought by him at
Phillipps', Bond St., in 1873, as a portrait of Robert
Burns, but since pronounced to be a portrait of Opie
himself. Opie could not have painted Burns at the age
represented.

Seen to waist, a youth, 16 to 19, resting his left elbow on a
window sill, his right arm hanging at his side ; in coat and waist-
coat of olive green, white collar; sky beyond, foliage in foreground.

OPIE, JOHN, R.A.

Painted 1779-81.

Canvas, 19^ x 15^ inches, relined by Merrott in 1876.

In possession of Frederick Ouvry, Esq., Pres. S.A., given by
Mr. John Way to Mr. John Collier, father of J. Payne
Collier, Mrs. Ouvry's uncle, before his death in 1801.

PART L PORTRAITS. 131

Bust, 24 face to "ght, in fancy dress, (possibly that from
Prideaux Place) wide slouched hat, broad lace collar, tasselled,
over olive coat ; in fine chiaro scuro, the face highly finished ; a
pendant to Mr. Ouvry's portrait of Dr. Wolcot, of same size and
date.

OPIE, JOHN, R.A.

Painted 1780; marked in paint on stretcher, 'Portrait of J.
Opie, by himself, Etatis * * * June 17, Anno 1780.'

Canvas, 20^ x 17 inches, in its original state.

Formerly in possession of the late Sir Rose Price, for whom
Opie painted some early pictures ; bought by Mr. George Fournier,
the present owner, at Christie's in 1853.

Bust, in slouched hat, and brown dress, with lace collar,
tasselled, ^ face to left.

OPIE, JOHN, R.A.

Painted 1785 ; signed, in paint, at back, with a fine brush, as
if by the painter himself, 1J. Opie, pictor, 1785'

Canvas, 29^ x 24^ inches, sight measure.

In the National Portrait Gallery; formerly Alfred Bunn's;
bought in 1858 from a sale at Christie's.

Seen to waist, ^ face to left, in green coat, white cravat and
frill, his left arm extended across the picture, holding a palette in
left hand, a brush in right hand ; highly finished throughout ; the
hair is combed over forehead, unpowdered.

Engraved by Ridley, 8°., 1789, in vol. ii of Polwhele's
Biographical Sketches.

OPIE, JOHN, R.A.

Painted 1786, for Miss Opie, his only sister, in one afternoon.

Canvas, 21 x 18 inches.

In possession of Mr. Newton, of St. Agnes, Opie's birthplace.

Mrs. Newton was a grand-niece of the painter."
A sketchy portrait at the age of 25.

OPIE, JOHN, R.A.

132 PICTURES BY JOHN OPIE, R.A.

Painted 1790-1800, probably.

Exhibited No. 203 in Catalogue of Winter Exhibition of
Royal Academy, 1873.

Canvas, 29 x 24 inches, relined 1872.

Bequeathed to Brompton Consumption Hospital, with several
other pictures, in 1871, by Miss Read, whose mother was intimate
with Opie.

Seen to waist, ^ face to left, within an oval, in deep collared
grey coat, hair slightly powdered; a palette in his right hand;
highly finished.

OPIE, JOHN, R.A.

Painted about 1791.

Canvas, 18 x 14 inches.

In possession of Mr. Henry Vaughan, from the collections

of Mr. Knapp, and Rev. T. J. Judkins, Nov., 1872, at

Christie's.
Bust, y^ face to left ; a sketch at the age of about 30.

OPIE, JOHN, RA.

Painted 1791-1801.

Canvas, 23 x 19 inches, sight measure.

In possession of W. P. Boxall, Esq., whose wife is grand-
daughter of Mr. Thomas Lane, who bought it in 1807.

Seen to waist, ^ face to left, age 30 to 40; a powerful
painting.

OPIE, JOHN, R.A.

Painted about 1791.
Canvas, 22*^ x 18 inches.

In possession of J. M. Williams, Esq., Caerhays Castle;
formerly in the collections of Dr. Wodehouse and the
Bishop of Ely; bought at Christie's in 1864.
Bust, age about 30, ^ face to left of spectator; in black
dress, white cravat.

OPIE, JOHN, R.A.

PART I. PORTRAITS. 133

Painted about 1796.

Canvas, 20 x 17 inches.

In possession of J. D. Enys, Esq., bought in 1877 of Louis

Hermann, from a sale at Christie's.

Bust, y^. face to right, in dark coat and white neck-cloth ; age
about 35.

Engraved 4°., Mezzo, proof before letters.

OPIE, JOHN, R.A.

Painted about 1798.

Exhibited No. 38 in Catalogue of Pictures at Council Hall,
Truro, 1861.

Canvas, 24 x 21 inches.

In possession of the late Sir William Williams, Bart., pur-
chased before 1824.

Bust, y^ face to left, in dark coat, white cravat; a finely
finished work ; said by Amelia Opie to be one of the best. Age
35 to 40.

OPIE, JOHN, R.A.

Painted about 1800, probably.

Canvas, 33 x 25 inches.

Presented to the Royal Cornwall Polytechnic Society by
Amelia Opie, his widow, about 1853 ; retained by her after the
painter's death, as one of his best portraits of himself. It is to
this picture that she refers in her ' Lays of the Dead,' (post 8°.,
1834). ' Portrait the sixth.

' But thou wast borne to a distinguished grave,
' And by the side of kindred genius plac'd,
' While at thy obsequies, as followers, came
' The wise, the titled, talented and great !
' But in thy breathing pictures I behold
' A monument far dearer to my heart. '

Seen nearly to waist, standing, ^ face to left, in dark coat
with high collar, buttoned closely, white frill ; he holds palette and
brushes in right hand, his left arm at his side. Age 40-45.

134 PICTURES BY JOHN OPIE, R.A.

OPIE, JOHN, R.A.

Painted about 1801.
Canvas, 37 x 32 inches.

In possession of P. G. Edward Taylor, Esq., of Beaconfield ;
given by Opie to his great grandfather, Mr. Thomas
Taylor of West Ogwell, Devon.

Seen to waist, ^ face to left, white neck-cloth, hair slightly
powdered; rich chiaro scuro; effect of Rembrandt. Age about
40.

OPIE, JOHN, R.A.

Painted about 1801.
Canvas, 23^ x 19 inches.

In possession of Rev. T. Heathcote Tragett, bequeathed to
him by Sir T. F. Heathcote, 1825.

Bust, y^ face to right, 'cascade' neck-cloth, grave melancholy
expression, bare forehead, sunken eye. Age about 40.

OPIE, JOHN, R.A.
Painted 1801-2.

Exhibited No. 75 in Catalogue of British Institution 1817, by
Henry Thomson, R.A., the friend of Opie; and in 1846
by the Royal Academy, at whose Winter Exhibition in
1872, it was again shown.
Canvas, 30 x 25 inches.

Presented to the Royal Academy by Henry Thomson, R.A.,
in 1827.

Bust, y± face to left, short natural hair, and whisker; rich
chiaro scuro. Age about 40.

Engraved by Henry Dawe, fo., Mezzo.

OPIE, JOHN, R.A.

Painted about 1805, in octagonal frame.

Sold at Lime Grove Sale, Putney, Aug. 2, 1856, for ^12 155.
by the trustees of the late Sir John St. Aubyn.

A highly finished portrait

PART I. PORTRAITS. 135

OPIE, JOHN, R.A.

Canvas, 23^ x 20 inches.

In the Gallery of Dulwich College, presented in 1812 by Sir
Peter F. Bourgeois, Knt, R.A.

Bust, shoulder in profile, face turned towards spectator, dark
coat, white neck-cloth.

OPIE, JOHN, R.A.

Sold at Christie's, Feb. 14, 1876, by the assignees of Wm.
Kershaw, for ^43 is.

OPIE, JOHN, R.A.

Small panel, 7^x6^ inches, reduced by him for the engra-
ver from a larger picture.

Formerly in possession of Mr. Charles L. Kenney ; given by
Amelia Opie to Thos. Holcroft, whose widow became
Mr. Kenny's mother.
The picture was lost about 1836.

Bust, y^ face to left, looking over his left shoulder ; in dark
coat, white neck-cloth, hair rather short and scanty, sedate expres-
sion.

Engraved by S. W. Reynolds as frontispiece to Opie's Lec-
tures, 4°., 1809.

Besides the engravings already mentioned, after portraits of
Opie by himself, the following have not yet been identified with
the originals from which they were taken ; they are placed in the
order of date of publication :

1. Bust in an oval, by Ridley, 8°., stippled, 1793, ^ face to
right, powdered hair ; a pleasing and expressive portrait ; probably
the same as that mentioned in Wm. Smith's MS. Cat as 'oval
ha. len., by Ridley, 1793, for general magazine.'

2. Bust in an oval, by Leney, 8°., mixed, 1795, ^ face to
left, slightly powdered long hair and queue ; gloomy expression.

3. Half-length in border, by S. W. Reynolds, 1798, la. fo.,
Mezzo, (Wm. Smith's MS. Cat).

136 PICTURES BY JOHN OPIE, R.A.

4. Square ha. lea with trees, by Ridley, 1801, (Wra Smith's
MS. Cat.).

5. Bust in an oval, by Hopwood, 8°., mixed, 1807, ^ face
to right, swarthy countenance, short hair.

6. Square ha. len. 8°., by Meyer, 1809, (Wm. Smith's MS.
Cat).

7. Bust, 'Mr. Opie,' without engraver's name, or date, a
small stippled sketch ; ^ face to right, erect figure, short hair, a
slight smile.

Nos. i, 2. 5, 7, are in the possession of the author; Nos. 3,
4, 6, are so described by Mr. Wm. Smith.

The great number of portraits of himself affords abundant
proof of the painter's diligence. Many were executed for the pur-
pose of making experiments in pigments, and in methods of treat-
ment.

OPIE, MARY, the Painter's first wife,

Daughter of Mr. Bunn, a City Solicitor, Deputy of Portsoken
Ward, London, through whom, as Sir Charles Bell says,
Opie used to sell some of his pictures, (letters, 1870).
She was married to Mr. Opie Dec. 4, 1872, but divorced
in 1796. She afterwards married Mr. John Edwards,
with whom she had previously eloped.
Painted probably about 1782, before her marriage.
On panel, 7x5^ inches.
In possession of Rev. Ed. Penwarne Wellings, to whose

grandfather, John Penwarne, Opie gave the portrait
Bust, a quarter size, ^ face to left, a dark-eyed beauty, light
brown flowing hair, light blue neckerchief, blue bow and pearl
pendant over forehead ; white muslin dress, red cloak.

OPIE, MARY,
The same.

Painted probably about 1785.
Canvas, 30 x 25 inches.

In possession of Mr. Samuel Lewis, formerly of Samuel
Humphreys Pellew.

PART I. PORTRAITS. 137

Seen to waist, ^ face to left, in full white morning dress,
white neckerchief, broad straw hat and ostrich feathers shading
her face ; her left hand across her waist ; seated in a rocky recess
at sea-side, sea, sky and ships at left, beyond.

OPIE, AMELIA, see AMELIA ALDERSON,

Only child of James Alderson, M. D. of Norwich, and Amelia,
his wife, Born 1767, Died 1853, aged 84, married John
Opie, the painter, May 8, 1798.
Painted between 1798 and 1802.
Canvas, 27^ x 35}^ inches.

In possession of Revd. J. Carr, Broadstairs ; formerly of Mr.

Thos. Alderson, her first cousin, from whom it passed to

his niece, Mrs. Carr, daughter of Mr. H. P. Briggs, R.A.

Seen to waist, ^ face to right, frizzed and flowing hair, in

dishabille, frilled morning dress ; pensive face.

Engraved by Ridley, 8°., in an oval, 1803, for the European
Magazine.

OPIE, AMELIA,

Painted after 1798.
Canvas, 27^ x 35^ inches.

In possession of Revd. J. H. Carr, Broadstairs, formerly of
Mr. Thos. Alderson, who had it from his cousin, Mrs.
Opie.

A double portrait, that on the left is a full-faced bust, in white
dress ; that on the right a bust in profile to the left, in black dress,
holding a guitar in her hand. A copy of this is at Chyverton.

OPIE, AMELIA,

Exhibited at Burlington House, Winter Exhibition 1873, No.
50, by W. Kershaw, Esq., as 'A Lady,' unnamed; sold
for his assignees at Christie's, Feb. 14, 1876, as 'Por-
trait of the Artist's wife,' for ^179 us.

OPIE, AMELIA,

' Head of Mrs. Opie, a sketch,' sold at Christie's, June 3, 1871,
by E. W. Cooke, for ^18 75. 6d.

138 PICTURES BY JOHN OPIE, R.A.

OPIE, AMELIA,

Painted 1 798, the year of her marriage, at the age of 29.

Bust, full face, in frilled morning gown open at neck, hair
dressed very high, a double horizontal plait half hid.

Boldly etched by Mrs. Dawson Turner, and inscribed by her,
'Mrs. Opie, John Opie Esq. pinx. 1798.'

OPIE, AMELIA,

A small stippled engraving by Mackenzie, publd. March i,
1 80 1 by Vernon and Hood, Poultry.

Full face, short hair under a cap, in dark dress, open and
frilled white at neck, seen to waist

OPIE, AMELIA,

A small engraving by Hopwood, publd. June 2, 1807, by
Matthews and Leigh, is inserted in Anderdon Coll.

Three-quarter face to right, in frilled morning dress, hair
elaborately arranged.

OPIE, AMELIA,

Wm. Smith's MS. Catalogue mentions an " oval ha. len. with
"lyre, flowers, &c, 8°., Mrs. Opie, engraved by Hopwood, 1817."

OPIE, AMELIA,

An engraving by R. Cooper, published Feb. i, 1821, for La
Belle Assembtee, No. 145, roy. 8°.

Seen to waist, ^ face to right, shortly curled hair, in frilled
evening dress, a triple necklace of pearls with small cross.

OPIE, BETTY,

The Painter's only sister, Born 1748, Died 1826, aged 78.

Canvas, 24 x 19 inches.

In possession of Mr. T. Kitchens, St. Agnes.

Bust, in crimson velvet, white kerchief, powdered hair.

OPIE, WILLIAM,

Nephew of the Painter.

PART I. PORTRAITS. 139

Canvas, 20 x 1 7 inches.

In possession of his nephew, Edward Opie, of Plymouth, to

whom it was given by his father.
A Bust, in a blue coat, at the age of 12.

OPIE, EDWARD,

Son of Edward and Mary Opie, and brother of John Opie,

R.A. Died unmarried.
Canvas, 24 x 20 inches.
In possession of his grand-nephew, Mr. Edward Opie, the

painter, of Plymouth.
A Bust

OPIE, EDWARD, JUN.,

Nephew of John Opie, R.A., and father of Edward Opie, the

painter, of Plymouth, Born 1784.
Painted 1788.
Canvas, 15 x 12 inches.

In possession of his son Mr. John Opie, of St. Agnes.
Bust, as a boy of 4 years old, a sketch.

OWEN, VEN. ARCHDEACON JOHN,

An early pupil and friend of Opie's. Born 1754, Died 1824;
British Chaplain in Bengal, Rector of S. Benet's, Paul's
Wharf, London, and East Horsley, Surrey ; Archdeacon
of Richmond, York.

Canvas, 24 x 20 inches.

In possession of his great niece, Miss Beardmore, Croydon.

Seen to waist, ^ face to right, powdered hair, brown coat.

PADLEY, SILVANUS,

Son of William Padley, of Swansea.

Painted 1783, at Swansea.

Canvas, 24 x 18 inches.

In possession of Mr. Silvanus Padley, junr., Swansea.

Seen to waist, a boy at the age of 9, % face to right, the

140 PICTURES BY JOHN OPIE, R.A.

figure being in profile, red cloak, white collar turned over it, curly
head. ' One of the most charming of Opie's portraits,' painted,
together with the following picture, whilst he was on a visit with
his first wife and Dr. Wolcot

PADLEY, MARY and ELIZABETH,

Twin daughters of William Padley, of Swansea.

Painted 1783, at Swansea; sixteen sittings.

Canvas, 25 x 30 inches.

In possession of Mr. Silvanus Padley, junr., Swansea.

A double portrait ; each girl, at the age of 16, seen to waist ;
the sister on the left full face, in a close cap, whilst the other leans
her head on her sister's shoulder ; her hair in ringlets.

PADLEY, PAUL,

Second son of William Padley, of Swansea.
A child represented as Cupid.
Painted 1 783, at Swansea.

PAGET, HONBLE. MRS. BERKELEY,

Sophia Askell, dau. of Hon. William Bucknell, Married in
1804 to Hon. Berkeley Paget, brother of the ist Marquis
of Anglesey.
Painted 1807.
Canvas, 24 x 19 inches.

In possession of her son, Colonel Leopold G. Paget, R.H.A.
Seen to waist, nearly full face, brown and red drapery at back.
The face and neck beautifully executed, but the dress was un-
finished at Opie's death in 1807.

PARR, REV. SAMUEL, LL.D.

The learned Divine and Classical Scholar, Born 1747, Died

1825.

Painted and exhibited No. 284 in Catalogue of Royal Acad-
emy, 1807.
Canvas, 36 x 28 inches.

PART I. PORTRAITS. 141

In possession of the Earl of Leicester, at Holkham; presented
by Dr. Parr to the first Earl.

Half-length, life size, full face, in his wig, black silk gown and
bands, his right hand resting on a portfolio ; at the age of 60.

Professor Dugald Stewart writes to Dr. Parr, Jan. n, 1820,
to thank him for his present of an engraving from his portrait,
which he speaks of as ' one of the most pleasing as well as power-
ful pictures I have seen.' Pan's Works, 8°., 1828, voL i, p. 709.

Engraved by Facius, fo., 1808; and by Picart, fo.. 1811, for
CadeWs British Gallery.

PARR, REV. SAMUEL, LL.D.

Canvas, 36 x 28 inches.

In possession of R. M. Fellowes, Esq. ; in his family since
1829.

Similar in size and design to the preceding, and probably a
repetition of it by Opie.

PATCH, JOHN, JUN.

Surgeon to Devon and Exeter Hospital, 1741. Died 1787.

Painted probably 1781, during Opie's visit to Exeter.

Exhibited No. 152 in Catalogue of Devon and Cornwall
Worthies 1873, at Exeter.

In possession of Devon and Exeter Hospital.

In a wig, ' an excellent portrait, rich and mellow in colour,
and full of character.' (Mr. George Scharf, Keeper of Nat Port.
Gallery).

Engraved by E. A. Ezekiel, la. fo., 1789.

PEELE, REV. JOHN,

Of Norwich. Born 1720, Died 1804.

Evans' Catalogue mentions an engraving by Facius, fo. 1806.

'In clerical robes, half-length, spectacles in his right hand.'
(Wm. Smith MS. Cat).

PENNECK, CHARLES,

Of Tregembo, Cornwall. Died 1801.

142 PICTURES BY JOHN OPIE, R.A,

Painted about 1780.

Canvas, 24 x 20 inches.

In possession of his nephew, Rev. M. N. Peters, Vicar of

Madron.
In a plain morning coat, frilled at wrist, at the age of 23-5.

PENTREATH, DOLLY,

Daughter of Nicholas Pentreath : said to have been the last
person who spoke the Cornish language. She was cer-
tainly one of the last; Died 1777, at the reputed age of
102; buried at Paul, near Penzance, where Prince Louis
Lucien Bonaparte has erected a monument to her me-
mory.

Painted about 1777.

Exhibited No. 6 in Catalogue of Devon and Cornwall Wor-
thies, 1873, at Exeter.
Canvas, 30^ x 25^ inches.
In possession of Sir John St. Aubyn, Bart.
A very old woman seated in a high-backed chair, full face, in
white cloak and cap, stooping forwards, her right hand rests on a
large book, closed and on its edge, on her knees.

Etched on copper by Opie himself, about 1784, as appears
by the following memorandum at the back of an impression on
card, which is preserved in the Penwarne family.

" This etching (the only one I believe he ever did) was done
"by Mr. Opie, in my presence, at his house in Great Queen
" Street, I believe in the year 1784. Jno. Penwarne."
The plate is 3^6 x 2^ inches.

Etched also by Katherine St. Aubyn (Mrs. Wm. Molesworth)
1789, private plate, 8^ x 6f6 inches.

PENWARNE, JOHN,

Of Penwarne, near Falmouth, Born 1721, Died 1788.

Painted about 1786, at the age of 65.

Canvas, 29 x 24 inches.

In possession of Rev. Edward Penwarne Wellings.

PART I. PORTRAITS. 143

Seen to waist, ^ face to left, in russet coat, bushy grey wig,
white cravat and ruffles, a contemplative face; an open book in
his left hand.

PENWARNE, JOHN, JUN.,

Of Penwarne, eldest surviving son of John Penwarne above,
Born 1758, author of a vol. of Poems. London, 12°.,
1807.

Painted 1778-81.

Canvas, 29 x 24 inches.

In possession of Rev. E. P. Wellings.

Seen to waist, ^ face to left, in olive fancy dress, broad linen
collar, and ruffles ; he rests on a mossy bank, beneath an ivied
rock, holding in his right hand a book, from which he turns his
eyes to spectator.

PENWARNE, JOHN, JUN.,

Painted 1778-81.

Canvas, 29 x 24 inches.

In possession of Rev. E. P. Wellings.

Seen to waist, ^ face to left, in fancy russet dress, lace collar,
slouched hat, a cloak over his right arm. A rich Titianesque head.
The dress may possibly be that which he received at Prideaux
Place. See Biographical Sketch.

PENWARNE, EDWARD,

Second surviving son of the first named John Penwarne, Born

about 1760, Died 1813.
Painted about 1800.
Canvas, 27 x 21^ inches.
In possession of Rev. E. P. Wellings.

Seen to waist, ^ face to right, powdered but dishevelled hair;
in light blue coat, pink waistcoat, full white cravat. A very ex-
pressive portrait.

PENWARNE, Miss ELIZABETH,

144 PICTURES BY JOHN OPIE, R.A.

Daugter of the first-named John Penwarne, Born 1760, Died
1799, unmarried.

Painted about 1785.

Canvas, 29 x 24 inches.

In possession of Rev. E. P. Wellings.

Seen to waist, a handsome face ^ to right, dark flowing
ringlets under a wide black felt hat with white ostrich feathers ;
in frilled white muslin dress to the throat, tied with pink ribbon ;
a carefully finished picture.

PENWARNE, ANNE,

Daughter and heiress of John Penwarne junr. above-men-
tioned, Born 1793, Married to Mr. George Wellings,
of Ludlow.

Painted about 1806.

Canvas, (twilled) 23^ x 18^ inches.

In possession of her son, Rev. E. Penwarne Wellings.

A bold sketchy kitcat, in Gainsborough's manner ; full face,
short dark hair, hazel eyes, shaded, with beautiful transparency, by
a wide grey felt hat, trimmed with fur, a grey cloak over her
shoulders. A bright peep of blue sky between bold masses of
foliage.

These six portraits form an interesting and instructive group,
being of very different dates, and all well preserved.

John and Edward Penwarne were early patrons of Opie, and
remained his firm and intimate friends until his death.

PETERS, CAPT. JOHN, R.N.,

Painted before 1783, probably.

Canvas, 22*^ x 19 inches.

In possession of his son, Rev. M. N. Peters, of Penwarne.

Half-length, to waist, in full dress Naval uniform, ^ face to
left, powdered hair and queue, frilled shirt.

Probably painted before that of his wife, as both face to left,
and this is much more carefully finished than that of Mrs. Peters,
and probably before Opie went to London in 1781.

PART I. PORTRAITS. 145

PETERS, CATHERINE,

Wife of Captain John Peters, R.N.

Painted 1783, the year of her marriage.

Canvas, 22^ x 19 inches.

In possession of her son Rev. M. N. Peters.

Half-length to waist, in russet morning dress, white muslin
kerchief over shoulders ; ^ face to left, full rich brown hair flowing
over neck ; a sketchy portrait, the features coarsely painted.

Labelled on paper at back, " by Opie, in the year 1783."

PETERS, MRS. COLONEL, see FRANCES READ.

PICKETT, MR. ALDERMAN,

Painted and Exhibited No. 196 in Catalogue of Royal Acad-
emy, 1792, as 'Portrait of a Gentleman;' identified by
Mr. Algernon Graves.

PICKFORD, JAMES,

Of Markyate Street, Beds.

Painted 1800, at the age of about 27.

Canvas, 30 x 25 inches.

In possession of C. T. Pickford, Esq.

Bust, shewing one hand which holds a glove ; in blue coat
and bright buttons.

PICKFORD, MARY,

Afterwards Mrs. Seabroke of Market Harborough.

Painted 1800, at the age of about 20.

Canvas, 29 x 24*^ inches.

In possession of C. T. Pickford, Esq.

Bust, shewing the hands, in white silk dress, and black lace
scarf.

PICKFORD, THOMAS.

PICKFORD, MARTHA,

Daughter of said Thomas Pickford.

146 PICTURES BY JOHN OFIE, R.A.

PICKFORD, MATTHEW,

Son of said Thomas Pickford.

These three portraits were painted by Opie at the same time
with the two former, but were burnt in the fire at Markyate Street.

PINDAR, PETER, see DR. WOLCOT.

PINDER, DANIEL,

Member of the Common Council of the City of London, 1765.
Painted 1807, subscribed for, and presented to the corpora-
tion by several of his colleagues, in 1807, when he was
senior member of the Common Council
Canvas, 55 x 43^ inches.
At Guildhall, London.

Three quarter-length, full face, in his Mazarene robe, a roll
of papers in his left hand, as in the act of speaking.

PLEYDELL, JENNY, see MRS. PRIDEAUX.

POLWHELE, REV. RICHARD,

Author of the Histories of Cornwall and Devon, and other
works, Born 1760, Died 1838.

Painted about 1778, 'one of the first efforts of his genius.'

Exhibited No. 84 in Catalogue of Devon and Cornwall
worthies, 1873, at Exeter.

Canvas, 21x17 inches.

In possession of his son, Rev. Edward Polwhele.

Bust, y^ face to left, hair curled over the ear ; in brown coat,
white neck-cloth and shirt-frill. See his Traditions and Recol-
lections, vol i, 74.

Engraved by Audinet, as frontispiece to his Biographical
Sketches, 12°., 1826.

POMERY, REV. JOSEPH,

Vicar of St Kew, 1777-1837, Born 1749, Died 1837; 'the
oldest clergyman in Cornwall.'

Painted 1778-80.

PART I. PORTRAITS. 147

Canvas, 28 x 24 inches.

In possession of his grandson Captain J. Pomery, Boconnion.

Seen to waist, y^ face, in his gown and bands.

POMERY, MRS. JOSEPH,

Melloney Scobell, wife of Rev. Joseph Pomery, Vicar of St.

Kew, Married Dec., 1778, Died 1784.
Painted 1778-80.
Canvas, 28 x 24 inches.

In possession of her grandson, Captain J. Pomery.
Seen to waist, ^ face, in evening dress.

POMERY, MRS. JOSEPH, see Miss M. SCOBELL.
Another portrait.

PONSONBY, LADY R,

Painted and exhibited No. 57 in Catalogue of Royal Acad-
emy, 1804, 'as Rebecca.'

"The best of Opie's female portraits this year." Monthly
Mirror, 1804.

POPHAM, CAPTAIN JOSEPH LAMB, R.N.

Born 1771, Died 1833, Married in 1801, Philippa, d. and h.

of Christopher Wallis, of Trevarno, Cornwall.
Painted 1801-2.
Canvas, 24 x 20 inches.
In possession of Mrs. C. W. Popham.
Seen to waist, ^ face to left, in the uniform of a Post Captain.

POPHAM, MRS. J. LAMB,

Daughter and heiress of Christopher Wallis, of Trevarno,

Cornwall, Married Capt. Popham in 1801.
Born 1775, Died 1859.
Painted 1801-2.
Canvas, 24 x 20 inches.
In possession of Mrs. C. W. Popham.
Seen to waist, ^ face to right, in demi-toilette.

148 PICTURES BY JOHN OPIE, R.A.

PRETYMAN, MRS. JOHN,

Anne Kedington, wife of Dr. John Pretyman, Prebendary of
Norwich.

Painted about 1807.

Canvas, 29^ x 24^ inches.

In possession of her grandson, Rev. J. R. Pretyman, M.A.,
Bournemouth.

Seen to waist, at age of about 48, ^ face to left of spectator;
in white evening dress, a black shawl over shoulders, blue head-
dress, her right arm in long yellow glove.

PRICE, SIR ROSE, BART.

Of Trengwainton, Cornwall, Born 1768, Died 1834, cr. Bar-
onet 1815.

Painted before 1781.

A youth in a Spanish Costume : an early work.

PRICE, SIR ROSE, BART.
Born 1768, Died 1834.

A Kitcat, in possession of the Earl of Shrewsbury and Talbot
Bequeathed by Sir R. Price to Earl Talbot, together with the

full length portrait of Lady Price, which follows.

PRICE, LADY,

Elizabeth Mary Lambart, Married to Mr., afterwards Sir Rose
Price, Bart, 1795, Died 1826.

Painted before 1795.

Canvas, 92 x 56 inches.

In possession of the Earl of Shrewsbury and Talbot.

Bequeathed by Sir Rose Price to Earl TalboL

Full length, standing, in a very plain cream coloured morning
dress, at the age of 1 7.

It is probably of this picture that Thos. Holcroft writes,
March i, 1799, "Sate to Opie, Northcote there, who warmly
"praised his whole-length of Mrs. Price."

PART L PORTRAITS. 149

PRIDEAUX, MRS.,

Jenny, dau. of Mr. Neville Morton Pleydell of Dorset,
second wife of Humphrey Prideaux, of Prideaux Place, who died

1793-

Painted before 1781.

Canvas, 30 x 25 inches.

In possession of Sir Charles B. Graves Sawle, Bart.

A Kitcat in blue and grey saque, a book in her hand.

PRIESTLEY, JOSEPH, LL.D.

Dissenting divine, and natural philosopher.

Born 1733, Died 1804.

Exhibited No. 588 in Catalogue of Nat. Portrait Exhibition,
1867.

Canvas, 30 x 25 inches.

In possession of Manchester New College, London.

Bust, in dark coat, grey wig.

Engraved by Caldwell, in Thornton's Botany, 1801, "oval ha.
len. supported by an Eagle." Wm. Smith's MS. Cat.

PROUT, THOMAS OLIVIE,
Of St Agnes, near Truro.
Painted about 1800.
Canvas, 30 x 24 inches.

In possession of his daughter, Mrs. Walter W. Aldridge.
In blue coat, powdered hair, white neck-cloth.

PYE, REV. CHARLES,

Rector of St. Mary's, Truro, 1761 to 1803.
Canvas, 36 x 28 inches.
In possession of Mr. J. R. Collins.
Three-quarter length portrait.

QUICK, MR.,

A humble parishioner of Zennor.

Painted before 1781, for John Rogers, of Penrose.

150 PICTURES BY JOHN OPIE, R.A.

Exhibited at Polytechnic Hall, Falmouth, 1854.

Canvas, 24^ x 21 inches.

In possession of the Author, Mr. Rogers, of Penrose.

A flaxen haired old man, seen to- waist, ^ face to right, in
russet coat and waistcoat ; a very good though sketchy specimen.
The light admitted from the right

RASHLEIGH, PHILIP, M.P.

Eldest son of Jonathan and Mary Rashleigh, of Menabilly,
M.P. for Fowey; formed the collection of minerals;
Born 1729, Died 1810.
Painted about 1795, probably.
Canvas, 29^ x 24}^ inches.

In possession of Mr. Jonathan Rashleigh, of Menabilly.
Seated in a chair, ^ face to left, in brown coat with ruffles,
powdered wig and queue. A fine specimen of the painter's best
period.

RASHLEIGH, ROBERT,

Of Coombe, near Fowey, 5th son of Jonathan and Mary
Rashleigh, of Menabilly, Born 1744, Died 1784.

Painted before 1781.

Canvas, 29 x 24^ inches.

In possession of Mr. Jonathan Rashleigh, of Menabilly.

Seen to waist, full face, powdered hair, in light grey coat, and
figured green waistcoat ; the light admitted from the right.

RAWLINGS, WILLIAM,

A Merchant, of Padstow, Died 1795, Married Catherine

Warne in 1755.
Painted about 1778.
Canvas, 15 x 12 inches.
In possession of his grand-daughter, Miss Rawlings, Saunders

Hill.
Bust, in black coat and waistcoat, powdered hair.

RAWLINGS, MRS. WILLIAM,

PART I. PORTRAITS. 151

Of Padstow, Married 1755.
Painted about 1778.
Canvas, 15x12 inches.

In possession of Miss Rawlings, of Saunders HilL
Bust, lace mob cap, white kerchief, a black velvet band round
the neck.

RAWLINGS, THOMAS,

Son of William and Catherine Rawlings, of Padstow.

Painted about 1778.

Canvas, 29 x 26 inches.

In possession of his daughter, Miss Rawlings, of Saunders
Hill.

Seen to waist, in gentleman's full dress of the period, at the
age of about 20.

READ, HENRY, together with his sister FRANCES.

Eldest son and daughter of John Read of Walthamstow. He
was Born 1767, and was afterwards Henry Revell of
Round Oak, Englefield; Frances married Colonel Peters,
Equerry to H.R.H. the Duke of York.
Painted 1783.

Canvas, 613^ x 39^ inches.
In possession of his son, Lieut-Col. J. L. Revell.
A double portrait, in a landscape, both full length : the brother,
seated at foot of a tree, embraces his sister, as he looks up at her;
she is full-faced, dressed in white, with a broad light-blue sash, at
the age of 12 ; he about 15, in chocolate coat, black knee-breeches,
white stockings, and silver-buckled shoes, with white frilled collar
open at throat ; a beautiful picture.

READ, MRS.,

Jane Beetham, wife of Mr. Read, a London Solicitor, and
mother of Miss Cordelia Angelica Read. She painted
in oils, probably under Opie's instruction, and executed
miniature likenesses in aqua tinta, after a method of
her own.

152 PICTURES BY JOHN OPIE, R.A.

Painted 1790-1800.

Canvas, 30 x 25 inches, relined 1872.

At Brompton Consumption Hospital, bequeathed by Miss C.
A. Read, her daughter, 1871.

Seen to waist, ^ face to left, the bust in profile, blue eyes,
dark brown hair, in natural curl; in black dress, a light blue
kerchief tied over her head and round the throat, a blue bead
necklace, dark back-ground.

REES, ABRAHAM, D.D.

Editor of the Cyclopoedia, Born 1743, Died 1825, aged 82.

Painted and exhibited No. 350 in Catalogue of Royal Acad-
emy, 1796, as 'Portrait of a Clergyman'; identified by
Mr. Algernon Graves.

Seen to waist, seated, nearly full face, powdered wig, in black
coat and waistcoat, small white cravat, and gown ; his right elbow
rests on a table, with inkstand, his right hand holds a paper;
drapery at back.

Engraved by J. Yeatherd, fo., Mezzo, 1797, in a border; by
W. Holl, stippled, as frontispiece to the Cyclopoedia, 1811; and
by J. Thomson, square, 1820, in European Magazine.

REYNOLDS, Miss ELIZABETH,

Exhibited at Winter Exhibition of Royart Academy, 1875, by

W. Walker, Esq.
On Panel, 21 x 16 inches.

REYNOLDS, SIR JOSHUA, see Supplement

RICHARDS, MRS. JAMES,

Grace, daughter of Thomas Giddy, who married Mary, Dr.
Wolcot's sister, and wife of James Richards, of Helston.
Born 1767.

Painted about 1781, at Penzance.
Canvas, 14 x n inches, lately re-lined.

In possession of her daughter, Emily, Mrs. Lambe, of Bath.
Bust, at the age of 14, nearly full face, hair fringed on fore-

PART I. PORTRAITS. 153

head, long behind ; in a low pale blue boddice, edged with narrow
lace, and fancy lace cap sprinkled with small flowers.

A charmingly pretty picture, beautifully executed with a very
fine brush, in pure harmonious tones.

ROBINSON, CAPTAIN,

Said to have been the first to leap into Tippoo Sahib's gardens
at the taking of Seringapatam, 1799.

Painted about 1800, probably on his return from India.

Canvas, 30 x 25 inches.

In possession of Rev. Henry Barrett, Durham, who obtained
it from one of the painter's family.

Seen to waist, ^ face to right, in dark cloak over scarlet
uniform, his arms crossed : a handsome intrepid countenance.
In Gainsborough's manner, and pronounced by Sir Wm. Beechey
to be one of Opie's best.

RUSH, GEORGE,

Painted and exhibited No. 129 in Catalogue of Royal Acad-
emy, 1806.

REEVE, PLEASANCE, see LADY SMITH.

ST. AUBYN, SIR JOHN BART., M.P.

The fifth Bart, of Clowance, Born 1757, Died 1839.

Painted about 1780.

Exhibited No. 281 in Catalogue of Winter Exhibition of Royal
Academy, 1876.

Canvas, 94^ x 58^ inches.

In possession of Sir John St. Aubyn, M.P.

Full length, in brown coat, knee breeches, powdered hair, hat
and cane in hand, with a greyhound : age about 25. St Michael's
Mount in back ground.

Mrs. Opie speaks of Sir J. St. Aubyn as " that early and just
" appreciator of the merits of Mr. Opie, who, through the whole
" of his professional career, united the kindness of a friend to the
" services of a patron. " — Preface to Lectures, page 48.

Engraved by S. W. Reynolds, Mezzo.

154 PICTURES BY JOHN OPIE, R.A.

ST. AUBYN, SIR JOHN,

The same.

Painted about 1797.

Canvas, 52^ x 40^ inches.

In possession of Sir John St Aubyn, M.P.

Three-quarter length, to below knee, seated in an armed chair,
his legs crossed, in an easy attitude of attention ; in evening dress,
y^ face to right, powdered hair, a roll in his right hand ; landscape
at right, seen through an open window.

Engraved by W. W. Barney, fo., Mezzo, 1809.

ST. AUBYN, SIR JOHN,

The same.

Painted about 1790, after Sir Joshua Reynolds, to whom he
sate in March, 1786. Taylor's Life of Reynolds.

Canvas, 27 x 22 inches, oval

In possession of Sir John St. Aubyn, M.P.

Bust, powdered hair. The original is at Tehidy.

Sir Thomas Barrett-Lennard has also a repetition of this
portrait by Opie.

Bust, to left, in black coat, full white neck-cloth, powdered
hair.

ST. AUBYN, LADY,

Juliana, wife of the 5th Baronet, Sir John St Aubyn, Died
1856, aged 83.

Painted and exhibited No. 208 in Catalogue of Royal Acad-
emy, 1796, as ' Portrait of a Lady.'

Canvas, 36^ x 28^ inches.

In possession of Sir John St Aubyn, M.P.

Half-length, seated, ^ face to right, in white dress, hair
curling over forehead, and bound by a broad velvet band ; in a
landscape. A very pretty picture.

Engraved by W. Ward, 1833, private plate.

ST. AUBYN, DOROTHY, see LADY LENNARD.

PART 1. PORTRAITS. 155

ST. JOHN, HON. LOUISA, see LADY BAGOT.

SALISBURY, COUNTESS OF,

Lady Mary Amelia Hill, dau. of Wills, ist Marquis of Down-
shire, Born 1750, Died 1835, aged 85, Married in 1773
James, 7th Earl of Salisbury; she lost her life in the fire
at Hatfield

Painted 1782.

In posssssion of the Marquis of Salisbury, at Hatfield House.

SANDWICH, EARL OF,

John, 4th Earl, thrice ist Lord of the Admiralty, Died 1/92.

Painted and Exhibited No. 2 1 8 in Catalogue of Royal Acad-
emy, 1/87, as 'A Nobleman;' identified in Anderdon
Coll.

Canvas, 94 x 58 inches.

At the Marine Barracks, at Stonehouse.

Full lengh, standing, in court dress, robed, -his coronet in his
left hand.

Marked at lower left corner, l J. Opie, 1804'. It seems doubt-
ful whether this indicates the date of presentation, or of the
painting ; if the latter, it is probably a repetition by Opie, of the
Exhibited portrait.

SAVERS, FRANCIS, M.D.

Author of Essay on Beauty, &c., Born 1763, Died 1817.
Painted 1800, for John Taylor, of Norwich.
Canvas, 28 x 24 inches.

In possession of W. H. Amyot, Esq., to whose father it was
left by Mr. Wm. Taylor.

Seen to waist, ^ face to left, in buttoned coat and waistcoat,
full white neck-cloth.

Engraved by W. C. Edwards, of Bungay, as a frontispiece to
Dr. Sayers collective works by Wm. Taylor, 1823.

SCOBELL, REV. GEORGE PENDER,

156 PICTURES BY JOHN OPIE, R.A.

Eldest son of George and Mary Scobell, of Nancealverne,

Vicar of Sancreed, Died 1811.
Painted about 1779.
Canvas 29 x 22 inches.
At Nancealverne.

SCOBELL, MRS. GEORGE FENDER, AND CHILD,

Elizabeth dau. of George Stark, of Tiverton, wife of Rev. G.
P. Scobell.

Painted about 1779.

She is represented with a babe in arms, her second son John,
the late Colonel Scobell, of Nancealverne.

An exceedingly pretty picture.

SCOBELL, JOHN,

Second son of George and Mary Scobell, of Nancealverne,

Collector of H.M. Customs at Penzance, Died 1797.
Painted about 1779.
Canvas, 29 x 22 inches.
At Nancealverne.

SCOBELL, Miss MELLONEY,

Daughter of George and Mary Scobell, afterwards wife of

Rev. George Pomery, Vicar of St. Kew, Died 1784.
Painted about 1779.
Canvas, 29 x 22 inches.
At Nancealverne.

SCOBELL, Miss MARY,

Daughter of George and Mary Scobell, first wife of Mr. David

Wise, of Redruth, Surgeon.
Painted about 1779.
Canvas, 29 x 22 inches.
At Nancealverne.

SCOBELL, ALLOAN,

Younger son of George and Mary Scobell. At the age of 20.

PART I. PORTRAITS. 157

Painted about 1779.
Canvas, 29 x 22 inches.
At Nancealverne.

SCOBELL, REV. GEORGE, D.D.

Eldest son of Rev. George Fender Scobell, and Vicar of

Turville, Bucks, Died 1837.
Painted 1779, for his father.
Canvas, 29 x 22 inches.
In possession of his son, Rev. George R. Scobell, of Shaugh

Prior.

A child of 5 years old, seated on a table, holding a dog in
his arms. A very pretty picture.

SEABROKE, MRS., see MARY PICKFORD.

SEALE, TWO CHILDREN OF MR. JOHN,

Elizabeth Maria, at the age of about 10 years, afterwards wife
of George Kekewich, Chief Justice of the Cape of Good
Hope ; and Harriett Anne, as a child, afterwards wife of
Thomas Lister, Esq., — children of John Scale, of Mount
Boon, Devon.

Painted 1784, for Mr. Scale.

Exhibited No. 216 in Catalogue of Royal Academy, 1784, as
' Two children ' ; identified in Anderdon Coll.

Canvas, 54 x 42 inches.

In possession of Sir Henry P. Scale, Bart.

Full length portraits.

SEALE, JOHN HENRY,

Of Mount Boon, Devon, cr. Baronet 1838, Born 1785, Died

1844.

Painted 1789.
Canvas, 54 x 42 inches.
In possession of Sir H. P. Scale, Bart.

Full length child of 4 years old, playing with a favourite dog.
One of Opie's best pictures.

158 PICTURES BY JOHN OPIE, R,A.

SEALY, CAPT. J.,

Captain in the East India Co.'s Navy, Evans' Catalogue
contains an Engraving by Reynolds, fo. Mezzo.

SEBRIGHT, HENRIETTA SAUNDERS,

Eldest daughter of Sir John Sebright, 6th Baronet, aged 15,
married in 1794 to Henry 2nd Earl of Harewood.

Painted about 1784.

Canvas, 30 x 25 inches.

In possession of Sir John G S. Sebright, Bart., at Beechwood.

Seen to waist, in profile to right, brown curly hair, in black
dress, white ruff and chemisette ; in the act of painting.

SEBRIGHT, MARY SAUNDERS.

Younger daughter of Sir J. Sebright, 6th Baronet, aged 6 ;
afterwards the wife of Nicholas L. Fenwick, Esq., of Nor-
folk.

Painted about 1784.
Canvas, 30 x 25 inches.

In possession of Sir John G. S. Sebright, Bart.
Seated, full face, in white dress and ruff, large straw hat,
brown hair ; she holds her right hand finger up, to command the
obedience of a spaniel on her lap.

SEBRIGHT, HENRIETTA AND MARY,

Henrietta Saunders, aged 15, Countess of 2nd Earl Harewood

in 1794, and Mary Saunders, aged 6, afterwards wife of

Nicholas L. Fenwick, Esq.
Painted after 1784 for their uncle, Mr. Payne Knight, from

the two preceding pictures.
Canvas 48^ x 48^ inches.
In possession of Mrs. Barwick Baker by descent from Colonel

Edward Sebright, to whom Mr. Payne Knight left the

picture.

The two sisters in one picture ; the elder y^ length, in profile
to right, in black dress, white ruff and habit-shirt, her brown hair

PART L PORTRAITS. 159

brushed back in curls, her hand raised as if to draw her sister's
portrait on an easel : the younger seated, full length, her hair cut
square on forehead, in straw hat, white frock.

SEWARD, ANNA,

Poetess, dau. of Rev. Thos. Seward, Born 1747, Died 1809.

Exhibited No. 140 in Catalogue of National Portrait Exhibi-
tion 1868.

Canvas 30 x 25 inches.

In possession of Mr. W. Percival Boxall, bought after the
death of William Hayley, poet of Felpham, to whom
Opie presented the picture.

Seen to waist, seated, ^ face to right, in open white dress.
A fine portrait.

SHIELD, WILLIAM,

Musical Composer, Born 1754, Died 1829.

Painted and exhibited No. 5 in Catalogue of Royal Academy,

1787, as 'A Gentleman'; identified inAnderdon Coll.
Canvas, 30 x 25 inches.

In possession of Mr. T. H. Bates, formerly of Mr. H. F.
Long, who sold it at Puttick and Simpson's, in Feb.,
1864, where it was again sold in Nov. 1866 to Madame
Nosada, from whom Mr. Bates obtained it.
Seen to waist, ^ face to right, florid complexion, hair slightly
powdered, in dress of the period, white cravat.

Engraved by R. Dunkarton, Mezzo, 1788; and by Ridley,
oval, in the Monthly Mirror, 1798.

SIDDONS, WILLIAM,

Actor ; husband of the celebrated Mrs. Siddons.

Canvas, 30 x 25 inches.

In the National Gallery, bequeathed by his daughter, Mrs.

Cecilia Combe, in 1868.
A bust, life size.

SIDDONS, MRS., see Supplement.

160 PICTURES BY JOHN OPIE, R.A.

SLIGO, MARQUIS OF, K.P.

John Denis, first Marquis, cr. 1800, Born 1756, Died 1809.

Painted 1 800-6, for himself.

Canvas, 30 x 25 inches.

In possession of the present Marquis of Sligo.

Seen to waist, in black coat and white neck-cloth, short nat-
ural hair ; decorated with the star and ribbon of the order of St
Patrick : a red curtain behind.

Engraved by W. W. Barney, fo.

SLIGO, LOUISA MARCHIONESS OF, see ALTAMONT.

SMITH, SIR JOHN,

Born 1744, Died 1807, Sheriff of Dorset in 1772, cr. Baronet
in 1774.

Painted 1784.

Canvas, 29% x 24 inches.

In possession of Sir W. Smith Marriott, Bart.

Bust, full face, stiffly curled hair, powdered, neck-cloth, frilled
shirt, striped under waistcoat, in black academic gown.

Engraved by J. R. Smith, Mezzo, inscribed ' Sir John Smith,
Bart, painted 1784,' and by J. Walker, 4°., oval, ha. len. in square,
( Wm. Smith's MS. Cat. ) ; an engraving is also inserted in An-
derdon Coll. 1794, with date 1795 over coat °f arms; engraver's
name cut off.

SMITH, MASTER,

Son of Sir John Smith, probably the eldest son, afterwards
Sir John Wyldbore Smith, Born 1770, Died 1852.

Painted about 1783.

In possession of the late Rev. J. Digby Wingfield.

Engraved by W. Ward, 1784.

SMITH, ADMIRAL SIR W. SIDNEY, G.C.B.

Born 1764, Died 1840, aged 76.

Engraved by S. Cheesman, fo. 1796. (Evans, and Wm.
Smith's MS. Cat.).

PART I. PORTRAITS. 161

SMITH, WILLIAM, M.R

Represented Norwich many years; Born 1756, Died 1835.

Painted for the family.

In possession of Madame Bodichon.

Seen to waist, ^ face to left; in dark coat, buff waistcoat,
white neck-cloth ; a crimson curtain behind.

SMITH, WILLIAM, TWO CHILDREN OF,

Probably the children of the preceding Wm. Smith, of Nor-
wich.

Painted and Exhibited No. 196 in Catalogue of Royal Acad-
emy, 1796, as 'Portraits of two children'.

SMITH, LADY,

Pleasance, dau. of Robert and Pleasance Reeve, and wife
of Sir James Edward Smith, Founder of the Linnaean
Society, who Died 1828. She was Born 1773, Died 1877,
aged 103.

Painted 1797, soon after her marriage.

Exhibited No. 105 in Catalogue of British Institution, 1817.

Canvas, 29^ x 24^ inches.

In possession of the Earl of Coventry in 1817.

Seen to waist, ^ face to right, dressed as a gipsy, her hat
thrown back on her neck, and hanging by a muslin scarf tied in
front beneath her chin; dishevelled hair about her brow, both
hands shown, her right fore finger resting in the left palm ; an arch
smile, and pretty face.

A repetition of this portrait, by Opie, is at Lowestofft.

An inferior lithograph, printed by Graf and Soret, 4°., ».</.,
has y. Opie, pinxit, 1797.'

SMITH, FRANCIS,

Of Norwich, brother of Sir J. E. Smith, Pres. Lin. Soc.
Most probably that which was painted and exhibited No. 39

in Catalogue of Royal Academy, 1800.
Canvas, 28^ x 24 inches, cleaned in 1875.

M

1 62 PICTURES BY JOHN OPIE, R.A.

In possession of his grandaughter, Miss Barnard.
Seen to waist, ^ face to left, in black dress, white neck-cloth,
his hat in his hand ; at the age of 36.

SMITH, MRS. TRANCIS,

Sarah Marsh, wife of preceding Francis Smith, married 1795.

Most probably that which was Painted and Exhibited No. 189
in Catalogue of Royal Academy, 1800.

Canvas, 28^ x 24 inches, cleaned in 1875.

In possession of her grandaughter, Miss Barnard.

Seen to waist, seated, ^ face to right ; in open white dress,
holding a sketch-book and porte-crayon in her hand.

SMITH, JAMES,

Of Ashlyns Hall, Herts, Born 1768, Died 1843.

Painted about 1805.

Canvas, 30 x 26 inches.

In possession of his son, Colonel R. A. Smith-Dorrien,
Haresfoot, Herts.

Seen to waist, ^ face to left, in olive green coat buttoned up,
white neck-cloth, powdered hair.

SMITH, JAMES, JUN.,

Eldest son of James Smith, of Ashlyns Hall, Born 1800,
Died 1811.

Painted about 1805.

Canvas, 30 x 26 inches.

In possession of his half-brother, Colonel R. A Smith-Dorrien.

Full length portrait of a child of 5 years old, seated, cross-
legged, full face, a hand on each knee; in white frock with crimson
sash and steel buckle in front, red slippers. A crimson curtain,
lined green, over his head.

An engraving from this picture is called ' the little Nabob,'
from his dress and attitude.

SMITH, MRS. CHARLES,

Ne'e Beaver, sister of Mrs. John Gillies.

PART I. PORTRAITS. 163

Painted before 1806.

Canvas, 36 x 27 inches.

In possession of Miss C. B. Gillies, niece of Dr. John Gillies,
the historian.

Half-length, in white dress, ruffled at neck, black lace shawl,
pink sash, powdered hair bound with white ribbon, hands gloved.

A repetition of this picture, by Opie, is in possession of her
grandson, Mr. Henry Smith, of Ellingham Hall, Suffolk.

SMITH, COLONEL JOHN, and his sister LUCY,

Children of the preceding Mrs. Charles Smith, at the ages of
7 and 6 years respectively; Colonel Smith afterwards
commanded the 2nd Madras Light Cavalry.
Painted 1806.

Canvas, 35^3 x 27^ inches.
In possession of Colonel Smith's son, Mr. Henry Smith, of

Ellingham Hall, Suffolk.

A fancy portrait of 2 children, the boy with a bow and arrow
in his hands ; the girl holding her straw hat at her side in one
hand, a bunch of flowers in the other. One of Opie's finest
works, and in excellent preservation.

SMITH, CHARLOTTE,

Poetess, daughter of Nicholas Turner of Bignor, and wife of

Mr. — Smith, Born 1749, Died 1806.
Formerly in the possession of Wm. Hayley, the poet.

Engraved by Duncan, sq. ha. len. in Walker's Poets, 8°., 1824.
— Wm. Smith's MS. Cat.

SOMERSET, LORD CHARLES HENRY,

Brother of Henry Charles, 6th Duke of Beaufort ; a general

in the army, and Governor of the Cape of Good Hope,

Born 1767, Died 1831.
Painted probably after 1782.
Canvas, 21x17 inches.
In possession of Viscount Falmouth.

1 64 PICTURES BY JOHN OPIE, R.A.

A small kitcat, age about 15, in blue coat, and buff waistcoat,
flowing hair, cut short over forehead; fresh clear flesh tints; a
pendant to that of his brother, the Duke of Beaufort.

SOMERSET, LADY ARTHUR,

Elizabeth Boscawen, dau. of George Evelyn, 3rd Viscount

Falmouth, afterwards wife of Lord Arthur Somerset,

1808.

Painted probably after 1782.
Canvas, 30 x 25 inches.
In possession of her son, Rev. George Somerset, to whom it

was given in 1875 by Viscount Falmouth.
A kitcat

SOUTHEY, ROBERT,

The Poet Laureate, Born 1774, Died 1843.

Painted 1806, for John Taylor, of Norwich.

Exhibited No. 230 in Catalogue of the Winter Exhibition of

Royal Academy, 1876.
Canvas, 28^ x 23^ inches.

In possession of Reginald Southey, M.D., bequeathed by Mr.
John Taylor to Dr. Henry Herbert Southey, the Poet's
brother. Taylor says of it, " We are delighted with it ;
"'tis one of Opie's best likenesses, and in his best
"manner." (Life of J. Taylor, ii, 204). Mr. Scharf,
Keeper of the Nat Port. Gallery, considers it one of his
finest male portraits.

Seen to waist, ^ face to left, in dark olive green coat, with
high collar, folded white neck-cloth; the expression is full of
poetic fire, intellectual power, and self-reliant haughtiness.

Engraved by W. H. Egleton, as frontispiece to the ist vol. of
the Life and Correspondence of Robt. Southey, 1 849.

SPEARE, REV. DR. WILLIAM,

Prebendary of Exeter Cathedral.
Canvas, 30 x 25 inches.

PART L PORTRAITS. 165

In possession of Rev. W. Speare Cole, Vicar of S. Brent.
Seen to waist, full face, in morning dress ; age about 40.

SPEARE, ARTHUR,

Canvas, 30 x 25 inches.

In possession of Rev. W. Speare Cole.

Seen to waist, full face, in morning dress ; age about 50.

SPRY, MRS. THOMAS, see A. M. THOMAS.

STANHOPE, EARL OF,

Charles, 3rd Earl, distinguished for his mechanical genius.

Born 1753, Died 1816.

Painted and exhibited No. 63 in Catalogue of Royal Acad-
emy, 1803.

Probably that at Holland House, bequeated to Lord Holland
by the EarL (See Faulkner's Kensington, page 156).

STANLEY, MR.,

Painted and Exhibited No. 61 in Catalogue of Royal Acad-
emy, 1789, as 'Portrait of a Gentleman.'

STEWARDSON, THOMAS,

Portrait painter to Queen Caroline ; said to have been a pupil

of Opie's. Born 1786, Died 1859.
Painted about 1804, the year in which he first Exhibited at

the Royal Academy.

An engraving by W. W. Barney, la. fo., Mezzo, in Athenaeum
Library, represents him as a young man, full face, leaning on his
right arm, seated at a table, in cloak, his shirt collar turned over.

STEWARDSON, MRS.,

Exhibited, No. 104 at the British Institution, 1817, by Thomas
Stewardson.

STEWART, ISABELLA, see MRS. JOHN HAMILTON.
TALBOT, LADY CHARLOTTE,

1 66 PICTURES BY JOHN OPIE, R.A.

Mentioned in a letter of Dr. Wolcot's to Mr. J. James, of
Rosenvale, St Agnes, and in Mr. Ed Collins Giddy's
MS. See Biographical Sketch.

Painted 1782.

TALBOT, Miss,

Painted and Exhibited No. 247 in Catalogue of Royal Acad-
emy, 1802. She is represented in the character of
Lavinia.

TAYLOR, THOMAS,

Of Ogwell House, Devon.

Evans' Catalogue has an Engraving by Mackenzie, 4°., and
Wm. Smith's MS. Cat. adds 'oval half-length.'

TAYLOR, THOMAS,

Of East Ogwell, Devon.

Painted probably before 1782.

Canvas, 30 x 25 inches.

In possession of the Earl of Devon, at Powderham Castle.

An elderly gentleman, half-length in an oval, looking to left ;
in ordinary morning dress, brown coat, red waistcoat, flaxen wig.

Possibly the preceding engraving, by Mackenzie, may be from
this picture.

TAYLOR, DR.,

Painted probably after 1798.

Canvas, 19 x 18^ inches.

In possession of Mr. Win. C Maclean, of Great Yarmouth,

bought by him at Norwich, in 1871.

Bust, within a circle, ^ face to left, bald head, grey whiskers,
a speaking likeness.

TAYLOR, MR.,
Surgeon.

Painted and Exhibited No. 526 in Catalogue of Royal Acad-
emy, 1792, as 'Portrait of a Gentleman.'

PART L PORTRAITS. 167

THOMAS, JOHN,

Of Chyverton, Vice Warden of the Stannaries 1784-1817.
Died 1825.
Painted before 1780.
Canvas, 29^ x 24^ inches.

In possession of Mrs. T. H. Peter, at Chyverton, whose mother
was the dau. and heiress of Mr. Thomas.

THOMAS, MRS. JOHN,

Frances, wife of John Thomas, Vice Warden. Died 1786.

Painted before 1780.

Canvas, 29^ x 24^ inches.

In possession of Mrs. T. H. Peter.

THOMAS, SAMUEL,

Of Tregolls, Truro, Died about 1796.

Canvas, 30 x 25 inches.

At Place House, Anthony.

Seen to waist, powdered hair, in blue coat and buff waistcoat,
at the age of about 30 ; in a landscape.

THOMAS, ANNA MARIA,

Sister of the preceding Samuel Thomas, of Tregolls ; married

1796 to Admiral Thomas Spry.
Canvas, 30 x 25 inches.
At Place House, Anthony.

Seen to waist, powdered hair, in white dress, at the age of
about 30 ; in a landscape.

THOMAS, THOMAS EDWARD,

Painted about 1796, a miniature, on ivory.

Ivory, 2^x2^ inches, oval.

In possession of his son, Mr. Iltid Thomas, of Glaumor,
Swansea

Bust, y^ face to left, powdered hair with a rolled curl at the
ear ; in dark blue dress coat, white neck-cloth.

1 68 PICTURES BY JOHN OPIE, R.A.

THOMAS, MRS. T. K,

Daughter of Thos. Wilkins Morgan, of Somerset, Married
in 1811 to Thomas Edward Thomas, and Died 1822,
aged 42.

Painted about 1796, a miniature on ivory.

Ivory, 2^ x 2$ inches, oval.

In possession of her son, Mr. Iltid Thomas.

Bust, y± face to left, a white muslin veil lightly thrown over
her powdered hair, and loosely crossed over bosom.

These two portraits, which are well preserved, are the only
examples of miniature painting by Opie ; they were executed for
Mr. Morgan, before his daughter's marriage.

THOMPSON, ALEXANDER,

A Master in Chancery, afterwards Baron Thompson.

Painted 1782, signed by Opie ' 1782.'

Canvas, 29 x 24 inches.

A family portrait in possession of William Coxhead, Esq.,
Bath.

Half-length, seated in his robes as a Master in Chancery,
nearly full face, inscribed at back.

'Alexander Thompson, Esq., Master in Chancery, u May,
' 1782, Sir Alex. T. Knight, afterwards one of the Barons of the
'Court of Exchequer, 9 Feb., 1787. J. Opie pinxt. 1782.'

THOMPSON, SIR ALEXANDER,

Baron of the Court of Exchequer, 1787.
Painted and Exhibited No. 272 in Catalogue of Royal Acad-
emy, 1789, as 'A Judge,' identified in Anderdon Coll.

THOMPSON, MRS. CHARLES, see JULIANA KETT.

TIPPETT, MRS. JAMES,

Ne'e Mason, daughter of the Governor of St. Helena ; married
June 1771 to Mr. James Tippett, of Truro, who Died
1786, at Bombay.
Painted 1779-80.

PART I. PORTRAITS. 169

Canvas, 23 x 15 inches.

A family portrait in possession of Mr. Edward P. Tippett,
Plymouth.

TODD, LOVELL,
Of Falmouth.
Painted about 1778.

Canvas, 14^ x 10^ inches. Signed, ' Opie hoc. delink
In possession of his son, Rev. Fortescue Todd, Vicar of St.

Austell, a gift of the painter to Mr. Lovell Todd.
A Bust, an excellent specimen of his early manner.

TONKIN, MARY, see MRS. E. OPIE.

TOOKE, JOHN HORNE.

Politician and Philologist.
Born 1736, Died 1812.

TOWGOOD, REV. MICHAIAH,

Dissenting Minister, of Devon, Born 1700, Died 1792, aged
92.

Painted 1783, at the age of 83.

In possession of Rev. J. Manning in 1794, as appears by
Ezekiel's engraving.

Seen to waist, full face, in a lay dress, with bands, and full
wig.

Engraved by Anker Smith in an oval, 8°., 1787, for his Dis-
sent from the Church of England justified ; and by E. Ezekiel,
more fully, sheet, 1794.

TOWNLEY, CHARLES, see Supplement.

TOWNSEND, Rev. JOSEPH,

Rector of Pusey, Wilts, author of a Journey through Spain in
1786-7, and other works, Born about 1740, Died 1816.

An engraving by Holl, 4°., in an oval, represents him as seen
to waist, y± face to left, in black coat and waistcoat, white cravat,

I 70 PICTURES BY JOHN OPIE, R.A.

he looks up thoughtfully from an open book in his hands; a vig-
nette of the Escurial is introduced.

TOWNSEND, MRS, JOSEPH,

Joyce Nankivell, of Rosenvale, married 1773 to Rev. Joseph
Townsend, see JOYCE NANKIVELL.

TOZER, REV. ABRAHAM,

Of Exeter, Died about 1796.

Canvas, 29 x 24, in very good state.

In possession of his great grandson Mr. Edgar Tozer, Exeter.

Seen to waist, within an oval, ^ face to left, in clerical robes
and bands, powdered bushy wig.

TOZER, MRS. ABRAHAM,

Rebecca Holman, wife of Rev. Abraham Tozer, Died about
1809.

Canvas, 29 x 24.

In possession of her great grandson, Mr. Edgar Tozer, Exeter.

Seen to waist, within an oval, ^ face to right, in evening
dress of violet silk, edged with deep black lace, white lace collar,
white satin cap, tied with black under her chin.

TREGENNA, MARTHA, see MRS. THOS. BIDDULPH.

TREMAYNE, ARTHUR,

Of Sydenham, Devon, Born 1735, Died 1808.

Painted about 1795, Signed ' Opie pt?

Canvas, 30 x 25, in excellent preservation.

In possession of Mr. John Tremayne, M.P., at Sydenham.

A stout gentleman, about 60 years old, seated in a red chair ;
in brown coat buttoned, light brown natural hair.

TRESHAM, HENRY, R.A.,

A native of Ireland; painted 3 scenes from Anthony and
Cleopatra for Boydell's Shakespeare Gallery. Died 1814.

Painted and Exhibited No. 132 in Catalogue of Royal Acad-
emy, 1806.

PART I. PORTRAITS. 171

An engraving by Freeman, in an oval, 1809, inserted in An-
derdon Coll., represents him nearly full face, bald head, smooth
face, coat buttoned to throat. The portrait was said ' almost to
breathe,' in the Literary Panorama of Sep. 1807.

TREVENEN, MATTHEW,

Youngest son of Rev. John Trevenen, of Rosewarne, B.A.,
Cambridge, 1783, Born 1762, Died 1785, aged 23.

Painted 1782, one of the 4 pictures which Opie shewed King
George III, at his first visit to Buckingham House, in
1782.

Canvas, 30 x 25 inches, in very good state.

In possession of his nephew, Mr. James Trevenen, at Ply-
mouth.

Seen to waist, ^ face to left, in brown coat, white fur-edged
waistcoat, white cravat, his arms folded, light brown hair. Age 20.
An attractive picture.

TURNER, CHARLOTTE, see MRS. SMITH.
TURNER, MRS., see Supplement.

TWISS, MRS. FRANCIS,

Fanny Kenible, sister of Mrs. Siddons, and mother of Horace
Twiss, Q.C.

Painted 1799, for Amelia Opie, and retained until her death,
(see her life, p. 286).

Canvas, 30 x 25 inches.

In possession of her grandson, Mr. Quintin Twiss.

Seen to waist, in profile, ^ face to left, in black dress to
throat, short sleeves, shewing well-modelled arms; dark auburn
hair in short curls on forehead, black hair wound closely round
the head ; her right hand holds a netting needle ; a highly finished
picture, shewing the influence of Sir T. Lawrence. It is the
subject of one of Mrs. Opie's Lays of the Dead, 8°., 1834, "Por-
trait the second, addressed to Mr. Opie on his having painted
"for me the picture of Mrs. Twiss, 1799." Life page 72.

172 PICTURES BY JOHN OPIE, R.A.

USTICKE, CATHERINE, see MRS. JOHN PETERS.

VALPY, REV. RICHARD, D.D.,

Eminent Classical Scholar, many years Head Master of
Reading School, Born 1754, Died 1836.

Painted and exhibited No. 282 in Catalogue of Royal Acad-
emy, 1801; 'painted for his pupils by subscription.'

Canvas, 96 x 57 inches.

In possession of Mr. Richard Valpy, of Champneys, Herts.

Full length, seated, resting his elbow on a table, in gown and
bands, spectacles in his left hand ; drapery and landscape beyond.

Engraved by C. Turner, la. Mezzo, 1811.

VAUGHAN, GEORGE,
Died 1828.
Exhibited No. 182 in Catalogue of British Institution, 1862,

by Mr. Henry Vaughan.
Canvas, enlarged to 36 x 27 inches.
In possesion of Mrs. Vaughan, Westbourne Terrace.
Seen to waist, ^ face to left. At the age of about 40.

VAUGHAN, Miss,

Painted and exhibited No. 94 in Catalogue of Royal Acad-
emy, 1806.

VINICOMBE, REV. JOHN,

Of Pembroke College, Oxford; Tutor to Sir Rose Price,
Bart. Died 1808.

Painted 1796.

Canvas, 30 x 25 inches.

Bequeathed by Sir Rose Price to Pembroke College, Oxford.

A kitcat, y^ face to right, in black coat, ample white neck-
cloth, grey hair ; a curtain at back, shewing a landscape beyond.
'An excellent picture.' (Davies Gilbert, Hist, of Cornwall, iii, 87).

VIVIAN, JOHN,

Of Pencalenick, Sheriff of Cornwall, 1812, Born 1771, Died
1817, s.p.

PART I. PORTRAITS. 173

Canvas, 29 x 24^ inches.
In possession of Mrs. Vivian Vivian.

Seen to waist ^ face to right, in blue coat, and buff waist-
coat, leaning on his elbow.

VIVIAN, MATTHEW,

Of Redruth, father of J. Ennis Vivian, M.P. for Truro, Died
1814.

Painted before 1781.

Canvas, 29 x 23 inches, relined by Neill.

In possession of his relative, Mr. E. A. Magor, Lamellea

Seen to waist, ^ face to left, powdered hair, in dark green
coat, white neck-cloth; one hand half hid in his waistcoat.

VIVIAN, MRS. MATTHEW,

Mary Ennis, wife of Matthew Vivian, of Redruth. She Died
1850, aged 80.

Painted before 1781.

Canvas, 29 x 23 inches, relined by Neill.

In possession of Mr. E. A. Magor, Lamellen.

Seen to waist, ^ face to right ; in sea-green evening dress,
lace frill, and short sleeves frilled with lace ; natural hair.

WALKER, MRS. ROBERT, see SOPHIA WARRICK.

WALLER, MRS. FREDERICK,

Anne Westcott, wife of Frederick Waller, of Doughty Street,
London.

Painted 1799.

Canvas, 20 x 16 inches.

In possession of her son, Mr. Edmund Waller.

Seen to waist, ^ face to left ; in low white dress, yellow sash ;
long ringlets, hair cut short over forehead ; back ground of clear
sky and scenery. A very interesting face of a girl of about 15
years old.

WALLER, MRS. BENJAMIN,

174 PICTURES BY JOHN OPIE, R.A.

Mary Westcott, afterwards wife of Mr. Benjamin Waller, of

Kilburn, and sister of Anne Westcott, above.
Painted 1799.
Canvas, 20 x 16 inches.

In possession of her grandaughter, Mrs. Oldham.
Seen to waist, ^ face to left, in low white dress and yellow
sash ; a very pleasing likeness.

WALMSLEY, REV. EDWARD,

Rector of Falmouth from 1734 to 1794.

Painted 1780, signed and dated.

Canvas, 29 x 25 inches.

In possession of Mr. W. T. Tresidder, St. Ives, Cornwall

Seated, in academic gown, bands, and grey wig.

WARDE, RIGHT HON. GENERAL GEORGE,

Commander in chief in Ireland, Born 1725, Died 1803.

Exhibited No. 868 in Catalogue of Nat. Portrait Exhibition,
1868.

Canvas, 50 x 40 inches.

In possession of Admiral Warde.

Half-length, standing, in scarlet military uniform, in a land-
scape, holding his horse.

WARDE, MRS. GEORGE,

Charlotte, daughter of Dr. Madan, Bishop of Peterborough,
Married 1781, to General George Warde, of Woodland
Castle, Glamorgan, nephew of the preceding General
Warde; she Died 1832, aged 75.
Painted about 1782.
Canvas, 29 x 24 inches.

In possession of Lieut. Col. Warde, of Squerries Court, Kent

Seen to waist, full face, in frilled white morning dress and

kerchief, wide Leghorn hat, trimmed with blue ribbon; curling

powdered hair, hazel eyes ; a pretty young face. The light admitted

from the right hand

PART L PORTRAITS. 175

WARREN, ADMIRAL SIR JOHN BORLASE, G.C.B.

Ambassador to the Russian Court, 1803-5, Admiral 1810,
Born 1754, Died 1822.

Painted and Exhibited No. 205 in Catalogue of Royal Acad-
emy, 1799, and No. 720 in Catalogue of Nat Portrait
Exhibition, 1867.

Canvas, 30 x 25 inches.

In possession of Rev. Sir J. W. Hayes, Bart., whose father
was a friend of the Admiral

Bust, in naval uniform, ribbon of the Bath.

WARREN, ADMIRAL, SIR J. B., G.C.B.

The same.

Canvas, 30 x 25 inches.

Presented to Greenwich Hospital in 1824, by the Admiral's
widow.

Seen to waist, ^ face to left, in Admiral's uniform.

Wm. Smith's MS. Cat. has an engraving by H. Richter, fo.,
in an oval, surrounded by trophies, &c., but it does not appear
from which of these two portraits it was taken.

WARRICK, MARGERY,

Daughter of Christopher Warrick, Surgeon, of Truro, who
Married Miss Peters, of Park.

Painted before 1781.

Canvas, 21^ x 17^ inches.

In possession of Hon. Captain Vivian, at Park.

Bust, full face, in low white dress, with dark lace trimming.
Age about 19.

WARRICK, SOPHIA,

Sister of Margery Warrick, of Park ; she Married Rev. Robert

Walker, Vicar of St Winnow from 1781 to 1834.
Painted before 1781.
Canvas, 21^ x 17^ inches.
In possesion of Hon. Captain Vivian, at Park.

176 PICTURES BY JOHN OPIE, R.A.

Bust, y^ face to left, in low dress of greenish blue, trimmed
with black lace. Age about 18.

WELLINGS, MRS. GEORGE, see ANNE PENWARNE.

WESTCOTT, MRS. JOHN,

Hannah Hancock, wife of John Westcott, of Kingsbridge,
Devon, who Died 1790; she was Born 1750, Died 1794.
Mr. and Mrs. Westcott were intimate friends of Dr.
Wolcot, who was born near Kingsbridge.
Painted 1793.

Canvas, 30 x 25 inches, relined.
In possession of her grandson, Mr. Danby P. Fry.
Seen to waist, seated, full face, frizzed light hair, in lace cap
and fichu, her hands folded on her lap, in her right hand is an
open letter, signed HOUNOR FRY, the name of her married
daughter, whose miniature likeness hangs from her neck. A red
curtain at back. A carefully finished picture.

WESTCOTT, PETER THOMAS,

Eldest son of John and Hannah Westcott, of Kingsbridge,

Born 1783, Died 1846.
Painted 1793, and specifically bequeathed to him by his

mother, 1794.

Canvas, 20 x 16 inches, relined.
In possession of his Nephew, Mr. Danby P. Fry.
Seen to waist, ^ face to right, long rich auburn hair ; in dark
coat, gilt buttons, frilled collar. A youth aged about 10.

WESTCOTT, JOHN HANCOCK.

Second son of John and Hannah Westcott, of Kingsbridge ;

an officer in the army. Born 1787, Died 1849.
Painted 1793, and specifically bequeathed to him by his

mother, 1794.

Canvas, 21 x 17 inches, relined
In possession of his Nephew, Mr. Danby P. Fry.
Seen to waist, ^ face to left, long glossy light-brown hair, tall

PART L PORTRAITS. 177

black velvet hat, in red coat with frilled collar, holding a black
spaniel at left, in shadow ; in a landscape. A boy aged about 7.

WESTCOTT, JANE SARAH SUSANNAH,

Daughter of John and Hannah Westcott, of Kingsbridge,
Born 1790, Died 1834. She married Mr. Alfred Augus-
tus Fry.
Painted 1793, and specifically bequeathed to her by her

mother, 1794.

Canvas, 20^ x 16^ inches, relined.
In possession of her son, Mr. Danby P. Fry.
Seen to waist, seated in a landscape, with clear grey sky ; y^
face to right, blue eyes, flaxen hair, in short-sleeved white frock,
and buff sash ; a spaniel on her lap with pink ribbon round his
neck; a girl of the age of 4; a very graceful portrait, finely
executed throughout. The head shews the influence of Reynolds.

WESTMORELAND, EARL OF, see Supplement.
WHEELER, PENELOPE, see MRS. W. W. BIRD.

WHITBREAD, SAMUEL, M.P.

Distinguished politician, Born 1758, Died 1815, Married
1789, Lady Elizabeth, eldest dau. of ist Earl Grey.

Painted and exhibited No. 106 in Catalogue of Royal Acad-
emy, 1804.

Seen to waist, full face, coat buttoned over light waistcoat,
white cravat. ' A truly fine portrait, possessing every quality of
excellence.' Monthly Mirror, 1804.

Engraved by Hopwood, 8°., 1805, by S. W. Reynolds, 1806,
and by T. Blood, 1813.

WHITBREAD, SAMUEL, M.P.

The same.

An engraving by S. W. Reynolds, Mezzo, 1804, represents
him full length, seated, nearly full face, looking to left, natural
hair, in morning dress, with hessian boots, his right hand resting
on a table ; a landscape over the table to the left.

N

178 PICTURES BY JOHN OPIE, R.A.

WHITBREAD, LADY ELIZABETH,

Eldest daughter of the first Earl Grey; Born 1765, Married,
1789, to Samuel Whitbread, M.P., of Southill; Died
1846.

Wm. Smith's MS. Cat. has an engraving by A. Cardon, square
ha. len. in La Belle Assemblie, 1 808 ; pose of figure not men-
tioned.

WHITE, THOMAS,

Of Fordlands, Exeter, Barrister, a Bencher of Lincoln's Inn.

Painted about 1781.

Canvas, 30 x 24 inches, in perfect state.

In possession -of his relative, Miss Abbott, of Exmouth.

Seen to waist, full face, in dark red coat and ruffles, powdered
hair, an open book in his right hand, at the age of about 40 ;
considered a very fine specimea

WILKIE, SIR DAVID, R.A.,

Distinguished painter, son of Rev. David Wilkie, Pastor of
Cults, Fife, Scotland, Born 1785, Died 1841. He came
to London 1805, at the age of 20.

Sold at W. Anthony's sale at Christie's, Feb. 20, 1871, for
^28 7s.

WILLIAMS, CATHERINE EVCOTT, see MRS. BULKELEY.

WILLIAMS, SIR DANIEL, KNIGHT,

Colonel of the Tower Hamlets Militia; was the magistrate
sent to take the depositions after the Mutiny at the Nore,
1797.

Painted and exhibited No. 89 in Catalogue of Royal Acad-
emy, 1807.

Canvas, 50 x 40 inches, in perfect state.
In possession of Mr. Mansel Rees.

Seated in a chair, seen to knees, ^ face to left, in plain
clothes, natural grey hair ; an official paper in his right hand, his
left rests on the elbow of the chair. The Tower of London is
seen through an open window on the left.

PART I. PORTRAITS. 179

WILLS, REV. THOMAS,

Vicar of Wendron 1784 to 1837, the year in which he died,
aged 84.

Painted 1779-81, before he entered Holy Orders.

On his sister Miss Wills' death in 1856, the picture was, by
her desire, removed from its frame, rolled up, and buried with her.

Full length, less than life size, ^ face to right, in Court suit,
with sword, and dress hat under his left arm, lace ruffles, with
knee and shoe buckles.

WILSON, Miss,

Painted and exhibited No. 206 in Catalogue of Royal Acad-
emy, 1805.

WILSON, JOHN PETER,

Painted 1807, for his father.

Canvas, 30 x 24 inches.

In possession of his son, Mr. J. P. Cockburn, The Mount,
Totnes.

Seen to waist, seated, y( face to left, fair auburn hair, in dark
brown coat, white waistcoat and cravat, frilled shirt ; his right arm
rests on a table, a dog's head appears over his shoulder : landscape
beyond. He is represented at the age of 16. His last sittings
were on i5th and i6th March, when Opie left his sick bed to
paint the portrait, which remained unfinished at his death, April 9.

WISE, MRS. DAVID, see MARY SCOBELL.

WOLCOT, DR. JOHN (PETER PINDAR),

Of Dodbrook, Devon, the early patron of Opie, and satiric

poet, under his assumed name of Peter Pindar, Born

1738, Died 1819.

A drawing in crayon on paper before 1781.
Exhibited No. 20 in Catalogue of Pictures at Brit. Assoc.,

Plymouth, Aug., 1877.
Size, 14 x ii*^ inches.
In possession of Mr. E. Trewbody Carlyon, Truro, previously in

the Giddy family, with whom Dr. Wolcot was connected.

I So PICTURES BY JOHN OPfE, R.A.

The drawing is marked at the back, " A young man residing
at Fowey," evidently a jocular reference to the days of Wolcot's
apprenticeship there ; he was 23 years older than Opie.

l>ust, y^ face, in blue coat and white neckcloth.

WOLCOT, DR. J. (PETER PINDAR).
Painted 1778-88.
Exhibited No. 9 in Catalogue of Pictures at the Council

Hall, Truro, 1861.
Canvas, 21 x 15 inches.
In possession of Admiral Woollcombe, in whose family it has

been 50 years.

Bust portrait, in profile to left, swarthy countenance, powdered
wig and queue, high collared coat, white shirtfrill.

WOLCOT, DR. J. (PETER PINDAR).
Painted probably 1779-1781.
Canvas, 19^ x 15^ inches, relined by Merrott
In possession of Frederick Ouvry, Esq., Pres. S.A., given
(together with Opie's portrait of himself to which this
forms a pendant) by Mr. John Way to Mr. John Collier,
father of John Payne Collier, Mrs. Ouvry's uncle, before
his death in 1801.

Bust, y± face to left, in a fur cap, dark olive coat, velvet collar,
white cravat; solemn expression. In rich chiaro scuro, highly
finished.

WOLCOT, DR. J. (PETER PINDAR).

Painted probably before 1782.

Canvas, 21 x 15 inches, well preserved.

A family portrait in possession of Mrs. Lambe, of Bath, niece of
Miss Mary Wolcot Giddy, and grandniece of Dr. Wolcot.

Bust, y^ face to left, in a fur cap, sunburnt and swarthy com-
plexion, in black coat, shewing very little white cravat.

WOLCOT, DR. J. (PETER PINDAR).
Painted before 1 789.

PART /. PORTRAITS. 181

Canvas, 24 x 20 inches.

In possession of Sir Henry P. Scale, Bart., Norton Park.
Bust, 2^ face> "a striking resemblance."
This portrait was given to Mr. Scale by Opie about 1789,
when he painted Mr. Scale's portrait, above.

WOLCOT, DR. J. (PETER PINDAR).

Exhibited No. 809 in Catalogue of Nat. Portrait Exhibition,
1867.

Canvas, 30 x 25 inches.

In possession of Mr. J. Stirling Taylor.

Seen to waist, seated in a nailed arm chair, looking upwards,
Y^ face to right, leaning on his right hand; curled wig, coat
buttoned, ruffle at wrist : a bold, effective portrait

Engraved by C. H. Hodges, 4°., Mezzo, 1787, with autograph;
and Mezzo, 4°., unnamed, publ. by G. Kearsley, Dec. 23, 1788,
inscribed ' Peter Pindar, Esq.'

WOLCOT, DR. J. (PETER PINDAR).
Canvas, 23 x 19^ inches.

In possession of Mr. F. W. Bond, given him by Mr. George
Read, who obtained it from the late Mr. Tregellas, of Truro.
Bust, in profile to the left ; in black coat and powdered wig ;
double chin.

WOLCOT, DR. JOHN.

Painted probably after 1800.

Canvas, 22^ x 19^ inches.

Lately in possession of Mr. John Heugh ; sold at Christie's,
May n, 1878, for 23 guineas.

Bust, side face to left, less than profile, an old man with
ruddy cheeks, natural grey hair, in a grey coat

See Supplement for other portraits of Wolcot

Besides the engravings already mentioned, after portraits of
Dr. Wolcot by Opie, the following have not yet been identified
with the originals from which they were taken :

1 82 PICTURES BY JOHN OPIE, R.A.

1. Bust, in an oval, by Corner, 8°., in European Magazine,
vol. 12, inscribed " Peter Pindar, Esq." ^ face to right, in a wig,
coat buttoned, white neck-cloth and frill; stern expression. It
accompanies anecdotes of him, and an account of his poetical
works to date, Aug., 1787.

2. Half-length, in an oval, by Ridley, 8°., 1792, in the
General Magazine.

3. Bust, in an oval, no engraver's name ; as frontispiece to
his Works in 3 vols., by Walker, 1794. ^ face to right, in a
powdered wig, buttoned coat ; sedate expression ; inscribed, ' Peter
Pindar, esq.'

4. Bust, in an oval, by K. Mackenzie, for the 4°. ed. of
Tales of the Hoy, 1798, Richardson. ^ face to right, scratch wig,
buttoned coat, white neck-cloth, suppressing a smile.

WOLLSTONECRAFT, MARY, see GODWIN.

WOLLSTONECRAFT, MRS.,

The mother of Mrs. W. Godwin.

An engraving by Ridley, in Monthly Mirror, 1796, represents
her as half-length, in an oval, ^ face to right, white curly hair, a
kerchief round her head, striped dress, to waist, (Bromley; and
Wm. Smith MS. Cat.).

WOODHOUSE, DR.,

Possibly Robert Woodhouse, keeper of the Observatory at
Cambridge, 1824, Died 1827.

A portrait was exhibited under this title, by Robert Wood-
house, Esq., at the British Institution, 1817.

WOODIS, OR WOODHOUSE, THOMAS,

Mentioned in Life of Admiral Lord Exmouth, Died 1818, at
Penzance.

Painted about 1799.

Canvas, 28 x 24 inches.

A family portrait, in possession of Mr. G. B. Millett, Penzance.

Half-length, seated, ^ face to right, in white wig ; a book in
his right hand. Age about 60, or more.

PART I. PORTRAITS. 183

WRIGHT, JOHN,

Vintner, of Soho Square, Died 1816, aged 81. Master of the
Vintner's Company, 1797.

Painted probably about 1797.

Canvas, 30 x 24 inches.

At Vintners' Hall, London; presented.

Seen to waist, ^ face to left, in black coat, red vest, full
white neckcloth, wearing the medal of the Company.

Engraved by Ridley, 8°.

WYATT, ISABELLA,

Daughter of Richard Wyatt, a patron of Opie's after he

reached London.

Painted about 1785, for Mr. Richard Wyatt of Egham.
Canvas, 29}^ x 24^ inches.

In possession of his relative, Mr. A. Wyatt-Edgell, Lympstone.
Nearly in profile, her hand raised to her face.

WYCHE, MRS.,

Ne'e Mary Pymar.

Painted about 1800.

Canvas, 29 x 24 inches.

In possession of her niece, Mrs. Ferrier, at Beccles.

Seen to waist, full face, in dress of the time. Age 20.

WYNYARD, BRIGADIER GENERAL,

Colonel of Coldstream Guards. Deputy Adjutant General,
and Equerry to H.R.H. the Duke of York.

An Engraving by W. W. Barney, Mezzo, 1809, represents him
half-length, in uniform.

YOUNG, ELIZABETH, see MRS. H. BURTON.

NOTE. — A few other named Portraits will be found in the Supplement.
Un-named Portraits, exhibited by the Painter at the Royal Academy, will
be found in a table which follows Part II.

184 PICTURES BY JOHN OPIE, R.A.

Tfa foll<nving are not known to liave been exhibited:

PORTRAIT OF A GIRL.

Canvas, 30 x 25 inches.

In possession of Mr. Jas. Fitzroy Morris, Salisbury, recently
acquired.

Seen to waist, in white frock with black sash ; y± face to
right, seated at a window, a book in her right hand; landscape
beyond

PORTRAIT OF A GIRL HOLDING A KING CHARLES' SPANIEL.

Painted before 1782.

Canvas, 29^ x 24^ inches.

In possession of Mrs. E. F. Stopford Sackville, formerly and
for many years at Menabilly, removed to London.

A girl with red scarf, seated, ^ length, holding a spaniel in
her arms.

PORTRAIT OF A GIRL.

An early work, in possession of Hon. Capt. Vivian, at Park.
Canvas, 21 x 13*^ inches.

Bust, 24 face to rignt> m a l°w dress; hair falling over
shoulders, unfinished.

PORTRAIT OF AN OLD ST. AGNES MAN.
Painted early, before 1781.
Canvas, 27 x 19^ inches.

In possession of J. M. Williams, Esq., purchased in 1861, of
Mr. Graves.

Believed to be from the same model as the portrait of an old
man at Trelissick.

PICTURES by JOHN OPIE, R.A.

PART II. SUBJECTS, Viz:—

SACRED— HISTORICAL— SHAKSPEARE— POETICAL
and FANCY— LANDSCAPE.

SACRED S UBJE C TS.

CHARITY CLOTHING THE NAKED.
Canvas, 93 x 66 inches.
In possession of Lord Leconfield, at Petworth.

CHRIST HEALING THE WOMAN ON THE SABBATH DAY.

Luke xiii, 13-15.

Engraved by W. Bromley fo. line, for T. Macklin, 1799.

CONFESSION.

Painted and exhibited No. 90 in Catalogue of Royal Acad-
emy, 1800.

Formerly in possession of Mr. Thos. Alderson.
A lady confessing to a Priest

CRUCIFIXION, THE.

Painted 1789-91 — some time in progress.
Canvas, 60 ^ x 49^ inches, rising to 66^ in the centre : in-
jured by damp.

1 86 PICTURES BY JOHN OPIE, R.A.

In the chancel of Cornworthy Church, Devon, presented in
1791 by Mr. John Scale, of Mount Boon, Patron, and
Lord of the Manor, for whom it was painted for the
position which it occupies in the Reredos, when the
Chancel was restored.

A life-sized figure of our Saviour on the Cross, his head in-
clined to his right shoulder : the upper limb of the cross bears an
inscription

Jesus
Nazarenus

rex ille
Judaeorum.

Jerusalem appears on left in the darkened landscape.

DEVOTION.

Painted after 1782.

Exhibited at Roy. Cornwall Polytechnic Hall, 1854.
Canvas, 24 x 20 inches.

In possession of Viscount Falmouth, at Tregothnan.
A youth in dark red velvet, ^ face to right, in an attitude of
devotion, before a cross, his left hand folded across his breast.

JEPHTHAH'S DAUGHTER, THE SACRIFICE OF,

Judges, xi, 39, 40.

Painted about 1790, for T. Macklin.

Canvas, 82 x 60 inches.

In possession of Mr. W. Cox, British Gallery, Pall Mall,
bought at Christie's.

Jephthah, in Priest's robes and jewelled breast-plate, holds a
knife in his upraised hand; his daughter, blindfolded, in white
robe, nude to waist, kneels before him, while a youth in red dress
and white sleeves kneels beside her, holding a dish for the blood.
A sacrificial altar at the left The head of a fourth figure is seen
at back. A very touching composition.

Engraved by J. Hall, oblong fo. line, for Macklin's Bible
prints, 1791.

PART II. SACRED. 187

JEPHTHAH'S DAUGHTER, THE SACRIFICE OF,
Judges, xi, 39, 40.
Painted probably about 1790.
Canvas, 18 x 14 inches.
In possession of Rev. Win. Norris, Warblington Rectory,

formerly of Captain Lethem, and purchased by Mr.

Norris, his friend and neighbour, after his death in 1832.

The^ame composition as the preceding picture, and probably
reduced by Opie himself for the engraver, as in the case of the
two Assassination pictures.

This once popular picture was copied in needlework for Miss
Linwood's Gallery in Leicester Square ; sold at Christie's, April
23, 1846, for sixteen guineas.

JEPHTHAH'S RASH Vow.

Judges xi, 39-40.

Canvas, 70 x 56 inches.

In possession of Mr. J. Fitzroy Morris, Salisbury.

The composition seems similar to that of the two preceding
pictures, though different from each in size.

JUDITH, ATTIRING.
Judith x, 1-3.

Painted about 1792, for T. Macklin.
Exhibited No. 3 in Catalogue of British Institution, 1817, by

the Earl of Egremont.
Engraved by W. Sharpe, fo. line, 1794.

JOSEPH SOLD BY HIS BRETHREN.

Genesis xxxvii, 27, 28.

An Engraving by W. Bromley fo. 8°., 1814, is inserted as an
illustration of Tatler, No. 233, in Sharpens British Classics, vol. iv.

Three brethren, dressed as Shepherds in a group on the right,
hand young Joseph, weeping, to the two Merchants, robed and
turbaned, on the left. Two others recline on the ground in the
distance, observing. In a landscape.

1 88 PICTURES BY JOHN OPIE, R.A.

THE LORD OF THE VINEYARD.

Matth. xx, 14.

Painted before 1793, for T. Macklin.

Five figures.

Engraved by J. Hall, obi. fo., line, for T. Macklin, 1793, and
by H. Gillbank, Mezzo, obL fo., 1802, for Daniell.

THE INFANT MOSES TREADING ON PHARAOH'S CROWN.

Painted and exhibited No. 151 in Catalogue of Royal Acad-
emy, 1803. Sold by Opie's executors, June, 1807, for
21 guineas, No. 88 in Catalogue, and described as
'sweetly coloured.'

Not in Macklin's Bible.

ST. PAUL, EXPELLING THE EVIL SPIRIT FROM THE DAMSEL OF

PHILIPPI.
Acts xvi, 1 6- 1 8.
Painted before 1795.
Engraved by J. Fittler, fo. line, for T. Macklin.

ST. PETER, STUDY FOR HEAD OF,

From the head an old man at Pendennis Castle, Falmouth.

Painted before 1782, for Mr. Peter Ilbert, who died 1825.

Canvas, 30 x 26 inches.

In possession of Mr. Wm. Roope Ilbert

Half-length figure of an old man, cloaked, holding a key in
his right hand.

PRESENTATION OF CHRIST IN THE TEMPLE.
St. Luke ii, 22-28.
Painted about 1791, for T. Macklin.
Exhibited No. 41 in Catalogue of British Institution, 1817,

by Sir T. Bernard, and again, No. 133, Brit. Inst., 1824,

by the Bishop of Durham.
Sold, No. 70 in Cat of Opie's Sale, June, 1807.
Engraved by W. Bromley, for Macklin's Bible, 1795.

PART IL SACRED. 189

PROPHET RAISING THE SICK CHILD.

1 Kings xvii, 22.
Canvas, 49 x 40 inches.

In possession of Mr. William Lambert, Exeter.

RIZPAH WATCHING BY THE BODIES OF SAUL'S SONS.

2 Samuel xxi, 10.

Painted and exhibited No. 180 in Catalogue of Royal Acad-
emy, 1802.

Canvas reduced to suit a small room.
Formerly in possession of Mr. Favell, of Camberwell.
This is not one of the subjects in Macklin's Bible.

SAMUEL AND ELI.

Hannah presents Samuel to Eli in the Temple, i Sam. i, 25.

Painted 1783-96.

Canvas, 84 x 60 inches.

In possession of John Carwardine, Esq., Colne Priory, Essex;
obtained direct from Opie by his grandfather, Rev. Thos.
Canvardine.

Eli is seated, in left profile, on the right, robed in red, hair
and beard grey ; Hannah, in white, her dark hair bound by a fillet
of black, kneels on one knee, in right profile, on the left ; Samuel,
a nude, ruddy child, with light curly hair, stands between them ;
Eli gently lays the child's left hand on his knee, as his mother
holds his right hand.

Engraved By W. Bromley, line, fo., 1796 for T. Macklin.

SAMUEL, THE CALLING OF,

i Samuel iii, 4.

No. 56 in Catalogue of the Tabley Gallery, 1821.

Canvas, 50 x 40 inches.

Formerly in possession of Lord de Tabley.

Samuel kneels upon his bed, listening, his right hand raised
to draw the curtain aside, his left hand on his breast.

190 PICTURES BY JOHN OP IE, R.A.

Etched by John Young, in his Catalogue of the Tabley
House Gallery, 4°., 1821.

ELI TEACHING SAMUEL.
Canvas, 49 x 40 inches.
In possession of Mr. William Lambert, Exeter.

SAMUEL.

Sold in lot 68 at Opie's Sale, June 1807, as ' Head, a sketch,
'a study for Samuel, in possession of Sir Jno. Leycester, Bart.,
' with a female Sketch,' for seven guineas.

SAPPHIRA, DEATH OF,

Acts v, 7-10.

Painted about 1795. Sold at Christie's, Feb. 25, 1809, for
^36 158.

Five male figures, and Sapphira. Peter and another Apostle
are seated in Judgment on the left, one other supports the pros-
trate figure of Sapphira ; two others behind. A vigorous compo-
sition. %

Engraved by J. Hall, fo. line, for T. Macklin, 1796, and by
H. Gillbank, fo. Mezzo, 1802.

HISTORICAL SUBJECTS.

ASSASSINATION OF JAMES I. OF SCOTLAND, 1437.

From Buchanan's History of Scotland.

Painted and exhibited No. 96 in Catalogue of Royal Acad-
emy, 1786, and afterwards in Boydell's Shakspeare Gal-
lery.

Canvas, 68 x 85 inches.

Presented by Alderman Boydell to the Corporation of Lon-
don, and now in the Common Council Chamber.

PART IL HISTORICAL. 191

The heads of the King, Queen, and assassin on the right
(supposed by some to be Wolcot) have been inserted in the canvas,
probably before the rest of the picture was painted.

This was one of the most popular, and is one of the best of
Opie's historical pictures.

A replica, or copy, is at Brompton Hospital, part of Miss
Read's bequest.

Engraved byT. Ryder, plate 19 x 24 inches; published Aug.,
1792.

ASSASSINATION OF JAMES I OF SCOTLAND.
Painted probably about 1789.
Exhibited No. 225 in Catalogue of Old Masters at Burlington

House, 1875.

On panel 19 x 24 inches, the size of Ryder's engraving.
In possession of Mr. J. H. Anderdon, Upper Grosvenor
Street, purchased by him from the collection of a lady,
at Christie's.

A beautiful composition, full of spirit, harmonious in tone
and rich in colour, carefully finished throughout, and in excellent
preservation. Believed to have been reduced by Opie, for the
engraver, from his larger picture. The assassin on the left is
Opie's own head, that on the right is supposed to be Wolcot. See
the controversy on this point in the Biographical Sketch.

A picture entitled 'The death of James I of Scotland,' was
sold at Christie's, March n, 1871, for 13^ guineas, the property
of a gentleman, deceased.

ASSASSINATION OF DAVID RIZZIO.

Painted and exhibited No. 26 in Catalogue of Royal Acad-
emy, 1787, at the British Institution, 1817 and 1852, and
at South Kensington International, 1862.

Canvas, about 96 x 132 inches.

Presented by Alderman Boydell to the Corporation of London,
and now at Guildhall.

Considered to be one of the painter's best works.

192 PICTURES BY JOHN OPIE, R.A.

This and the preceding work won for Opie his admission to
the Academy; A.R.A. 1786, R.A. 1787. Redgrave, Century of
British Painters, 1866.

Engraved by Isaac Taylor, jun., for Boydell, pubL Jan., 1791.
Mrs. Gilbert, his daughter, states in her Autobiography, page 63,
that he obtained the gold medal of the Society of Arts for this, as
the best engraving of the year. The plate is 18 x 24 inches.

ASSASSINATION OF DAVID RIZZIO.

Painted probably about 1788.

On panel, 18 x 24 inches, the size of Taylor's engraving.

In possession of Mr. Frederick J. Turner, whose father bought
it in London previously to 1839.

Believed to have been reduced by Opie, for the engraver, from
the larger picture.

QUEEN ELIZABETH, LAST MOMENTS OF,

A sketch.

Formerly in possession of Sir Thomas Lawrence, P. R.A.

Sold in 1830 for 5 guineas. Seguier's Diet, of Works of
Painters, 1870.

HISTORIC GALLERY.

Eleven historical pictures, painted 1792-1800, for the illustra-
tion of Bowyer's edit, of Hume's History of England, fo., 1806.
The titles are those of the engraved plates, and differ from the
titles given in the Catalogue of the sale of the pictures by Peter
Coxe, Saville Passage, May 29 and 30, 1807. They are here
placed in the order of the dates of the engravings, which are in
line, and of the uniform size of 18^ x 12^ inches. The size of
the original paintings is not recorded.

1. THE DEATH OF BECKET, engraved by J. Stowe, 1793.

2. THE SEIZURE OF MORTIMER, J. Fittler, 1794.

3. DUKE OF YORK, BROTHER TO EDWARD V, RESIGNED BY

THE QUEEN.

PART II. HISTORICAL. 193

Exhibited at the British Institution, No. 166, 1853, by G.
Young, Esq., as "Elizabeth, Queen of Edward IV,
placing the Duke of York in Sanctuary."

Engraved by J. Fittler, 1795.

4. BOADICEA HARANGUING THE BRITONS.

Engraved by Sharp.

5. MARY, QUEEN OF SCOTS.

She kneels at the block, an Executioner, armed, holds an axe
at the right, and a soldier blindfolds the Queen; two
females in attitudes of grief.

Engraved by Skelton, 1795, and by A. H. Payne, 8°., n.d

6. MARY, QUEEN OF JAMES II, QUITTING THE KINGDOM.

Canvas, 93 x 69 inches.

Presented to the Corporation of Devonport by the late Sir
John St. Aubyn. In the Town Hall.

The Queen in white dress, and red cloak lined white, an
infant in her arms, steps into a boat, assisted by an attendant in a
red coat ; a boatman's head appears behind, while another holds
the rope ; an old man on shore behind the Queen : a strong light
thrown on the Queen's face, the infant and the attendant.

Engraved by J. Stowe, 1796.

7. JOAN OF ARC DECLARING HER MISSION.

Engraved by T. Holloway, 1796.

8. CORONATION OF HENRY VI (AT PARIS).

Painted and exhibited No. 243 in Catalogue of Royal Acad-
emy, 1797.

Formerly in possession of Mr. John Green, and sold at his
sale at Christie's, April 26, 1830, for 73 guineas.

Engraved by T. Holloway, also by A. H. Payne, n.d. 8°.

9. BALIOL SURRENDERING HIS CROWN.

Engraved by J. Parker, 1799, and by J. Rogers, n.d, 8°.

o

194 PICTURES BY JOHN OPIE, JR. A.

10. DEATH OF ARCHBISHOP SHARPE.

Painted and exhibited No. 257 in Catalogue of Royal Acad-
emy, 1797.
Engraved by T. Holloway, 1799.

11. ELIZABETH GREY PETITIONING EDWARD IV FOR RES-

TORATION OF HER ESTATES.

This is the title of the Academy Catalogue.

Painted and exhibited No. 26 in Catalogue of Royal Acad-
emy, 1798, and at British Institution, by Sir Thomas
Baring, 1817. No. 155 in Cat

Waagen says, ' Of great power in the colouring, but feeble in
the drawing.'

Engraved by W. Bromley, line, 1800, also by J. Rogers for
Tallis, 8°., n.d

ISABELLA, QUEEN, SEIZED AT NOTTINGHAM CASTLE.

The mother of Edward III imprisoned Nov., 1330.

A modern engraving, by George Virtue, represents the Queen,
standing, robed in satin, with tiara and flowing veil and hair,
between an armed soldier on her right, and a bald-headed warder
on her left, whilst a group of other armed soldiers ascends from
below as if to seize her.

SHAKSPEARE SUBJECTS.

ARTHUR AND HUBERT.

Scene from Shakspeare's Play, Xing John, Act iv, sc. i.
Painted 1786-9, for BoydelL

Arthur is supplicating Hubert ; scene Northampton Castle.
Engraved by J. Hall, sm. fo. line, for Boydell's Shakspeare.

PART II. SHAKSPEARE. 195

ARTHUR TAKEN PRISONER.

Scene from Shakspeare's Play, King John.

Painted 1786-9, for BoydelL

Canvas, 7 2 x 48 inches.

In possession of Mr. Clarke, Museum Gallery, bought at
Christie's, Apl. 21, 1877, for 15 guineas, from Mr. Robert
Vernon's, of Hatley Park.

The young Prince, in white, dejected, his hands clasped before
him, steps forward between two male figures, an armed soldier on
the left who thrusts aside the third who is robed, and interceding
for the Prince.

A touching composition.

Engraved by J. Fittler, sm. fo. line, 1794, for Boydell's Shaks-
peare.

JULIET, IN THE BALCONY.

Scene from Shakspeare's play, Romeo and Juliet ', Act ii, sc. 2.
Painted and exhibited No. 44 in Catalogue of Royal Acad-
emy, 1803.
Sold at Opie's sale in 1807, No. 103, for ^60 i8s. under the

title of 'Juliet in the garden scene.'
Formerly in possession of Mr. John Green, of Covent Garden ;

sold at Christie's some years ago.

Juliet, full length, in white, in a balcony, rests her cheek upon
her left hand, her right hand and left elbow on a balustrade, over-
looking the garden, moonlight ; an Indian red curtain at the right.

JULIET, ON HER COUCH.

Scene from Shakspeare's Play, Romeo and Juliet, Act iv,
sc. 5.

Painted 1786-9, for Boydell's Shakspeare Gallery.

Sold May 17, 1805 to Mr. John Green for 39 guineas.

Juliet lies in a trance upon a couch, the centre of a group of
fourteen figures.

Engraved fo. mixed, by G. S. and J. G. Facius, 1791, for Boy-
dell's Shakspeare.

196 PICTURES BY JOHN OPIE, R.A.

The same scene, containing only nine of the fourteen figures,
was also engraved by J. P. Simon, sm. fo. stipple, for Boydell's
smaller Shakspeare, 1792.

KING HENRY THE SIXTH,

Scene from Shakspeare's Play, jfar/ /art Act ii, sc. 3.

Painted 1786-89, for Boydell.

Sold May 17, 1805, by P. Coxe, to W. Lygon, M.P., for
^52 i os.

The Countess of Auvergue, Talbot, porter, &c.

Engraved by RobL Thew, fo. mixed, 1796, for Boydell's
Shakspeare.

KING HENRY THE SIXTH,

Scene from Shakspeare's Play, second part, Act i, sc. 4.

Painted 1786-9, for BoydelL

Sold May 18, 1805, by P. Coxe, to Robert Bowyer, for ^19
195.

Bolingbroke consulting the spirits ; five figures ; a fine com-
position.

Engraved by C. G. Playtor, finished by Rt. Thew, fo. mixed,
for Boydell's Shakspeare.

KING RICHARD THE THIRD.

Scene from Shakspeare's Play, Act v, Sc. 3.

Painted 1792-3.

Scene on Bosworth field.

Engraved by W. Sharp, sm. fo., line, 1794.

OTHELLO.

Scene from Shakspeare's Play, Act. ii, sc. 12.

Canvas, 27*^ x 351^ inches.

In possession of Lord Leconfield, at Petworth.

TIMON OF ATHENS.

Scene from Shakspeare's Play, Act iv, sc. 3.
Painted 1789, for Boydell.

PART II. POETICAL <S~ FANCY. 197

Exhibited No. 54 in Catalogue of Skakspeare Gallery, 1790.

Sold May 20, 1805, by P. Coxe to Mr. John Green for
^32 us.

Scene, a wood, Timon, Alcibiades, Phrynia and Timandra.

Opie tells his friend, Rev. John Owen, that he is painting this
picture, Dec. 24, ,1789: (letter preserved in Mr. Owen's family).

Engraved by Robt. Thew, fo., mixed, 1799, for Boydell's
Shakspeare.

WINTER'S TALE.

Scene from Shakspeare's Play, Act ii, sc. 3.

Painted 1786-9, for BoydelL

Exhibited No. 16 in Catalogue of Shakspeare Gallery, 1790.

Sold May 18, 1805, by P. Coxe to Mr. G. Stainforth, for

^55 I3S.

Leontes administers the oath to Antigonus.
Engraved by J. P. Simon, fo., mixed, 1793, for Boydell's

Shakspeare.

WINTER'S TALE.

Scene from Shakspeare's Play, Act. iii, sc. 3.

Painted 1792-3.

Antigonus, having laid the child on the ground, is alarmed at
the sight of the bear approaching.

Engraved by J. Hall, sm. fo., line, 1794.

POETICAL AND FANCY SUBJECTS.

A BEGGAR.

Painted and exhibited No. 384 in Catalogue of Royal Acad-
emy, 1782, Opie's first season in London.

Probably the picture mentioned by Dr. Wolcot, as shewn by
him to Sir Joshua Reynolds in 1782. See Biographical Sketch.

198 PICTURES BY JOHN OPIE, R.A,

Mr. C. R. Leslie adds to his description of this picture ' In
an Armenian dress': but these words do not occur in the Catalogue
of the Royal Academy. Life of Reynolds, vol. ii, page 366.

AESCULAPIUS AND CERES.

Painted as part of the subject of ' ^Esculapius, Flora, Ceres,
and Cupid, honouring the Bust of Linnoeus,' by John
Russell, R.A. and Opie.

Engraved by Caldwell, fo. 1807, in Thornton's Sexual system
of Linnaeus, fo. 1808.

AGE AND INFANCY.

Painted before 1786.

Exhibited No. 124 in Manchester Art Exhibition, 1857.

Canvas, 50 x 40 inches.

In possession of the Royal Academy of Arts.

This was Opie's Diploma picture, deposited 1786, when he
became R.A. Elect.

An old man, in furred robe, stoops anxiously forward over the
couch of a sickly child. A dark red curtain is drawn back on
each side of the picture.

AGE AND INFANCY.

A different composition from the preceding.

Painted and exhibited No. 6 in Catalogue of Royal Academy,
1783- .

Canvas, 39 x 50 inches.

In possession of Sir W. H. Smith Marriott, Bart., bought of
Opie by his grandfather Sir John Smith of Sydling.

An old man; wrinkled and grey-headed, grasping a staff, on
the left, and a lovely infant on a bed at the right.

J. T. Smith relates of this picture, on the authority of Mr.
Richard Wyatt of Egham, an early patron of Opie in London,
that Opie, at Mr. Wyatt's request, changed the male figure from
an assassin to a venerable old man, and gave it its present title.
Nollekens and his times, 1829, vol. ii, 289.

Engraved by J. R. Smith, fo. 1785.

•

PART II. POETICAL & FANCY. 199

AGE AND YOUTH.

Painted about 1782, probably.

Exhibited No. 151 in Catalogue of British Institution, 1844.

Canvas, 30^ x 255^ inches.

In possession of Viscount Falmouth, at Tregothnan.

A blind old man, grey headed, his long hair blown aside by
the wind, is led by a girl of about 14, in red cloak and hat, each
half-length.

AGNES ENTERING FITZHENRY'S CELL.

Frontispiece to Mrs. Opie's Tale, Father and Daughter, 7th
ed., 1813.

Engraved by Reynolds, 12°.

A bald-headed man seated on a couch points to Agnes' name
which he has written with a coal upon the wall ; she stands on the
left at the opened door, in a bonnet and scarf, turning her face
from him in distress.

AMORET, THE FREEING OF, BY BRITOMARTES.

Scene from Spenser's Faery Queene, Bk. iii, canto 12.
Painted about 1790, for T. Macklin.

Engraved by Bartolozzi, fo., mixed, for T. Macklin, 1792.
Eight lines are quoted from Spenser,

'And rising up' —
— ' if ought she did offend.'

AN AGED BEGGAR.

Painted about 1778, 'at the request of Mr. Price, the father of
Sir Rose Price.' 'Report says this is admirably executed.'
Polwhele, Biogr. Sk.

In possession of Sir Rose Price, 1831.

THE BLIND BEGGAR.

Sold at Christie's, May 7, 1870 to S. C. Miller for ^20 93. 6d;
previously the property of Thos. Creswick, R.A.

200 PICTURES BY JOHN OPIE, R.A.

ANGRY FATHER, THE, OR DISCOVERY OF THE CLANDESTINE

CORRESPONDENCE.

Painted and exhibited No. 195 in Catalogue of Royal Acad-
emy, 1802.

Canvas, 96 x 66 inches.

In possession of the Corporation of Birmingham — originally
in the house of Dr. Alderson, Mrs. Opie's father, at
Norwich ; retained by her at his death, until sold in
1829, at Christie's. Mr. Joseph Strutt, of Derby, after-
wards left it to his son-in-law, Mr. J. Howard Galton,
who presented it to the Society of Arts at Birming-
ham.

A spirited composition of three figures. An old man, seated,
with a letter in his hand signed ' Eternally yours, Henry} an open
trunk of papers and dresses at his feet The bashful daughter
standing, dejected, at right ; a female servant between them, ex-
postulating.

Engraved by James Ward, fo., fine Mezzo.

AN OLD MAN'S HEAD.

Painted probably before 1 782.

Exhibited No. 147 in Catalogue of Royal Academy, 1782,
Opie's first season in Londoa

BEGGAR AND HIS DOG.

Painted before 1781.

Purchased by King George III; one of the pictures taken by
Opie to Buckingham House in the spring of 1782 ; it is
not now in any of the Royal Collections.

BELISARIUS.

Formerly in the British Gallery, afterwards in possession of

the Marquis of Stafford.

Sir Benjamin West said of this picture, ' one of the happiest
instances of his labours, in perfect harmony of tone, is
that of Belisarius.' Preface to Opie's Lectures, 4°., 1809,
p. 72.

PART II. POETICAL 6- FANCY. 20 1

BETHNAL GREEN, THE BLIND BEGGAR OF, AND HIS

DAUGHTER BESSIE.

Supposed to be from the same model as Sir J. Reynolds took
for his Belisarius. W. Owen, R.A., also painted a Blind
Beggar of Bethnal Green, whole length, led by a boy.
Painted after 1782.
Canvas, 35 x 27 inches.
In possession of Mr. C. D. E. Fortnum, Stanmore Hill ; has

been in his family from the time it was painted.
The old man, greyheaded, in dark grey woollen cap — a fine
head — leans upon his staff, clad in warm brown cloak : the girl, a
charmingly simple pretty face, in red cloak, cottage bonnet tied
under chin with a yellow-grey kerchief, matches in her right hand ;
the blind father rests his left hand on her shoulder : each full face,
the figures half-length.

A characteristic picture, with powerful effects of light and
shade.

BETHNAL GREEN, THE BLIND BEGGAR OF, AND HIS

DAUGHTER BESS.
Painted after 1782.
Canvas, 35 x 27 inches.

In possession of Mr. J. A. Locke, Northmoor, Somerset : ob-
tained by his father about 1799.

Same composition as Mr. Fortnum's, and probably a repetition
by Opie.

BETHNAL GREEN, THE BLIND BEGGAR OF, AND HIS
DAUGHTER BESSIE.

Painted after 1782.

Canvas, 35 x 27 inches.

In possession of Mr. J. Henderson, of Durham ; said to have
been painted for Mr. Hall, near Durham, towards the
end of the last century, sold, when his family left the
county in 1806, to Mrs. Methold, at whose death in 1827
it was bought by Dr. Cooke, of Durham, from whom it
was obtained by Mr. Henderson in 1834.

202 PICTURES BY JOHN OPIE, R.A.

The same composition as the two preceding, and probably a
repetition of them by Opie.

There seems to be no record of either of these pictures
having been exhibited or engraved.

BLIND MAN LED BY A GIRL.

Canvas, 36^ x 28^ inches.

In possession of Sir Richard Brooke, Bart., many years previ-
ously to 1814.

Nearly life size, a bald-headed old man, stooping forward, his
staff in his right hand, is led by a young girl in straw hat and red
cloak.

BOY AND BIRD.

Painted early.

Exhibited No. 29 in Catalogue of Pictures at Council Hall,

Truro, 1861.
Canvas, 30 x 25 inches.

In possession of George Williams, Esq., Scorrier House.
A child holding a bird in a cage.

BOY AND DOG.

Exhibited No. 224 in Catalogue of Royal Academy, 1782.

Formerly in possession of Mrs. Impey, a relation of Opie's
first wife, and sold at her death. It was subsequently
sold, June 5, 1875, at Christie's, to Lord Dunmore, for
260 guineas.

The boy is represented as clasping a large dog round the neck.

BOY IN CRIMSON DRESS.
Painted after 1782.
Canvas, 30 x 30 inches.
In possession of J. M. Williams, Esq., purchased at Christie's

in 1 86 1.

Believed to be a portrait of one of the Bunn family.
A Boy in a landscape, with a Dog.

PART II. POETICAL 6- FANCY. 203

BOY AND GIRL.

No. 205 in Cat. of Royal Academy, 1783.

BOY, HEAD OF.

Sold March 27, 1876, at Christie's to Agnew for ^65 23.

BOY KILLING THE GOOSE FOR THE GOLDEN EGG.
Canvas, 70 x 54 inches.

In possession of Mr. W. P. Boxall, Brighton, bought about
1857 from the previous owner for whose father Opie
painted it.

The boy seated at table laments his disappointment; the
dead goose lies upon his left knee ; a female figure is dimly seen
behind.

BOY MENDING A PEN.

Canvas, 32^ x 25}^ inches.

In possession of Mr. Wm. Bell Christian, Isle of Man, from

his maternal grandfather, Lewis Robert Allen of Bath,

to whom Dr. Wolcot presented it.

A boy at a table, mending a pen, ^ face to right, seen to
waist, in a close jacket frilled at neck. A very effective picture.

BOY PLAYING WITH A HOOP.

Canvas, 54 x 44 inches.

In possession of Rev. John Purton, bought at Mr. Williams'
sale at Bridgenorth, about 1862; formerly the property
of Mr. Durant of Tong Castle.

A boy of 12 or 13 years of age with a hoop in his left hand,
the stick in his right, full length, full face, in a jacket frilled at
neck ; in a landscape, hills in the distance.

BOY WITH DEAD PIGEON.

Canvas, 28 x 23 inches, relined in 1877.

In possession of Mrs. Nasfield Robison, of Brooklands, Pen-

rith, from Miss Cleator of York
A boy standing ^ length, in brown coat, large white collar,

204 PICTURES BY JOHN OPIE, R.A,

and hat at back of his head, ^ face to left, holds a dead pigeon
in his left hand.

BOY IN RED DRESS.

Canvas, 12x8 inches.

In possession of Mr. F. Taylor, acquired by his father many
years ago.

Profile of a boy in red dress, and Byron collar, seated, hold-
ing in his hand a sketch of a nude figure; landscape seen through
open window.

DOY IN RED DRESS, see LIEUT. Me. DONOUGH.

BOY, SPARTAN.

Sold at Opie's Sale, June, 1807, No. 77 for eighteen guineas.

BROKEN PITCHER, THE.
Canvas, 36 x 27^ inches.

In possession of Mr. Louis Huth, of Possingworth ; probably
the same as that sold under this title at Christie's, July
19, 1860, for ^8 155.

A girl is seated, ^ face to left, in Indian red dress, lamenting
her broken pitcher. In a landscape.

CAPTIVE, THE.

Sold No. 62 in Catalogue of Opie's Sale, June, 1807; de-
scribed as 'an upright picture.'

CARD-PLAYERS, THE.

Painted and exhibited No. 236 in Catalogue of Royal Acad-
emy, 1785. A MS. paper label at back, 'The card-
players, painted by Mr. Opie.'
Canvas, 40 x 49^2 inches, relined in 1872.
Bequeathed by Miss Read, to the Consumption Hospital, at

Brompton, 1871.

Three figures, seen to waist, seated, at cards, the central female
figure, full face, in white muslin dress, shews a winning hand, while
a younger girl, in left profile on the right, throws her cards upon

PART II. POETICAL & FANCY. 205

the table; she is in pale blue silk dress; the boy about 12 years
old, in black velvet, frilled, in right profile, laughs heartily. Red
drapery behind the 2 girls, shewing a landscape at left behind the
boy.

CARD-PLAYERS, THE, alias PAM, FLUSH, AND LOO.

Exhibited No. 150 in Catalogue of British Institution, 1817,
by W. Owen, Esq., as the Card Players.

Canvas, 38 x 50 inches.

In possession of Lord Leconfield, at Petworth.

A different design from the preceding.

Engraved by H. Meyer, 'from the original painting in the
possession of W. Owen, Esq., R.A., 1825,' and entitled ' Pam,
Flush, and Loo,' from those terms used in the game of Loo.

CHILD, A.

Portrait of a child from Trevelles Downs, in St Agnes.
Painted before 1781.

•

Canvas, 19 x 23 inches.

In possession of Mrs. Salter, Truro, obtained by Mr. Salter

from Mr. Opie at Harmony Cot.

Seen to waist, a fine healthy child aged 4 to 5 years, full-face,
in grey white dress, and black band.

CHILD, RELATING A TALE TO ITS MOTHER,

A Sketch, sold No. 61 at Opie's Sale, June, 1807.

CHILD, FEEDING A SPANIEL.

Painted before 1781.

Formerly in possession of Sir John St. Aubyn, of Clowance.

Sold at Lime Grove Sale, in 1856, for ,£51, No. 1169 in
Catalogue.

A CHILD AND DOG.

No. 121 in Cat. of Royal Academy, 1788.

CHILD STUDYING HORN-BOOK.

Sold No. 82 in Catalogue of Opie's Sale, June, 1807, for

206 PICTURES BY JOHN OPIE, R.A.

£l^ 35. 6d.; probably the same as that sold as " The Studious
Child" at Christie's, March 23, 1878, No. 55 in Catalogue, to Mr.
W. B. Denison, M.P. for 25 guineas.

A chubby child, life size, with yellow hair, and dark brown
grey frock, (no white,) conning over a small square tablet ; a bril-
liant evening sky and landscape seen through a square opening
to right ; a very fine example.

CHILDREN IN THE WOOD.

Painted and exhibited No. 64 in Catalogue of Royal Acad-
emy, 1797.

CHILDREN PLAYING AT FORFEITS.

Formerly in possession of Mr. Johnston, sold at Christie's,
April 24, 1857, for 19 guineas, obtained by the proprie-
tor from the artist

In a landscape; 'an admirable example,' (Catalogue).

CONJUROR, THE.
Painted 1782-92.
Canvas, 58 x 48 inches.

In possession of Mr. J. D. Bell, and his father Professor
George Joseph Bell, since 1807, and once in the collec-
tion of Sir Joshua Reynolds; known as the lost Opie,
' one of the finest specimens of the Master,' (Letters of
Sir Ch. Bell, 1870, p. 116).

It represents the famous conjuror Chamberlain, and Opie's
first wife ; she is dressed in white, with red sash : he, an old man,
holds her hand in his, as if telling her fortune. His head very
fine ; mingled fear and exultation in her face. In the shadow of a
curtain behind him is the face of the painter himself.

CORNISH MINER, A.

A title suggested by the Author.

Painted probably about 1/90, erroneously marked in ink at

back, on stretcher, ' Opie, Peter Pindar,' but having no

resemblance to him.
Canvas, 29 x 25 inches.

PART II, POETICAL & FANCY. 207

In possession of Captain B. Hamilton, bought by him in
1873, from Mr. W. J. Nichols, who had it many years,
from a sale at a mansion near Sevenoaks.
Probably a portrait; a refined intelligent face of a man of 45,
24 face to left, dishevelled greyish hair, whiskers cut off below the
ear ; in a rough bright russet coat thrown open, shewing bare neck,
with loose black kerchief tucked carelessly into his red jersey ; a
fine specimen, rich and mellow in tone, and broadly painted.

COTTAGE GIRL, A.

No. 1 6 in Catalogue of the Ham Gallery, (Mr. Jesse Watts

Russell's).
In possession of Lord Dunmore; bought at Christie's from

the Ham Gallery, July 3, 1875, for 84 guineas.
A picture bearing the same title was exhibited No. 33 in the
Catalogue of British Institution 1817, by Mrs. Lawrence.

COUNTRY BOY AND GIRL.
Painted probably before 1782.
Exhibited No. 199 in Catalogue of Royal Academy, 1782.

COUNTRY GIRL, A.

No. 124 in Catalogue of Royal Academy, 1795.

COUNTRY BOY AND GIRL AT AN APPLE STALL.

Formerly in possession of Right Hon. W. E. Gladstone, M.P.
Sold at Christie's, June 26, 1875, for 31 guineas.
The boy is attempting to steal a kiss.

COURTSHIP, PASTORAL.

No. i in Catalogue of Royal Academy, 1796.

COURTSHIP, SCOTCH.

Sold for Richard Walker, Esq., in 1803, for ^78 155.

COURTSHIP IN THE PARK.

Painted and exhibited No. 268 in Catalogue of Royal Acad-
emy, 1797.

208 PICTURES BY JOHN OPIE, R.A.

CUPID PROTECTING A NYMPH FROM A SATYR.

Painted and exhibited No. 123 in Catalogue of Royal Acad-
emy, 1799; probably the same as that sold as 'Sleeping
Nymph, Cupid and Satyr, in a landscape,' No. 107 in
Opie's Sale, 1807, described in Catalogue as 'a glowing,
harmonious, beautiful composition.' It sold for ^68 55.

CUPID.

A SLEEPING NYMPH, AND CUPID STEALING A KISS.

Painted and exhibited No. 136 in Catalogue of Royal Acad-
emy, 1786.

DAMON AND MUSIDORA.

From Thomson's Seasons, Summer.

Painted about 1788, for T. Macklin.

Canvas, 50 x 40 inches.

In possession of Lord de Tabley in 1821, and sold in 1827

for 79 guineas : believed to be now at Petworth.
Musidora, at full length, seated on the ground, in a wood ;
her short curling hair tied by a ribbon. ^ face modestly
downcast, her neck, right arm, and shoulders bare, as
she prepares to bathe. The head of Damon appears
behind the trunk of a tree, as he approaches.
Engraved by Bartolozzi, line, for Macklin's Poets, 1788-9,
oblong folio : also etched by John Young for his Tabley House
Gallery, 1821.

DAMON AND MUSIDORA.

From Thomson's Seasons, Summer.

Painted and exhibited No. 162 in Catalogue of Royal Acad-
emy, 1802.

Probably a different picture from the preceding. (See MUSI-
DORA).

DIANA.

Exhibited at Taunton Castle 1875.
Canvas, 38 x 28 inches.

PART II. POETICAL & FANCY. 209

In possession of Messrs. H. and E. Hardwill, Taunton, from
the sale of Miss Thompson's, of Shrapnells.

The Goddess stands looking to the right, in a loose zone
fastened over her right breast by a chain ending in two jewelled
clasps ; a pointed arrow in her left hand, and a stretched bow in
her right, prepared to shoot ; auburn hair coiled at back of head,
and bound by a fillet on her brow, on which is a crescent ; arms
nude.

DOG'S HEAD.

Painted about 1778, at Prideaux Place.
In possession of Mr. C. G. Prideaux-Brune.
A small head of a beagle, looking to the left ; most probably
a portrait.

DOG'S HEAD.

Painted about 1778, at Prideaux Place.
In possession of Mr. C. G. Prideaux-Brune.
A small head of a long haired white dog, resting on his paws,
looking to the right ; most probably a portrait.

ELOISA, A NUN.

A copy, in worsted, of this picture was exhibited No. 31 in
Catalogue of Miss Linwood's Pictures in worsted, and
sold at Christie's, April 23, 1846, for £6.
A nun, in profile to the left, full length, is seated at a table in
a cell ; bible and skull on the table ; the light thrown strongly on
her head from a grated window at left.

Engraved by J. Ogborne, roy. 8°., 1793.

FAERY QUEENE, SPENSER'S.

A scene from Book vi, Canto 7, 8. Serena rescued by Sir

Calepine.

Painted and exhibited No. 46 in Catalogue of Royal Acad-
emy, 1798.

Canvas, 92 x 65 inches, relined.
In possession of Mr. Wm. Cox, British Gallery, Pall Mall ;

210 PICTURES BY JOHN OPIE, R.A.

bought at Christie's, about 1862. Probably the same as
that sold at Lime Grove, July, 1856, from the late Sir
John St Aubyn's collection, entitled, '•A Gallery Picture,
— subject from Spenser 's Faerie Queen.

Sir Calepine, in full armour, stands behind the nude figure of
Serena, whom the savages have stripped for the sacrifice; he gently
takes her hand in his, while she tries to hide her confusion and
alarm.

The Poet Southey writes to Mr. Cottle, at Bristol in 1797, of
this picture, " He (Opie) has begun a picture from Spenser, which
" he himself thinks the best design he has made, but it has re-
" mained untouched for three years. The outline is wonderfully
"fine." Anderdon Coll., 1797.

FANCY SUBJECT, A.

'A very early picture,' sold in lot 61 at Opie's Sale, June,
1807.

FARM YARD.

Opie's first attempt at a picture in oil, being a copy of a
picture of a farm yard at the house of a neighbour, Mr.
Nankivell, of St. Agnes. Polwhele's Biographical Sketches,
ii, page 115.

Painted 1771-2, when he was 10 years old.
Canvas, 45 x 37 inches.
Formerly in possession of Mrs. Walker, mother of the Vicar

of St Winnow, who bought it for five shillings.
The original, which is described as a grotesque daub, is still
preserved at Tresillian House, Mrs. Gully Bennet having rescued it
from destruction on the death of her father, Mr. Richard Hosken,
in whose possession it was when Polwhele wrote. Opie's copy
cannot be traced.

FEMALE, HEAD OF.

Sold ' with another ' at Opie's Sale, June, 1807, for £9 195. 6d

FEMALE, IN BLACK DRAPERY, DRAWING ON HER GLOVES.

Sold No. 84, in Opie's Sale, June, 1807, for n guineas.

PART II. POETICAL 6- FANCY. 211

FISHERMAN, A.

Sold at Christie's, May 9, 1865, to Mr. Graves, for £i i os. 6d.

Destroyed by the fire at H.M. Theatre, Dec., 1865.
Previously in possession of Mr. Wm. Hardman, of Man-
chester.

FLOWER-GIRL, THE.

Sold at Christie's, June 26, 1869, for £20 55.

FORTUNE-TELLER, A.

Together with portraits of three children of John Gurney,
of Earlham, viz : Richenda, who married Rev. Francis
Cunningham ; Hannah, who married Sir Thomas Fowell
Buxton, Bart, and John Gurney, jun., who died 1814, s. p.
Exhibited No. 126 in Catalogue of British Institution, 1817.
Canvas, 37 x 49 inches.
In possession of the Marquis Cholmondaley.
A picturesque group of four figures in a woody landscape,
portraits of the Gurney family, viz : Lady Buxton, Mrs. Cunning-
ham, and John Gurney, jun., of Earlham, Norfolk. An old woman
on the left, in right profile, raises her right hand from beneath her
cloak, whilst the two young ladies, seated, each ^ face to left, and
a boy of 6 years old, in front, attentively listen to her tale.

FRUIT GIRL, THE.

Sold at Christie's, Feb. 7, 1873, for 10 guineas.
Previously in possession of Mr. Partridge. See companion
picture, THE MILKMAID, in Supplement.

FUGITIVE, THE, OR LA FILLE MAL GARDEE,

Painted and exhibited No. 154 in Catalogue of Royal Acad-
emy, 1800, and No. 23 at British Institution, 1817, by
N. R. Colborn, Esq. (Lord Colborn) as 'The Elopement.'

Canvas, 108 x 72 inches.

In possession of Sir George Nugent, Bart : bought by Lord
Colborn of Opie's widow.

A large picture. An old woman is asleep in a chair at a cottage

212 PICTURES BY JOHN OPIE, R.A.

door, with her arms folded : a young woman in her bonnet, watches
the sleeper, and makes towards a stile close by; a Highlander
standing on the other side of the fence, looking up into her face,
is holding out his hand to help her.
Engraved.

GAMESTER, THE,

Scene from Ed. Moore's Play the Gamester, Act v. s. 4.

Painted between 1782 and 1792.

An engraving by Fittler, in Bell's British Theatre, 8°. 1792,
within an ornamental circle, quoting the passage

' Thou power that mad'st me...
1 Send me a gleam of hope. '

A scene in prisoa Beverley, the Gamester, kneels in the
centre, his wife at the left, standing, his sister at the right crouching
in anguish; Jarvis supports him from behind. A grated prison
window is seen beneath the stone vaulting, at the back. The phial
of poison, which Beverley has taken, lies before him.

GHOST STORY, THE,

Painted after 1782.

Exhibited No. 167 in Catalogue of British Institution, 1844.

Canvas, 40^ x 50 inches.

In possession of Viscount Falmouth, at Tregothnan.

A vigorous composition of five young female figures, one of
whom is telling the story, whilst the others in varied attitudes are
attentively listening.

A large Mezzo engraving without engraver's name, represents
the same composition as the Ghost Story, except that a fifth figure
appears listening, and an indefinite form in the back ground, dimly
seen, possibly the Ghost; published Dec. i, 1785, and entitled 'A
Winter's Tale.'

GIL BLAS TAKING THE KEY FROM DAME LEONARDA IN THE

CAVERN OF THE BANDITTI. — (Gil Bias, Book i,cap. 10^.

PART II. POETICAL & FANCY. 213

Painted and exhibited No. 71 in Catalogue of Royal Acad-
emy, 1804.

Canvas, enlarged to 93 x 57 from 82 x 53 inches.
Formerly in the Hall at Kingsley House, purchased by J. L.
Brenchley, Esq., and presented by him to the Museum
at Maidstone, Kent.

Sold No. 105 for Opie's Executors, June 6, 1807, for 45
guineas.

The young lady, whom Gil Bias is about to rescue, stands
erect, a light in her right hand, held aloft, cords in her left. Leon-
arda, on the ground, struggles with Gil Bias for the key, whilst he
threatens her with his sword.

GIL BLAS,

'A 1'aide de la dame, je liai Leonarde aux pieds d'une grosse
table.' Livre i, cap. 10.

Canvas, 42 x 30 inches.

In possession of Mr. Vincent J. Reynolds and his father about
50 years.

A subsequent passage in the same scene as the preceding.
The lady stands erect, holding the lamp above her head, the key
in her left hand, Gil Bias is binding Leonarda with the cords ; his
hat has fallen on the ground, and one leg of the table appears on
the left ; the attitudes of the lady and Gil Bias are changed, and
she is differently draped, from those in the preceding picture.

Mr. John W. Mellor, Q.C. has a fac-simile of this picture, for-
merly Sir Thos. Parkyns'.

GIL BLAS, ESCAPING FROM THE ROBBERS' CAVERN.
A third passage from the same scene, Book i, Cap. 10.
Painted for Mr. Wright of Upton Hall.
Sold at Christie's Feb. 23, 1861, for ^5 los.
Previously in possession of Rev. Jesse Spencer, York.

GIPSY, THE.

Exhibited No. 136 in Catalogue of British Institution, 1852.
Then in possession of Mr. Beriah Botfield.

214 PICTURES BY JOHN OPIE, R.A.

GIRL, A,

Exhibited at British Institution, 1817.

Then in possession of H. Thomson, R.A., an intimate friend
of the painter.

GIRL, HEAD OF A,

Sold at Christie's, Feb. 14, 1874, for ^60 i8s.

Previously in possession of Mr. Samuel Turner, of Gray's Inn.

GIRL ASLEEP AT HER TOILET.

Canvas, 30 x 24 inches.

In possession of Mr. H. S. Jones, at Leicester, bought at Mr.
Clarke's sale at Brentingby Hall, about 1860.

A girl, y^ length, seated, has fallen asleep at her toilet ; neck
and arms nude, her head rests on her right arm, head dress of
rich colour.

GIRL WITH BEER.

Mentioned as warmly praised by Jas. Northcote, R.A. to
Thos. Holcroft, March i, 1799. Holcroffs Diary by
Hazlett, 12°. 1816.

GIRL, EATING BREAKFAST OUT OF A PIPKIN, A DOG WISHING

TO BE A PARTAKER WITH HER.

Sold No. 78 at Opie's Sale, June 1807, for ^29 8s.

GIRL WITH A PITCHER.

Sold at Christie's, March 23, 1868, for ^"25 IDS.
Previously in possession of Mrs. Seymour.

GIRL, VILLAGE, IN A LANDSCAPE.

Sold No. 95 in Opie's Sale, June 1807, for ^23 25.

GLEANER, THE,

Painted after 1782, probably.

Exhibited at Roy. Cornwall Polytechnic Hall, 1854.

Canvas, 30 x 24 inches, in very good state.

In possession of Rev. C. VV. Boase, Exeter ColL, Oxford

PART If. POETICAL & FANCY. 215

Mrs. Opie's favourite picture, which she reserved for her
drawing room, at Opie's death ; from her it passed to her nephew,
from whom Mr. Boase's father obtained it, in 1838.

HENRY AND EMMA.

From Mat. Prior's Poem, Henry and Emma.

Painted about 1793.

Engraved by F. Bartolozzi, fo. mixed, 1796, for Macklirts Poets,
10 lines quoted, 'A Shepherd' — 'offend her ear.'

HEROD AND MARIAMNE.

From Josephus, Book xv, in illustration of Spectator, No. 171,
in vol. vii of Sliarpe's British Classics, motto ' Credula
res amor est. ' Ovid.

Mariamne, seated on a couch, alarmed, whilst Herod, in a fit
of jealousy, has risen from her side, and grasps his scymeter,
threatening his suspected uncle's death.
Engraved by Anker Smith, 1803.

HOBNELIA, OR THE SPELL.

From Gay's Shepherd's Week.

Painted and exhibited No. 80 in Catalogue of Royal Academy,
1803.

Canvas, 55 x 45 inches, relined.

In possession of the Earl of Denbigh, inherited from Mr.
David Pennant, of Downing, Flint.

A female figure full length in short sleeved black dress, stoops
forward to watch a snail which creeps before her ; arms beautifully
modelled ; in a rich landscape. A highly finished work, in his
very best manner.

Engraved by P. W. Tomkins, 12°., in Gay's Poems, inscribed
' Slow crawls the snail.' —

HOBNELIA, ON THE SPELL.

Same subject as the preceding.
Painted probably about 1803.
Canvas, 29 x 24 inches.

2l6 PICTURES BY JOHN OPIE, R.A,

In possession of Mr. J. M. Williams, Caerhays Castle, bought
in 1862 through Mr. Graves.

Probably the picture sold at Opie's Sale in 1807, for £g 195.
6d.

The same composition as Lord Denbigh's, but smaller.

HUNTER, MRS. JOHN, BALLAD OF,

' Subject from a Ballad of Mrs. John Hunter, a female con-
templating the sea.'

Sold under this title No. 90 in Opie's Sale, June 1807.

JEW, AN OLD,

Painted before 1781.

Exhibited at Royal Cornwall Polytechnic hall, 1854.

Canvas, 26^ x 17^ inches.

In possession of Mr. Enys, of Enys.

Bust, full face, a rugged countenance, with crisp dark hair ;
a phylactery is bound round his brow.

This was one of the pictures taken by Opie to Buckingham
House, when first sent for by the King; obtained from Opie by
Mr. Davies Gilbert, P.R.S.

LADY IN A COTTAGER'S FAMILY ACCOMPANIED BY A BLACK
SERVANT.

Probably the same as that exhibited No. 16 in Catalogue of
Royal Academy, 1803, as the visit to the Cottage, or
clothing the naked.

Sold No. 106 in Cat. of Opie's Sale, June 1807, for ^125, 'a
delightful group.'

LADY WITH TWO CHILDREN, AND A PARROT.

Sold No. 104 in Catalogue of Opie's Sale, June 1807, for
;£6o 1 8s.

Canvas, 66*4 * 47 inches.

In the Museum at Maidstone, Kent; presented by J. L.
Brenchley, M.A

PART II. POETICAL & FANCY. 217

The lady is seated with an infant on her lap, and holding a
parrot on her left hand; another child kneels at her left side,
looking into the infant's face.

LADY IN THE CHARACTER OF CRESSIDA, A PORTRAIT,

Unknown ; the scene is from Shakspeare's Play, Act iii, sc. 2.
Painted and exhibited No. 1 1 7 in Catalogue of Royal Acad-
emy, 1800.
Canvas, 92 x 57 inches.

Mr. Edward Opie thinks this is the National Gallery Picture
No. 1026, called 'TROILUS, CRESSIDA, AND PANDARUS.'

Bequeathed by Mr. George Silk, in 1834.

Pandarus is unveiling Cressida, and says 'Come draw this
curtain and let's see your picture'; full sized figures in a woody
landscape.

Engraved by P. Lightfoot, roy. 8°. n.d.

LAUGHING GIRL, THE,

After Sir Joshua Reynolds.

Painted after 1782.

Exhibited No. 13 in Catalogue of Pictures, at Council Hall,
Truro, 1861.

Canvas, 24 x 21 inches.

In possession of George Williams, Esq., Scorrier House.

A copy by Opie of a favourite picture by Sir Joshua Reynolds,
sold at Opie's death in 1807, for ,£430.

Subject, a girl with folded arms leaning on a window cill.

LAVINIA.

Exhibited No. 46 in Catalogue of British Institution, 1817,
by Robert Burro wes, and No. 173, 1843, by Lady Woolmore.

LIDFORD FALL, DEVON, THE GUARDIAN OF,
Probably a portrait.
Painted probably before 1782.
Canvas, 57^ x 371^ inches.

2i8 PICTURES BY JOHN OPIE, R.A.

In possession of Rev. Donald M. Owen, Mark's Tey Rectory,
Colchester, bought in 1876, and long previously in the
possession of Mr. Turner, Exeter, the original owner.
An old peasant, seated, with Bible on his knee, and spectacles;
another book lies on the table at his side ; his expression denotes
a difficult passage. Well finished in the upper part.

LION IN LOVE, THE, OR THE LION TAMED BY BEAUTY.

Painted about 1790, probably.

Canvas, 50 x 40 inches, reduced and relined.

Seen Nov. 1877, at Mr. Faucett's, King Street, Covent Garden.

A female figure, full length, in white, with blue ribbon, smiles
triumphantly as she compels a lion, crouching at her feet, to allow
his claws to be clipped by a half nude man who stoops to clip
them.

LOST OPIE, THE, see CONJUROR.

LOVE-SCENE, A,

An unfinished picture, given by Opie to a pupil, who gave it
to Mr. P. G. Dodd, on whose death it was bought by the
present owner's son for him, about 1867.
Canvas, 30 x 39 inches.

In possession of Mr. J. S. Courtney, Penzance.
Half-length figures of a young man and woman ; he holds
her left hand, and looks earnestly at her, while she turns her face
from him.

LOVESICK MAID, THE, OR THE DOCTOR PUZZLED.

Painted and exhibited No. 183 in Catalogue of Royal Acad-
emy, 1 80 1. Bought in at Christie's, May 23, 1807, for

Formerly in possession of Mr. Ward.

An engraving, name and date unknown, represents the Doctor
as gravely perplexed by a sickly maid, whose malady puzzles
him, her brother, behind her back, plays laughingly with a Cupid's
dart.

PART II. POETICAL & FANCY. 219

MAN'S HEAD.

Painted before 1781.
Canvas, 14 x 12 inches.
In possession of Dr. H. H. Drake, Fowey.
An early study of a head, nearly life size, olive tone in the
shadows.

MINSTREL, THE,

From Beattie's Minstrel, Book i, st. 16.

' And yet poor Edwin was no common boy,
' Deep thought oft seemed to fix his infant eye ;
' Dainties he heeded not, nor gaud, nor toy,
' Save one short pipe of rudest minstrelsy. '

Painted 1782-5, cleaned by Yates in 1852.
Canvas, 29 x 24 inches.

In possession of Sir W. H. Smith Marriott, BarL, from his
grandfather Sir John Smith, of Down House.

In a circle, a boy of about 12, in reddish brown dress, seated,
24 face to right, holding a sylvan pipe in his right hand which rests
upon his knee ; he reclines against the trunk of a large tree in a
picturesque landscape; sheep, trees and a rivulet crossed by a
rustic bridge beyond. A very pretty picture.

Engraved by W. Ward, 1785, 'from an original in possession
of Sir John Smith, Bart.'

MIRANDA, A HEAD FROM THE,

Painted 1806-7, 'literally the last which Mr. Opie finished.'
Mrs. Opie, Preface to his Lectures ; p. 37.

Painted for Mr. Lyster Parker, but Sir John Leicester having
expressed a wish to possess it, Mr. Parker, out of regard
for Opie's memory, resigned it to him, as one of his finest
works. (J. Young, in Cat).

Canvas, 30 x 25 inches.

In possession of Sir John Leicester, in 1809-21.

Seen to waist, ^ face to right, short curling hair, neck and

220 PICTURES BY JOHN OPIE, R.A.

left arm nude, right arm and left shoulder draped ; arm and hand
bent gracefully to neck.

Mrs. Opie mentions this under the title above, meaning the
portrait of Mrs. Heathcote as Miranda, ' differing from it both in
' features and in drapery.' — ' Perhaps the most spirited as well as
' the most beautiful female head that he ever painted,' Preface to
Lectures, p. 37.

Etched by John Young, 4°. 1821, in his Catalogue of the
Leicester Gallery.

MUSICAL PARTY.

A group of supposed portraits.

Sold at Foster's, Feb. 1876, for 15 Guineas.

In possession of Henry Graves and Co.

MUSIDORA.

From Thomsons Seasons, Summer.

Most probably the picture which was sold at Opie's Sale, June

1807, for £26 55.
Canvas, 48 x 39 inches.

In possession of Dr. Thos. Spinks, obtained from the late
Mr. Hedge, in whose family it was said to have been
ever since it came from Opie's easel.

Musidora is seated almost nude on a bank, her right hand
removing the stocking from her left foot, which is doubled under
the right leg : her hair is bound with a broad ribbon ; chaste ex-
pression ; a shawl lying on the Bank. No Damon, as in the
Tabley picture ; (see Damon).

OLD MAN, PORTRAIT OF,

Supposed to be an old man of St. Agnes, Opie's birthplace.

Painted before 1781, relined in 1869.

Canvas, 29 x 25 inches.

In possession of Mr. C. Davies Gilbert, at Trelissick.

An old man in dark coat with deep collar, slightly looking up,
his left hand spread over his chest ; y± face to right, black hair,

PART II. POETICAL & FANCY. 221

short beard and moustache, obtained from Opie by Mr. Davies
Gilbert, P.R.S.

OLD MAN, AN,

An early study, from life.

Painted before 1782.

Canvas, 29^ x 24^ inches.

In possession of Mrs. E. F. Stopford Sackville, from her
father, Mr. W. Rashleigh, of Menabilly.

Supposed to be the portrait of a labourer at Menabilly. Bust
of an old man with flowing hair.

OLD WOMAN, AN,

Painted probably before 1782.

Exhibited No. 371 in Catalogue of Royal Academy, 1782,
Opie's first Season in London.

OLD MAN, BUST OF,

In possession of Mr. Knee, at Chippenham. A carefully
finished early work.

OLD MAN'S HEAD, AN,
Painted before 1795.
Canvas, 20^ x i&*4 inches, enlarged.
In possession of Rev. St. Aubyn M. St Aubyn, at Clowance.

Study of a bald-headed old man, stooping forward, long grey
locks at each side of his head, down-cast eyes ; a red robe over
the shoulders ; said to have been cut out, in lozenge shape, from
a large picture, re-inserted in another canvas and finished for
Opie's pupil, Katherine St. Aubyn, afterwards Mrs. Molesworth, of
St. Breock.

The head resembles that of Jephthah in his picture of that
subject

OYSTER-GIRL, AN,

Painted 1798: labelled at back, 'Opie, from the life, 1798,
15 Guineas.'

222 PICTURES BY JOHN OPIE, R.A.

Panel 6x5 inches.

In possession of Mr. F. J. Hext, of Tredethy, to whom it was
bequeathed by Mrs. Mary Graves.

A very small head of a girl in brown boddice, and dark skirt,
a white kerchief folded across her breast, mob cap with ribbon ;
she is bare-armed, opening oysters at a tub: full of nature, and
beautifully executed.

PASTORAL COURTSHIP.

Painted and exhibited No. i in Catalogue of Royal Academy,
1796.

PASTORAL SUBJECT.

Exhibited No. 147 at British Institution, 1848, by T. Cham-
berlayne, Esq.

PEASANT GIRL, WITH SCOTCH TERRIER.
Canvas, 31^x42*^ inches.

In possession of Miss Bellasis, bought by her father Mr. Ser-
jeant Bellasis, about 1837, from a collection in Montague
Place.

A pretty peasant girl is seated at the side of a pool, tying her
garter, whilst the dog laps the water. In a landscape in Gains-
borough's manner.

PEASANT GIRL, A,
An Unfinished Sketch.
Painted early.
Exhibited No. 65 in Catalogue of Exhibition of Pictures at

Council Hall, Truro, 1861, as Rustic Figure.
Canvas, 29^ x 29^ inches.
In possession of J. M. Williams, Esq., from his father.

PENZANCE SCAVENGER, A,

A reputed portrait — name unknowa
Painted about 1778.

Exhibited No. 64 in Catalogue of Devon and Cornwall
Worthies, at Exeter, 1873.

PART 1 7 POETICAL <Sr» FANCY. 223

In possession of Mr. N. H. P. Lawrence, at Launceston;

bought at Bath in 1790 by Mr. Humphry Lawrence.
A bold, rugged picturesque old man, grasping a stick with
both hands.

PROPOSAL, THE,

Exhibited No. 130 in Catalogue of British Institution, 1849,
by H. C. Long, Esq.

SAILOR'S ORPHAN, THE,

Painted about 1778.

Canvas, 36 x 30 inches.

In possession of Mrs. Marchant, Carlton HilL

A young girl, with pretty face, large dark eyes and bright
complexion, in the short-waisted peasant's dress of the time, is
seated on the sea-shore, pensively observing a burning ship in the
distance, which seems to tell of her orphan fate.

The face and hair beautifully finished.

SCHOOL, A, MORE RECENTLY KNOWN AS THE SCHOOLMISTRESS.

Painted and exhibited No. 162 in Catalogue of Royal Acad-
emy, 1784; sold in 1823 for Mr. G. Watson Taylor, M.P.
for 90 Guineas : and in 1875 at sale of Ham Gallery for
750 Guineas, probably the highest price ever paid for a
picture by Opie.
Canvas, 39 x 49 inches.
In possession of Lord Overstone.

A spirited composition of an old woman, as schoolmistress,
with 5 boys and a cat ; said to have been the first subject picture
that brought Opie into notice. ' Painted with a plain back ground
' of a dark transparent grey, giving the picture a Rembrandt-like
1 effect.' Cat.

Horace Walpole notes, in his Catalogue of 1784, of this pic-
ture, 'Great nature, the best of his works yet.' — Leslie and Taylor's
Life of Reynolds, voL ii, page 437.

Engraved by Young, and also by V. Green, Mezzo, fo. 1785,
entitled The School

224 PICTURES BY JOHN OPTE,

SCHOOLMISTRESS, THE,

Exhibited No. 133 in Catalogue of Manchester Exhibition of

Art Treasures, 1857.
In possession of the Earl of Stamford and Warrington.

SHEPHERD BOY.

Formerly in possession of Mr. Wm. Hardman, of Manchester;
sold at Christie's, May 9, 1865, to Messrs. Graves, for
31 Guineas.

The boy has a stick in his hand, and his dog accompanies
him. Very fine.

The companion picture, A FISHERMAN, was also bought by
Messrs. Graves at the same sale, but was destroyed at the fire of
H.M. Theatre, Dec., 1867.

SHEPHERD BOY.

Canvas, 52 x 39 inches.

In possession of Mr. Daniel Gurney, North Runcton.

A boy and dog, the size of life.

SHEPHERD BOY.

In Gainsborough's manner; mentioned in the Life of Mrs.
Opie, p. 286, as being at the house of her father, Dr. Alderson,
at St. George's, Norwich, at the date of his death in 1825. This
may be Mr. Gurney's picture, as it is described as of large size,
and was probably sold when Mrs. Opie gave up her father's house
in 1832.

SLEEPING NYMPH, AND CUPID STEALING A Kiss.

Painted and exhibited No. 136 in Catalogue of Royal Acad-
emy, 1786, and by Boydell in his Shakspeare Gallery,
1790.

Mr. Anderdon inserts a copy of Opie's receipt to Boydell for
^42, in full, for the "Nymph and Cupid." Engraved, without
name, Anderdon Coll., 1786; probably the same as the "Sleeping
Nymph" engraved by Peter Simon, (Bryan's Diet).

PART II. POETICAL &> FANCY. 22$

SPECTATOR, No. 611,

Motto, Perfidious man.

The revenge of a Spanish lady on her guilty lover. VoL xii
of Sharpens British Classics.

The lady stands in the vault of a church, holding up a lamp
in her left hand, a dagger in her right, about to cut the false heart
from the dead body of her lover whom she has slain.

Engraved by Jos. Collyer, 8°., line, 1803.

STUDENT, THE,

Canvas, 18^ x 15^ inches.

Lately in possession of Mr. John Heugh ; sold at Christie's,
May n, 1878, for 150 Guineas.

Bust of a handsome boy, ^ face to right, in a blue coat and
white collar; long dark glossy hair, and deep blue eyes; the fingers
of his left hand shewing over the edge of a red leather folio, which
he holds before him. Finely painted.

SURPRIZE, THE,

Sold No. 98 in Catalogue of Opie's Sale, June 1807, for

£22 us. 6d.
Canvas, 55 x 45 inches.
In the Museum at Maidstone, Kent, presented by J. L.

Brenchley, M.A.

A lady reposing on a woodland seat, resting her head on her
right arm ; a sportsman with his gun, to the right, surprized at
finding her ; a setter in front gazes in the lady's face.

SWEET POLL OF PLYMOUTH.

Painted and exhibited No. 391 in Catalogue of Royal Acad-
emy, 1785.

TIRED SOLDIER, THE,

Painted and exhibited No. 31 in Catalogue of Royal Acad-
emy, 1799.

Sold by H. Phillips, Bond St., June 3, 1807, and thus des-
cribed in the Sale Catalogue.

Q

226 PICTURES -BY JOHN OPIE, R.A.

" That admirable chef d'ouvres, ' The Tired Soldier] painted
" with great truth of nature, and surprizing force and brilliancy of
"colour, a most capital picture of that celebrated artist:" — pro-
bably the same as the Old Soldier, praised by Jas. Northcote,
R.A, Mch. i, 1799. Holcroffs Diary, 12°. 1816.

Destroyed at Messrs. Graves', by the fire at H.M. Theatre,
Dec. 6, 1867.

TWO JOLLY COBBLERS.

Canvas, 22 x 18 inches.

In possession of Mr. E. C. Edward Collins, of Trewordale,
bought by his father from Mrs. Hasley, to whose husband
it was left many years ago by one of Opie's family.

The two cobblers are seated at table, carousing; a pewter
pot, an old boot and the heel of another are on the table ; one
sits in a high-backed chair, and has a fine grey bald head. Marked
J. Opie, pinxit, in lower left corner.

TWO PEASANT CHILDREN.

Painted about 1783, probably.

Canvas, 49 x 40 inches.

In possession of John Michael Williams, Esq., purchased
by Michael Williams, M.P., at Lord Orford's Sale, in
1856.

A girl, standing, points to a distant object, a boy seated on
the ground : a rough haired dog introduced. In the spirit of
Gainsborough.

This is probably the picture of which Waagen says, ' favour-
' ably distinguished for great power and transparency of colour,
' and unusually careful execution. ' Treasures of Art, voL iii,

436-

UNFORTUNATE TRAVELLER, THE,

Painted and exhibited No. 30 in Catalogue of Royal Acad-
emy, 1802, with a motto of 4 lines, anon.

Probably the same as No. 86 in Opie's Sale, June 6, 1807.
The dead traveller and his faithful dog.: sold for 19 Guineas.

PART II. POETICAL 6- FANCY. 227

VENUS AND ADONIS.

Exhibited No. 126 in Catalogue of British Institution, 1843,
by E. T. Carver, Esq.

A picture with the same title, and described as ' very richly
coloured,' was sold at Christie's, March 27, 1857, for ^4 IDS.

WATCHMAN, AND HIS DOG.

Sold No. 74 in Catalogue of Opie's Sale, June 1807, for
;£ii os. 6d.

WIDOW, THE,

This title is suggested for an engraving which forms the frontis-
piece of Poems by Mrs. Opie, 3rd ed., 12°., 1804, engraved by
Reynolds, sm. Mezzo.

A full length female, in left profile, in black dress with short
sleeves, her hands clasped before her, a long veil falling over her
back to the ground, in a church yard at her ' Henry's' grave : the
church porch at the right, sunset in a landscape to the left.

WINTER PIECE, A,

Painted and exhibited No. 121 in Catalogue of Royal Acad-
emy, 1797.

WOMAN'S STORY AT A WINTER'S FIRE, A,

Painted and exhibited No. 202 in Catalogue of Royal Acad-
emy, 1785.

YOUNG GIRL, A,
A study.
Exhibited No. 229 in Catalogue of Winter Exhibition of Old

Masters, 1873.

Canvas, 30 x 25 inches, relined 1872.
Bequeathed by Miss Read to the Consumption Hospital, at

Brompton, 1871.

A girl of about 1 2 years old, seated, in a landscape ; a rose in
her hand.

YOUNG LADY, A,

228 PICTURES BY JOHN OPIE, R.A.

Exhibited No. 2 1 1 in Catalogue of Winter Exhibition of Old

Masters, 1873.

Canvas, 30 x 25 inches, relined in 1872.
Bequeathed by Miss Read to the Consumption Hospital, at

Brompton, 1871.

Probably a portrait, ^ face to left, in olive dress, white frill,
dishevelled hair; age about 19.

LANDSCAPES.

LANDSCAPE NEAR PENRYN.

Painted 1779-81, for Mr. John Penwarne.

Canvas, 14 x 175^ inches.

In possession of his grandson, Rev. E. Penwarne Wellings.

A bold, effective study. A woody dell on a creek of Penryn
estuary; a house on a knoll beyond; rocks, water, and figures in
foreground. Indorsed on the canvas by Mr. Penwarne's own hand,
'An original sketch by Opie, sketched and painted from a view
' near Penryn, in my presence, the building introduced from fancy.
'J. Penwarne.'

LANDSCAPE, AT NORWICH.

A sketch from the garden of Mr. Robert Alderson's residence

at SL Helens.
Painted after 1798.
Canvas, 17^ x 25 inches.

In possession of Mr. H. Gerard Hoare, Stansted House;
given to Mrs. Hoare's father by Rev. S. H. Aldersoa

VIEW OF ST. MICHAEL'S MOUNT.,

From the beach at Mara/ion. Fishermen drawing a net.
Painted 1785.

Exhibited No. 50 in Catalogue of Pictures at Council Hall,
Truro, 1861.

PART //. LANDSCAPES. 229

Canvas, 40x52 inhces.

In possession of Sir J. St. Aubyn, Bart, M.P.

Engraved, 1788, by W. Birch, enamel painter; plate, 6^ x 7^
inches; published also, 1791, by the same engraver, as one of the
' views in Great Britain,' oblong 4°., under the title of Delices de
la Grande Bretagne. Bibl. Cornub., 414.

VIEW OF ST. MICHAEL'S MOUNT.

From Long-rock.

Painted before 1798.

Canvas, 53 x 51^ inches.

In possession of Sir John St. Aubyn, Bart., M.P.

A moonlight scene ; fishermen and women in foreground,
with lantern.

Thos. Holcroft refers to this picture in his Diary, Oct. 19,
1798, 'Called on Opie; saw his view of St. Michael's Mount; a
' moonlight ; the manner hard, but scenery and effects grand, and
'composition good.' Memoirs, 12°., 1852.

VIEW OF ST. MICHAEL'S MOUNT.
From the North end of the causeway.
Canvas, 41^ x 51^ inches.
In possession of Sir John St. Aubyn, Bart. M.P.

A few other small landscapes will be found in the Supplement.

List of 143 Pictures exhibited by John Opie,
R.A., at the Royal Academy, 1782-1807.

The Numbers and Titles are those which appear in the Cata-
logues of the Royal Academy.

The identification of Portraits which are unnamed in the Cata-
logues is derived partly from Mr. J. H. Anderdon's Collection of
those Catalogues in the Print Room of the British Museum, and
partly from information supplied by Mr. Algernon Graves, of Pall

Mall.

->•*•»•»<

EXHIBITED PICTURES.

A.D. No. Title.

1782. 147 An Old Man's Head.
199 Country Boy and Girl.
224 Boy and Dog.

371 An Old Woman.

384 A Beggar.

1783. 6 Age and Infancy.

61 Portrait of a Gentleman,
(Wm. Jackson).

85 Portrait.

191 Portrait of a Lady.

205 Boy and Girl.

1784. 109 Portrait, (Lady Hony-

wood).

1 1 1 Portrait.

136 Portrait of a Gentleman.

162 A School.

1 72 Portrait of a Child.

174 Portrait of a Lady.

216 Portrait of Two Children,

(Mr. Stale's).

381 An Old Woman,

A.D. No. Title.

1785. 22 Portrait of a Gentleman,

whole length.
103 Portrait of a Lady.
202 A Woman's Story at a

Winter's Fire.
236 Card-Players.
389 Portrait of a Gentleman.
391 Sweet Poll of Plymouth.

1 786. 8 A Gentleman and a M iner

with a Specimen of Cop-
per Ore, (Mr. Danu-ll
and Capt. Morcoin).

25 Portrait of a Lady.

79 Portrait of a General
Officer.

96 James I, of Scotland, as-
jsassinated by Graham
at the instigation of
his uncle the Duke of
Athol, (Buchanan's His-
tory).

232

EXHIBITED

A.D. No. Title,

1786. 136 A Sleeping Nymph, and

Cupid stealing a kiss.
380 Portrait of a Gentleman.
406 Portrait of a Lady.
'787- 5 Portrait of a Gentleman,

(Wm. Shield).
26 Assassination of David

Rizzio.

75 Portrait of a Lady.
147 Portrait of a Gentleman,

(Mr. Galiagan).

218 Portrait of a Nobleman,

(Ld. Sandwich).

1788. 121 A Child and Dog.

161 Portrait of a Gentleman,
Aid. Neiunham).

176 Portrait of a Gentleman,
(Counsellor Newnham).

184 Portrait of a Lady.

223 Portrait of a Gentleman.

/\/\?. Portrait of a Gentleman.

1789. 6 1 Portrait of a Gentleman,

(Mr. Stanley).
1 86 Portrait of a Gentleman.
187 Portrait of a Judge, (Lord

Kenyan).
2l8 Portrait of a Lady, (Lady

Apsley).

272 Portrait of a Judge,

(Baron Thompson).

1790. 2IO Portrait of a Gentleman,

(Col. Henderson).

273 Portrait of a Nobleman,

(Lord Bagot).

1791. No picture by Opie.

1792. IOO Portraits of Two Chil-

dren, a Horse, and a
Dog, ( Counsellor Newn-

97

154 Portrait of a Lady.

196 Portrait of a Gentleman,

(Aid. rukctt).
526 Portrait of a Gentleman,

(Mr. Taylor).

'793- No picture by Opie.

1794. 29 Portrait of a Gentleman,

(H. Fusdi, K.A.).
42 Portrait of a Lady, (Mrs.
Fuseli).

Portrait of a Gentleman,
(Jos. Faringdon).
1 20 Portrait of a Boy, (Limit.

A.D. No. Title.

1795. 124 A Country Girl.
226 Portrait of a Lady.

1796. I Pastoral Courtship.

67 Portrait of a Lady, ( Miss
Peters).

196 Portraits of Two Chil-
dren, (Wm. Smith?*),

208 Portrait of a Lady.

339 Portrait of a Young Gen-
tleman.

350 Portrait of a Clergyman,
(Dr. Rees).

1797. 64 Children in the Wood.
121 A Winter Piece.

243 Coronation of Henry VI,

at Paris.
257 Murder of Archbishop

Sharpe.
268 Courtship in the Park.

1798. 26 Elizabeth Gray petition-

ing Edward IV to re-
store her estates.
46 Sir Calepine freeing Se-
rena.— Spenser.
191 Portrait of a Gentleman.
198 Portrait of an Artist.
647 Portrait of a Gentleman.
'799- 31 Tired Soldier.

46 Portrait of a Lady.
70 Portrait of a Lady.
96 Portrait of a Lady.
101 Portrait of a Gentleman.
123 Cupid protectinga Nymph

from a Satyr.

187 Mr. Gurney, Norwich.
205 Sir J. B. Warren.
268 Portrait of a Lady.
1800. 39 Mr. Smith.

79 Mr. Hoare, Norwich.
90 Confession.
117 Lady in the Character of

Cressida.
154 The Fugitive ; or la fillt

Mai garage.
189 Mrs. Smith.
243 Portrait of a Gentleman.
662 Portrait of a Gentleman.
iSoi. 26 J. Herring, Mayor of

Norwich.

75 Portrait of a Gentleman.

no Portrait of a Lady.

162 Hon. Mrs. Charles Finch.

183 The Love-sick Maid, or

the Doctor puzzled.

PICTURES.

233

A.D. No. Title.

1 80 1. 205 Portrait of a Lady.
258 Portrait of a Lady.

282 Rev. Dr. Valpy, Master
of Reading School.

1802. 30 The Unfortunate Travel-

ler.
78 Miss Alderson.

1 16 Capt. J. Harvey, Nor-
wich Volunteer Cavalry.

162 Damon and Musidora, —
Thomson.

1 80 Rispah watching by the
bodies of Saul's sons.

195 The Angry Father, or
the Discovery of the
Clandestine Correspond-
ence.

247 Miss Talbot, in the char-
acter of Lavinia.

1803. 1 6 The Visit to the Cottage,

or Clothing the Naked.
44 Juliet. — "See how she

leans her cheek upon

her hand."
56 Mr. Macintosh.
63 Earl Stanhope.
80 Hobnelia, or the Spell.
85 Mr. Adam.

150 Mrs. Crane.

151 The Infant Moses tread-

ing on Pharoah's crown.

1804. 5 Sir W. Blizard, Knight,

A.D. No. Title.

1804. 57 Lady F. Ponsonby, as

Rebecca.

71 Gil Bias taking the key
from Dame Leonarda in
the Cavern of the Ban-
ditti.

106 Samuel Whithead.

123 Thos. Holcroft.

142 T. Bernard.

250 Portrait of a Lady.

1805. 6 Master Betty.
82 C. J. Fox.

167 Rev. Dr. Clarke.

1 86 Miss Beauchamp.

206 Miss Wilson.

222 The Bishop of Durham.

1806. 22 Miss Gifford.
94 Miss Vaughan.

129 G. Rush.

132 Henry Tresham.

198 Mrs. Clarke.

215 Portrait of a Lady.

227 Davies Giddy, M.P.

259 Mrs. Cripps.

1807. 36 Lord Lowther.
89 Sir D. Williams.

161 H.R.H. The Duke of

Gloucester.

1 74 Mrs. Gary, of Torr Abbey.
225 Mr. Dingwall.
284 Rev. Sam. Parr, LLD.

List of Pictures by John Opie, R.A., exhibited since

his death in 1807, at the British Institution,

Pall Mall, 1813-1867.

A.D. No. Title. Lent by.

1817. 3 Judith attiring Earl of Egremont.

14 Opie's Mother Mrs. Opie.

23 The Elopement Mr. N/ R. Colborne.

33 Cottage Girl Mrs. Lawrence.

41 Presentation in the Temple ... Sir T. Bernard.

46 Lavinia Mr. R. Burrowes.

6 1 Dr. Woodhouse Mr. Woodhouse.

75 John Opie, R.A H. Thomson, R.A.

91 Murder of Rizzio City of London.

104 Mrs. Stewardson Mr. T. Stewardson.

234 EXHIBITED PICTURES.

A.D. No. TUU. LfiU by.

1817. 105 Lady Smith as a Gipsy ...... Earl of Coventry.

126 Fortune-Teller ........... Marquis Cholmondeley.

150 Card-Players ............... Mr. W. Owen, R.A.

155

1824. 133 Presentation in the Temple ... Bishop of Durham.

1843. 126 Venus and Adonis ......... Mr. E. T. Carver.

173 Lavinia .................. Lady Woolmore.

1844. 151 Age and Youth ............ Earl of Falmouth.

167 A Ghost Story ............ Earl of Falmouth.

1846. 39 John Opie, R.A ............. Royal Academy.

1848. 147 Pastoral Subject ............ Mr. T. Chamberlayne.

1849. 130 The Proposal ........... Mr. H. C. Long.

1850. 150 Portrait of a Lady ......... Earl of Falmouth.

1852. 136 The Gipsy ............... Mr. B. Botfield.

152 Murder of Rizzio ........... City of London.

1853. 166 Elizabeth, Queen of Edward IV, \

placing the Duke of York in > Mr. G. Young.
Sanctuary ............ }

1854. 148 Portrait of a Lady ......... Mr. F. Chatfield.

167 Sir James Graham ........ Sir A Dalrymple.

1857. 137 Dr. Johnson ............... Lord Overstone.

1861. 141 Portrait of a Lady ......... Mr. F. Chatfield.

173 Mary Wollstonecraft ......... Mr. Wm. Russell.

1862. 182 George Vaughan ............ Mr. H. Vaughan.

A Girl .................. H. Thomson, R.A.

NOTE. — This last is omitted in IVm. Smitli's MS. List, and is given with-
out date in Dallcnvay.

Pictures by John Opie, R.A., exhibited at Burlington

House, Winter Exhibition of Old Masters,

commencing 1870.

A.D. No. TUU. Lent by.

1871. 42 Dr. Johnson Lord Overstone.

1872. 7 John Opie, R.A Royal Academy.

'873- 50 A Lady ( Atiulia Opif) Mr. W. Kershaw.

203 John Opie, R.A Consumption Hospital.

211 A Young Lady Consumption Hospital.

229 Study of a Girl Consumption Hospital.

1875. 225 Death of James I, of Scotland.. Mr. J. H. Andcrdon.

234 Elizabeth Reynolds ... Mr. W. Walker.

238 Mrx \V. \V. Bird Mr. F. W. Bird.

1876. 41 The Red Boy Mr. Hardy \\ells.

47 The Housekeeper (Mrs. Hell) ... Sir J. St. Aubyn, Bart., M.P.

230 The Poet Smithey Dr. Reginald Southey.

281 Sir J. St. Aubyn, 5th Bart. ... Sir J. St. Aubyn, I '.art., M.P.
1878. 42 John Crome Sir Francis Botleau, Bart.

SUPPLEMENT to the CATALOGUE
of OPIES PICTURES.

Besides the Pictures already entered, there are some which it
seems better to place here separately, namely: — i. Those which,
though attributed to Opie, have not yet been sufficiently authenti-
cated as his works. 2. Those of which nothing is known except
that they have fallen under the auctioneer's hammer at prices
below ^5. This sum has been fixed on as a price below which a
good picture, however early, or however trifling in character or
subject, would not be likely to sell.

PORTRAITS NAMED— PORTRAITS UNNAMED-
SUBJECTS— LANDSCAPES.

NAMED PORTRAITS.

BOWLES, MR., THE CHEROKEE CHIEF.

Sold in lot 79 at Opie's Sale, June, 1807, together with the
' Head of an Assassin, and a Female,' for nine guineas.

GIRTIN, THOMAS,

Born 1773, Died 1802.

Canvas, 29 x 24 inches.

In possession of Mr. Wm. Cox, Pall Mall.

Seen to waist, seated, % face to left, rich brown hair, dark
eyes; in brown coat and white cravat; his right arm rests on a
table in front, a pen in hand, his left hand holds a roll of paper.

236 SUPPLEMENT

MEUX, SIR HENRY, BART.

Born 1770, Died 1841, cr. Bart., 1831.
Sold at Christie's, March 31, 1860, to Graves, for 2 guineas.
Previously in possession of Mr. G. B. Newbury, from the
Collection of Robert Latham.

OPIE, JOHN, R.A.

Erroneously marked at back, 'Mr. Owen, R.A.'

Painted about 1791.

Canvas, 23 x ig^z inches.

In possession of Mr. Wm. Cox, Pall Mall, bought at Christie's,
March 26, 1870.

Bust, ^ face to left, at the age of about 30 ; in black coat,
deep collar, white cravat.

OPIE, JOHN, R.A.

From Sir Joshua Reynolds' Collection ; with a palette. Sold
at Christie's, Jan. 17, 1857, to Harrison, for £i i6s.

REMBRANDT, PORTRAIT OF,

Sold at Christie's, March 31, 1854, for ^£3.

REYNOLDS, SIR JOSHUA, P.R.A.

Sold at Christie's, Jan. 4, 1862, 'from a small collection,'
for 195.

SIDDONS, MRS.,

The celebrated actress, Born 1755, Died 1831.

Painted about 1785-90.

Canvas, 15x11^ inches.

In possession of Mr. Wm. Cox, Pall Mall, from Christie's.

Bust, full face, leaning forward ; a gauze scarf thrown over
the left shoulder; age 30-35.

TOWNLEY, CHARLES,

Collector and donor of the Townley Marbles to the British
Museum. Born 1737, Died 1805.

TO PICTURES. 237

Painted about 1783.

Canvas, 29 x 25 inches.

In possession of Mr. W. Ogden, Oxford ; bought by him in

Oxford in 1875.

Half-length, seated, in brown coat, white waistcoat, neckcloth
and frill ; his left arm rests on a red cushion.

TURNER, MR.,

A Surgeon, of Marazion ; sold by T. James, at Christie's,

Feb. 5, 1859, for i Guinea.
An early work.

WESTMORELAND, LORD,

Believed to have been exhibited at Royal Academy, unnamed,
and year unknown.

WOLCOT, DR. J., (PETER PINDAR).

Exhibited No. 60 in Catalogue of Pictures at Council Hall,
Truro, 1861.

In possession of Sir Stafford Northcote, Bart.

The index of Catalogue mentions the same portrait as lent
by " G. Trowbridge, Esq. ; for sale."

WOLCOT, DR. J., (PETER PINDAR).

Sold at Christies, July 24, 1863, for 145.

PORTRAITS UNNAMED.

PORTRAIT OF AN ACTOR.

Sold at Christie's, Nov. 1868, to Parker, for £2.

FOUR PORTRAITS, ALL UNNAMED.

Sold as lot 81, at Opie's Sale, June, 1807.

PORTRAIT OF A GENTLEMAN IN A CRIMSON COAT.
Sold at Christie's, April 14, 1864, for i guinea.

238 SUPPLEMENT

PORTRAIT OF A GENTLEMAN.

Sold at Christies, April u, 1863, for 95.
Previously in possession of Mr. James Apps.

PORTRAIT OF A GENTLEMAN.

Sold at Christie's, March u, 1871, for £2 los.

PORTRAIT OF AN ITALIAN DANCER.

Sold in lot 6 1 at Opie's Sale, June, 1807, with two others for
four guineas.

PORTRAIT OF A LADY.

Sold in 1826, for £4. Seguier's Critical and Commercial
Dictionary, 1870.

PORTRAIT OF A LADY.

Sold at Christie's, No. 139, March u, 1871.

Formerly in possession of Baron Alderson.

Bust of an old lady in black satin dress, in an ample white
frilled cap tied with ribbon, and large frill round neck.

PORTRAIT OF A LADY.

Sold at Christie's, Feb. 5, 1875, f°r *6s.

PORTRAIT OF A LADY.

Sold at Christie's, Feb. n, 1861, for £i.

PORTRAIT OF A LADY.

Sold at Christie's, Feb. 7, 1863, with a female head, Nos.
713, 714, for j^2. Marked in MS. in Cat., 'Mrs. Major
' Edwards, aunt of Alfred Bunn,' — probably, therefore,
Opie's first wife, Mary Bunn.

PORTRAIT OF A YOUNG LADY.
In a white dress.

Sold at Christie's, July 23, 1864, for £i 35.
Previously in possession of Mr. Battam.

TO PICTURES. 239

PORTRAIT OF A MUSICAL COMPOSER.

Canvas, 29 x 24 inches, relined.

In possession of Mr. Wm. Cox, Pall Mall.

Seen to waist, full face, short brown hair brushed over fore-
head ; in black coat, white cravat ; a landscape at back.

PORTRAIT, UNKNOWN.

Painted probably about 1790-1800.
Canvas, 30 x 25 inches, relined.

In possession of Mr. Robert Walker, Bath; bought at Sotheby's,
June, 1877, as portrait of George Colman, the elder, by
Opie. The features, however, are not those of either
Colman, and Opie could not have painted either at the
age represented.

Seen to waist, |^ face to right, seated sideways in a wooden
chair, his left arm over the chair-back, both hands resting easily on
top of chair; natural hair, thrown back from forehead, queue, and
a single curl over his right ear, slightly powdered; hazel eye,
pouting lip ; in brown morning coat, ruffled, white cravat ; full of
natural ease and expression, broadly painted.

PORTRAIT HEAD.

Unfinished ; attributed to Opie.

No. 26 in Catalogue of the Dyce Bequest, at South Ken-
sington Museum.

Canvas, 2o}4 x 16^ inches.

Bust of an old man, in a red cloak, ^ face to right, slightly
stooping, massive light natural hair, brushed off his forehead ; the
expression apparently exaggerated.

SUBJECTS.

BEAUFORT, CARDINAL, DEATH OF,

Shakspeare's Play of Henry VI, Part 2, Act iii, Sc. 3.
Attributed to Opie.

240 SUPPLEMENT

Canvas, 31x21 inches.

In possession of Mr. Jas. Fitzroy Morris, Salisbury.

The composition is apparently the same as that of Sir Joshua
Reynolds' well-known pictures of this scene, at Petworth, and in
the Dulwich Gallery, though differently coloured, and the head
of a Daemon is here introduced behind the Cardinal's head, in
the shadow of the drapery, which does not appear in the en-
graving from Reynolds' picture, painted in 1791, for Boydell's
Shakspeare.

CHILD, WITH FLOWERS, IN A LANDSCAPE.
Sold at Christie's, April 14, 1864, for 4 guineas.
Previously in possession of the Bishop of Ely.

CORNISH SCENES, WITH FISHERMEN, (a pair).
Sold at Christie's, July 24, 1873, for £2 195.
Previously in possession of Miss Glasson.

DAVID, INFANT, PLAYING WITH A LYRE.

In possession of Mr. W. H. Morley; sold with Two Peasant
Children at Christie's, March 3, 1855, for ,£1 25. and
again, Feb. 20, 1858, for £i.

DOG, OPIE'S,

Sold at Christie's, May 31, 1858, as the property of Alfred
Bunn, the Theatrical Manager, to E. White, for 8s., and
resold by him at Christie's, April 5, 1872, for 155.

DOG AND PHEASANT.

Sold at Christie's, Feb. 13, 1874, for £2 los.
From 51, South Audley Street

DONKEY (AFTER MORLAND).

Sold at Opie's Sale, June, 1807, with 2 landscapes, for £2 8s.

FEMALE HEAD, A,

Sold at Christie's, Feb. 7, 1863, 'for a small collection,' to-
gether with Portrait of a Lady, for £2.

TO PICTURES. 241

GENTLEMAN, IN A GREEN COAT.

Sold at Christie's, April 5, 1872, with 'Head of a Girl,' for
i3A

Previously in possession of Ed. White, deceased.

GIRL, HEAD OF A,

Sold at Christie's, Feb. 20, 1870, for ^10.

Previously in possession of late W. Anthony, of Duke Street,

GIRL, MILKING A Cow.
Unfinished, life.
Sold, lot 101, at Opie's Sale, June, 1807, for 2 Guineas.

GIRL, HEAD OF A,

Sold at Christie's, April 5, 1872, with 'Gentleman in a Green
Coat,' for i3/-.

Previously in possession of Ed. White, deceased.

GIRL, WITH A Doc.

Sold at Christie's, Jan. 21, 1871, for £2 25.

KING LEAR.

Sold at Christie's, Jan. 28, 1871, for £\ 25.

Previously in possession of Mr. S. G. Crosse, of Norwich.

LADY, A, SEATED, READING.

Sold by J. Wilson, at Christie's, March 18, 1854, to Herman,
for £$ i os.

MAN'S HEAD, AND AN INTERIOR.

Sold at Christie's, March 13, 1863, for i;/-.

Previously in possession of the late Mr. Alphonse C. Billings.

MILKMAID, THE,

Sold at Christie's, Feb. 5, 1863, for £\ 45. ; previously in pos-
session of Mr. Partridge; see companion picture, THE FRUIT
GIRL, Part ii, Fancy subjects.

R

242 SUPPLEMENT

NUN, HEAD OF A,

Sold at Christie's, Jan. 30, 1875, for i8/-.

OLD MAN, HEAD OF,

Sold at Christie's, March 23, 1868, for £2 155. to Merritt.

OLD MAN, HEAD OF,

Formerly in possession of Sir Francis Chantrey, R.A., who
lent it to Mr. R. Redgrave, R.A. to copy 50 years ago.

Canvas, 22 x 18^ inches.

Bust of a bald-headed old man ; florid healthy face, ^ to
left; creamy drapery thrown over his shoulder, for study; the
head only is finished.

OLD MAN AND CHILD.

Sold at Opie's Sale, June, 1807, with the 'Captive,' and a
small landscape, for £\ 6s.

PAOLO AND FRANCESCA.
Dante. 'A spirited sketch.'
Sold No. 83 at Opie's Sale, June, 1807, for £i 125.

PEASANT BOYS, Two,

Half-length. Sold at Christie's, July 19, 1860, for ^3 55.,
and again same place, March 15, 1862, to Mendoza for same price j
previously in possession of J. E. Fordham — most probably the
same picture.

PEASANT GIRL.

Sold at Christie's, April 20, 1 86 1, for 4 Guineas.

The Girl is seated, with a basket of fruit, and a dog at her
feet

PEASANT, HEAD OF A.

Sold at Christie's, July i, 1854, with a small Vandevelde, for
£* 3s.

Previously in possession of Mr. Joseph M. Rainbow.

TO PICTURES. 243

REFUSAL, THE.

Attributed to Opie, by Merritt ; very doubtful

Canvas on panel, 13^ x 10^ inches.

In possession of Mr. R. P. Edwards, Bath, bought about
1865 at a sale at Rainy's.

A coy girl refusing the offer of a brawny swain, from whom
she turns away.

REPRIEVE, THE.

Sold at Christie's, Jany. 4, 1862, for £i 35.

LANDSCAPES.

LANDSCAPES, Two,

Sold, with a Donkey after Morland, lot 66, at Opie's Sale,
June, 1807, for £2 8s.

LANDSCAPES, A PAIR, Sketches.

Sold, lot 65 at Opie's Sale, June, 1807, for -£\ i6s.

LANDSCAPE, SMALL.

Sold at Opie's Sale, June, 1807, with 'The Captive,' and
' Old Man and Child,' for £i 6s.

ADDENDA to PICTURES.

DICKSON, LADY,

Frances Anne, dau. of Rev. James Willins, D.D. of Norwich,
married first in 1799 to Admiral Sir Archibald Dickson,
(cr. Baronet 1802,) and secondly to Major General
O'Brien in 1804. She died 1828.
Painted at Bath about 1799, after her first marriage.
Canvas, 29 x 24 inches.

In possession of her grand-daughter, Mrs. O'Brien, at Clifton.

Seen to below the waist, seated in right profile, ^ face to

right, a bright and pretty face, with dressed curling hair. In cream

white dress, her arms bare to elbow, hands folded on her knee.

A landscape seen through an opening to right. Age about x 9.

DICKSON, LADY,

The same as the preceding. She was a celebrated beauty,
and knew Amelia Opie, who used to sit with her, whilst
Opie painted her portrait.

Painted about 1801, signed J. Opie.

Canvas, 29 x 24 inches.

In possession of Mrs. Despard, her daughter by Gen. O'Brien,
at Dublin.

ADDENDA 245

Seen to below waist, seated on a bank under a tree. ^ face
to left, her hair dressed in curls. White muslin evening dress, her
left hand gloved, and hanging down, her right hand ungloved, and
resting on her lap. Age about 21.

DOWSON, BENJAMIN UTTING,
Painted about 1806.
Canvas, 30 x 25 inches.

In possession of Mr. E. T. Dowson, Geldeston, Beccles.
Seen to waist, |^ face to right, in an overcoat. Age about 42.

DOWSON, MRS. B. U.,

Susanna, wife of Benjamin U. Dowson.

Painted about 1806.

Canvas, 30 x 25 inches.

In possession- of Mr. E. T. Dowson.

Seen to waist, ^ face to left, in morning dress, with gaunt-
lets. Age about 42.

EARLE, JAMES,

Of Hanover Square, London. A gentlemen of the Privy

Chamber to George III.
Painted about 1796.
Canvas, 29 x 24 inches.
In possession of his grand-daughter, Mrs. Belgrave, Preston

Hall.

Seen to waist, ^ face to right, in brown coat, long buff waist-
coat, powdered hair. Age about 20.

EARLE, MRS. JAMES,

Mary, wife of Mr. James Earle, and sister cf Ven. Archdeacon

Pott, who was chancellor of Exeter Cathedral.
Painted about 1796.
Canvass 29 x 24 inches.

In possession of her grand-daughter, Mrs. Belgrave, Preston
Hall.

246 TO PICTURES.

Seen to waist, y± face to right, seated at a piano, from which
she turns her head as if to speak; in low white dress, her hair
curling over her forehead. Age about 20.

NOLLEKENS, JOSEPH, R.A.

The Sculptor, Born 1737, Died 1823.

Painted after 1782 for Mary Moser, R.A., who left it at her
death to Mrs. Nichols, mother of the present owner.

Exhibited No. 1102 in Catalogue of Leeds Exhibition, 1868.

Canvas, 30 x 25 inches.

In possession of Mr. D. C. Nichols.

Seen to waist, ^ face to left, his hands resting on a bust of
Sterne, the right hand holding a porte-crayon. Age about 45.

SLOGGATT, THOMAS ROSEVEAR, of Boscastle, Cornwall.

Painted late in last century.

An oval miniature on ivory, 2^ x 2T^ inches.

In possession of his grandson, Mr. Thomas Sloggatt

Seen to waist, ^ face to right, in dark coat, white neck-cloth
and frill.

See two other miniatures of Mr. and Mrs. T. E. Thomas.

CORONATION OF A CHILD.

Canvas, 50 x 40 inches.

In possession of Mr. John Thorne, Cheltenham.

A girl about 5 years old, draped, stands in centre, supported
by an Angel seated on a cloud, whilst cherubs in the sky hold a
celestial crown above her head ; the sky illumined by the light
emitted from the crown.

THE PUZZLED DOCTOR.

Painted 1801, signed, J. Oflie, 1801, restored by Merritt
Exhibited No. 1294 in Catalogue of Leeds Exhibition, 1868,

as the Fortune-teller.
Canvas, 40 x 50 inches.
In possession of Rev. J. E. Waldy.

ADDENDA. 247

A young lady in short-sleeved white morning dress, is seated
at a small table, ^ face to left, her left elbow rests on the table,
a bouquet of flowers in the hand, she extends her right hand to
the Physician, who is robed in red, with white-bordered red cap,
an eye glass in his left hand. He looks up with a puzzled air, as
he gently holds her hand on his. A brother and sister, (pos-
sibly,) smile and make signs behind them, and a pretty face of a
younger girl, in Reynolds' manner, is seen at the right. A peep
of landscape at the left.

NETHERTON AND WORTH, PRINTERS, TRURO.

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