“To the present time, none of Hogarth’s biographers appear to have been
aware of the ‘local habitation’ of the original painting from which the
artist published his etching, the popularity of which, at the period to
which it alludes, was so great, that a printseller offered for it its
weight in gold: that offer the artist rejected; and he is said to have
received from its sale, for many weeks, at the rate of twelve pounds
each day. The impressions could not be taken off so fast as they were
wanted, though the rolling-press was at work all night by the week
together.
“Hogarth said himself, that lord Lovat’s portrait was taken at the White
Hart-inn, at St. Alban’s, in the attitude of relating on his fingers the
numbers of the rebel forces: ‘Such a general had so many men, &c.;’ and
remarked that the muscles of Lovat’s neck appeared of unusual strength,
more so than he had ever seen. Samuel Ireland, in his Graphic
Illustrations of Hogarth, vol. i. p. 146, states that Hogarth was
invited to St. Alban’s for the express purpose of being introduced to
Lovat, who was then resting at the White Hart-inn, on his way to London
from Scotland, by Dr. Webster, a physician residing at St. Alban’s, and
well known to Boswell, Johnson, and other eminent literary characters of
that period. Hogarth had never seen Lovat before, and was, through the
doctor’s introduction, received with much cordiality, even to the kiss
fraternal, which was then certainly not very pleasant, as his lordship,
being under the barber’s hands, left in the salute much of the lather on
the artist’s face. Lord Lovat rested two or three days at St. Alban’s,
and was under the immediate care of Dr. Webster, who thought his
patient’s illness was feigned with his usual cunning, or if at all real,
arose principally from his apprehension of danger on reaching London.
The short stay of Lovat at St. Alban’s allowed the artist but scanty
opportunity of providing the materials for a complete picture; hence
some carpenter was employed on the instant to glue together some deal
board, and plane down one side, which is evident from the back being in
the usual rough state in which the plank leaves the saw-pit. The
painting, from the thinness of the priming-ground, bears evident proof
of the haste with which the portrait was accomplished. The course
lineament of features so strongly exhibited in his countenance, is
admirably hit off; so well has Duncombe expressed it,
‘Lovat’s hard features Hogarth might command;’
for his pencil was peculiarly adapted to such representation. It is
observable the button holes of the coat, &c., are reversed in the
artist’s etching, which was professed to be ‘drawn from the life, &c.;’
and in the upper corner of the picture are satirical heraldic insignia,
allusive to the artist’s idea of his future destiny.”
The “satirical heraldic insignia,” mentioned in the above description,
and represented in the present engraving, do not appear in Hogarth’s
well-known whole length etching of lord Lovat. The picture is a
half-length; it was found in the house of a poor person at Verulam, in
the neighbourhood of St. Alban’s, where Hogarth painted it eighty years
ago, and it is a singular fact, that till its discovery a few weeks ago,
such a picture was not known to have been executed. In all probability,
Hogarth obliged his friend, Dr. Webster, with it, and after the doctor’s
death it passed to some heedless individual, and remained in obscurity
from that time to the present.[64] Further observation on it is
needless; for persons who are interested concerning the individual whom
Hogarth has portrayed, or who are anxious respecting the works of that
distinguished artist, have an opportunity of seeing it at Mr. Rodd’s
until it is sold.
As regards the other portraits in oil, collected by Mr. Rodd, and now
offered by him for sale, after the manner of booksellers, “at the prices
annexed,” they can be judged of with like facility. Like booksellers,
who tempt the owners of empty shelves, with “long sets to fill up” at
small prices, Mr. R. “acquaints the nobility and gentry, having spacious
country mansions, that he has many portraits of considerable interest as
specimens of art, but of whom the picture is intended to represent,
matter of doubt: as such pictures would enliven many of their large
rooms, and particularly the halls, they may be had at very low prices.”
Mr. Rodd’s ascertained pictures really form a highly interesting
collection of “painted British Portraits,” from whence collectors may
select what they please: his mode of announcing such productions, by way
of catalogue, seems well adapted to bring buyers and sellers together,
and is noticed here as an instance of spirited departure from the
ancient trading rule, viz.
Twiddle your thumbs
Till a customer comes.
*
[64] There is an account of lord Lovat in the _Every-Day Book_.
* * * * *