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Index
Kate Retford
Description: The Conversation Piece: Making Modern Art in Eighteenth-Century Britain
The Conversation Piece: Making Modern Art in Eighteenth-Century Britain
Index
Author
Kate Retford
PublisherPaul Mellon Centre
Copyright© 2017 by Kate Retford
Stable URL: https://aaeportal.com/?id=-23281
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Index
NOTE: Page numbers followed by n. and a number refer to information in a note. Artists’ works appear at the end of their index entry; portraits of individuals or families are filed by surname with forenames and titles of address ignored.
A
acquaintances see friends and friendship groups
activities and pastimes 21, 67, 99, 113, 134, 169, 317
gendered pastimes of children 161, 162–3, 164–5, 233, 292
see also card tables and games; conversation (art of talking); fishing; hunting and hunting scenes; music-making; needlework; reading; sewing; sporting pieces; tea parties
Adam, Robert 160, 202, 206, 352n.163
Adams, Rice 28
Addison, Joseph 36–7, 75, 91, 254, 255, 257, 275, 307
Aglionby, William 257
Agnew, Jean-Christophe 65, 91
agricultural landscapes 148–9, 149–51, 156–7
Aken, Joseph van 88, 210
An English Family at Tea 20–21, 20, 175, 245, 315
Music Party 21
Saying Grace 21
Albani, Cardinal 263, 271–2
alcohol see drinking culture
Alexander, William: History of Women 282
Allan, David 46, 47, 171, 249, 321
decorative work 211
in Italy 109, 112, 113
Scottish settings and ‘character’ 29, 96, 109–23
comparison with Zoffany 115–17
Highland subjects 29, 96, 109, 110–15, 123, 317
and patronage networks 110–12
The Family of John, 4th Duke of Atholl 110–12, 111, 113, 115, 116, 122, 123, 245, 317, 357n.109
The Connoisseurs 12, 211, 259–60, 259
James Erskine, Lord Alva, and His Family 109–10, 110, 211, 239
John Francis, 7th Earl of Mar and Family 241, 241
Sir James and Lady Grant 120, 121
Sir James Grant of Grant 119–23, 120
The Halkett Family 323–4
Sir William and the First Lady Hamilton in Their Villa in Naples 109, 109, 122
A Highland Wedding at Blair Atholl 112–13, 112, 114–15, 317
Kinnoull family (lost) portrait 222
Penny Wedding 109
Allen, Reverend John 139
Alpers, Svetlana 175, 210
Ampthill, Bedfordshire 155–7, 156, 169–70
ancient world and antiquities see classicism
Andrews, Robert and Frances 149–51, 150, 305
Angellis, Pieter 21, 38
Conversation Piece 13, 14
Angus, William 169
animals in paintings 44, 55, 103, 106–7, 295
cow in Philips’s Russell and Rivett Families 324–6, 325; see also dogs; monkeys
Anon
A Club of Gentlemen 276, 277
Conversation Piece 100
A Family being Served with Tea 88–9, 89–90, 90, 91
Scene from ‘A School for Scandal’ 87
Wanstead House from the East 199
Antwerp
traditions of art 20–21, 93, 135; see also tableaux de mode
architecture
challenges of painting 44
Devis and designs for interiors 187–90, 220
Georgian revival in early 1900s 5, 6, 7
and theatrical effect 85–6, 85–7
Wanstead House cross-sections 200, 201; see also country houses and estates
aristocracy see elite classes
art and artists
art schools 56
see also Great Queen Street Academy; Royal Academy; St Martin’s Lane Academy
artist’s self-portraits in work 38, 87–91, 130, 261–3, 264, 274, 279, 283
artists and social groups 35–44
British artists in Italy 46, 109, 112, 113, 261–4, 270
conversation of artists as connoisseurs 255–8
patrons and artistic networks 38, 39–44, 60, 111–12, 261–4, 269, 272
unequal relationship with Grand Tourists in Italy 263–4, 283
connoisseurship as theme and homosocial groups 12, 35–9, 50, 251–64
artists as connoisseurs 255–8, 255–6, 258, 270
gentlemen as connoisseurs 252, 259–60, 259, 283
Grand Tourists in Italy 12, 260–69, 283
and humour in Zoffany and Hogarth’s work 306–7
subjects for poets and artists 54–5
see also treatises: advice to artists
Ashford, Zella 260
‘assemblies’ and ‘conversation’ 27–8, 43
associational culture 36–7, 252, 255, 260, 280, 284, 317–18
Atherton, Elizabeth 135, 137, 224–5
Atherton, William and Lucy 178–9, 179, 182, 237
Atherton Hall, Lancashire 135–7, 136–7, 169, 224–5
Atholl, James Murray, 2nd Duke of 115–16, 193
Atholl, Jane Cathcart, Duchess of 110–12, 111, 113, 114, 245
Atholl, John Murray, 3rd Duke of 115–17, 116, 192–3, 217
Atholl, John Murray, 4th Duke of 110–11, 111, 112, 113, 114, 115, 116, 122, 123, 245, 357n.109
Austen, Jane: Sense and Sensibility 223
Aynsley, Jeremy 177
B
Baldwin, Stanley 7
Bamboccio, Il (Pieter van Laer) 25
Bampfylde, Coplestone Warre 169
Banks, Oliver 22
Bardwell, Thomas 56, 61, 88, 135, 182, 316, 357n.87
The Broke and Bowes Families 58, 59–60, 90–91, 226
Captain Robert Fenwick, His Wife Isabella Orde, and Her Sister, Ann(?) 348n.31, 364n.79
Practice of Painting and Perspective made Easy (treatise) 59
Francis Vernon and His Family (drawing) 85, 85
Barnett, Dene 79
Baron, Bernard 22, 39
L’Amour Paisible (after Watteau) 14
Evening from The Four Times of Day (after Hogarth) 311
Stowe Gardens in Buckinghamshire (after Rigaud) 141
Barrell, John 96–7, 148
Batoni, Pompeo 264–5, 272
Beach, Thomas 338n.24
Academic Conversation 253, 331n.107, 338n.24
Beachborough, Kent 142–7, 144–5, 151, 154, 155, 158, 160, 318
Beattie, James 289, 295, 296, 297, 299, 307
Beauclerk, Topham 271
behaviour see conduct and behaviour
Belsey, Hugh 142
Belton House and Park, Lincolnshire 130, 132, 132, 133, 160
Bending, Stephen 133
Bermingham, Anne: Landscape and Ideology 8, 149–50, 151
Betjeman, John: Ghastly Good Taste 5
betrothal portraits 51–3, 54, 226–8
Bignamini, Ilaria 38
Blair, Colonel William and family 104–7, 106, 123
Blair Castle, Perthshire 110–13, 111–12, 114, 115, 123, 192–3, 192, 245
Bland, Sir John 281–2, 281, 321
Boehm, Charles and family 228–9, 229, 230, 232, 236
Boehm, Clement 228, 229, 230
Boitard, Louis Philippe: Nivelon illustrations (after Dandridge) 69, 70, 70
Bolingbroke, Henry St John, Viscount 43–4
Bolton, Duke of 79
Bonar, John 259–60, 259
Boothby, Sir William 271
Boscawen, Fanny 183
Bosse, Abraham 257
L’Odorat from Les Cinq Sens 139–40, 141
Boswell, James 276
bourgeoisie see middle classes
Bow factory: Tea Party Group 212, 212, 247
bowling greens 134, 148
Bradshaigh, Lady 132, 191
Bray, William 332n.112
Bridgeman, Charles 143
Bridgeman, Sarah 141–2
Brie, Cornelius de 24
British school in eighteenth century 35, 46, 258
limited conversation pieces in Ireland 107–9
Brockman, Squire James and family 142–7, 144–5, 170, 249, 318
Broke, Philip and family 59, 60, 176, 218, 226, 322
Brompton, Richard 56, 100
Edward, Duke of York with His Friends in Venice 269–72, 270, 321–2
Brouwer, Adriaen 19, 23, 25, 26, 27, 93, 316
Brown, Lancelot ‘Capability’ 12, 148, 151–7, 160, 169, 232, 316, 352n.163
Brown, Peter 199
Browne, Bell 326–7, 326
Brownlow, Alice, Lady 130
Bruce, James (of Kinnaird?) 259–60, 259
Bruegel, Pieter 19, 377n.64
Bryant, Julius 173
Buchan, Alexander 101
Buckeridge, Bainbrigg 13, 23, 29, 31, 87, 316–17
Buckingham, Duke of 80
Buckingham House, London 202–3, 203–4, 204, 205
Bull, Mary 179, 180, 182–4, 185, 186, 187
Bull, Richard 179, 180, 182–4, 185, 186, 187, 335n.25
Burke, Peter 27, 72
Burlington, Richard Boyle, 3rd Earl of 86
gardens at Chiswick 140–41, 141, 142, 143, 318
Burns, Robert 109
Burt, Captain Edward 113
Bute, John Stuart, 3rd Earl of 115, 161–5, 209, 210
Zoffany’s portraits for 161, 162–3, 164–5, 292, 320
Butler, James: South-East View of Chesterton-House 155
Buxton, Robert 47
Buytewech, Willem: Noblemen of Different Countries 70
Byres, James 113, 270
C
cabinet tradition in Netherlandish art 205–6, 209
Caldwell, James: A Conversation of Monkies (after Teniers) 24, 26
Campbell, Colen
Vitruvius Britannicus 132, 137, 137
Wanstead House 195, 200, 201, 201
Campbell, Jill 304
Cappelle, Jan van de: A Calm 208, 208
card tables and games 15, 27, 50, 99, 175, 317
caricatures 284–5, 284, 321
Grand Tourists in Italy 272–5, 273, 277, 283
Carr, John 206
Carracci, Annibale 47, 82, 274
carriage rides 153, 155, 167–8, 169
Casa, Giovanni della: Il Galateo 66
Castiglione, Baldassare, Count 73
Castlemaine, Dorothy, Lady 195, 199, 249
Castlemaine, Sir Richard Child, Viscount, later
1st Earl Tylney 18, 195, 197, 198–9, 208, 209, 246, 249, 288
Cathcart, Archibald 222
Cathcart, Lady Jane 112
Cavendish, Lord 75
Caw, John 259–60, 259
Caw, Thomas 260
ceilings: height and social status 187
ceramics
and conversation piece 211–13, 212, 247
generic settings and interior decor 183
Hogarth’s inversion of good taste 184, 185
see also china
Chamberlin, Mason 322
Chambers, William 100, 155, 169, 190, 202, 232
Chamot, Mary 4
Charlotte, queen consort 12, 309
Zoffany’s portraits 8, 18, 77, 98, 99, 202–4, 203, 205, 206, 362n.28
Chaytor, Miranda 218, 239
Chen, Ching-Jung 330n.67, 333n.141
Chéron, Louis 38
Cherry, Deborah 80
Chester, Edward 139
Chesterfield, Lord 302, 341n.116
Chetwynd, Walter, 1st Viscount 173
Child, Josiah 195, 231
Child, Sir Richard see Castlemaine, Sir Richard Child, Viscount
children
black children as servants 247
gendered pastimes 161, 164–5, 233, 292
and humour in portraits 289, 290–95
incongruity in Hogarth’s Jones Family 299–300
laughter and light relief 295–6, 297–8, 300, 313
maternal portraiture 218
position in step-families 240
removal from portraits 147–8, 171, 240–41
chimneypieces see fireplaces and overmantels
china
and conversation piece 211–13, 212, 247
objects for tea making 175
ornaments for tasteful interiors 183, 318
Hogarth’s inversion of 184, 185
minimal ornament 182, 184–7
Chippendale, Thomas 206
Chiswick: Burlington’s gardens 140–41, 158, 318
Orange Tree Garden 141, 142, 143
‘Christian Conversation’ and sermons 28
Cibber, Theophilus 80
Claesz, Pieter: Vanitas with Violin and Glass Ball 89–90, 90
Claremont, Surrey 141, 148, 158
Clark, Peter 255, 258
Clarke, Alured 18
classicism
antique objects as signifiers of taste 109
Grand Tourists in Italy 261, 264–5, 266, 267, 269, 283
sculpture and dialogue with ancients 256, 266
classicising costumes 98, 125
discovery of antique sculptures and architecture in Rome 264
Clayton, Tim 169
clergymen and jokes 300–01, 303–4, 305, 313
Closterman, John 336n.48
clothing see costume; fashions in conversation pieces
clubs and societies as homosocial groups 252, 282
artists and patrons 35–44, 36–7, 60, 284
conversation and connoisseurship 255–60, 255–6, 258, 283
Steele on ideal club and conversation 254, 255, 275
coats of arms 230, 230, 231, 231, 232, 282
Cock, Christopher 40, 307
coffee houses 56, 60, 74, 252, 257, 275, 284
Cohen, Michèle 282
Cole, Benjamin 187
collaborative work in conversation piece 55, 150, 167, 210
Colwick Hall, Nottinghamshire 241, 242, 242–3
comedy see humour and ‘light incidents’
community
landowners and local community 130, 146–7, 148–9, 170
Improving landowners in Scotland 121–2, 123
and meaning of ‘conversation’ 28, 43, 113
young British noblemen in Italy
community of friends and peers 267–9, 272, 321
and ex-patriate community 269–70, 272, 274
see also social relationships
‘company’ and meaning of ‘conversation’ 28, 29, 36, 38, 66, 67, 93, 317
complaisance and conversation 66, 71, 73, 222, 317
composition
challenges of group of figures 44, 45, 46, 315
aesthetics of 47–8, 60–61
Wheatley’s imitation of Zoffany’s style 166
family groups 221–2, 226–8, 230–31
negative response to Zoffany’s Sharp Family 312
Wheatley and portraits and landscape 166–7, 316
see also poses and arrangement of sitters
conduct and behaviour
‘conversation’ and conversation piece 63, 123
instruction in genteel behaviour 67–73, 74–5, 76, 91, 98
deceptive appearances in theatre 76, 84
family matters and conduct books 217–18, 223–4, 228
family obligations and virtuous conduct 223
gender appropriate behaviour for girls 294–5
homosocial groups and polite and impolite behaviour 27, 275–82, 283
in male and female company 282–3, 317–18
practical jokes and cruel laughter 300–05, 313
humour in innocent mistakes 296
inversion of genteel behaviour 183–4, 184, 247, 275, 279, 299–300
meaning of ‘conversation’ as ‘conduct’ 28, 93
see also manners and customs as subject; national customs and characteristics; politeness, discourse of
Conduitt, John 79, 82
Congreve, William 288–9
Congreve family 190, 235–6, 235
connoisseurship see taste and connoisseurship as theme
Constable, John: The Conversation of Gentlemen 66, 66, 67, 73, 98
consumption in eighteenth century 9, 11, 175, 209, 318
conversation piece and decorative arts 210–13
luxury goods 12, 186, 187, 210, 318–19
tasteful interiors
economy of ornament 186–7
satirical view of 183–4, 184–5
Continent see European conversation pieces
conversation (art of talking)
culture of politeness and conversation piece 63–91, 317–18
complaisance as aim of conversation 66, 71, 73, 222, 254, 317
learning as sociable activity 257
poses and gesture for genteel behaviour 48, 67–73, 69–70, 74–5, 84, 91, 98, 317
risks of raillery 377n.50
gender and ideal group for conversation 254–5
literature on 27, 65–6, 72–3
male social gatherings and clubs 36–7, 43, 254–60, 275, 282, 317–18
conversation of connoisseurs 255–60, 283
Conversation Piece, The (exhibition of works from Royal Collection, 2009) 8
conversation pieces
challenges of group portraiture 44–61, 315–16
as consumer goods 175
criticisms of 64, 75, 238–9, 272
definitions
expansive use of term 17–19, 24–6, 31, 316
Sassoon 1–2
Sitwell 7–8, 18, 24
as type of portrait 12–13
demands of clients 10–11
engagement with decorative arts 210–13
historical development 13–19, 315–16
emergence in 1720s 13–14
European precedents 11, 13, 18–26
Hogarth and works of 1730s 14–15
networks of artists and patrons 35–44, 60, 150
and other genres 17–19, 24–6, 31, 100
Zoffany’s revival 17, 96, 123, 157–69, 316
identification and interpretation issues 321, 322–7
literature on 7–13, 175–6
meanings of ‘conversation’ 26–9, 316–17
as ‘art of talking’ 27, 65–6, 72–3, 317–18
as ‘company’ 28, 29, 36, 38, 66, 67, 93, 317
as ‘conduct’ or ‘behaviour’ 28, 93
as description of male portrait groups 252–4, 318
as later term for ‘assemblies’ 27–8, 43
linking of family members across time 236
multiple meanings 27, 31
museums and use for visualising the past 176
perceived essential Englishness 8, 96, 101, 317
perceptions of aesthetic value 8, 9
private nature and limited public appeal 321–4, 327
research and unknowability 324–7
size see small scale of conversation pieces
as sub-genre of portraiture 26–31, 316
debate over real or imaginary subjects 29, 31
terminology
‘conversations’ as term in England 18, 26–7
‘conversations’ as term in Europe 23–4
expansive coverage of term 24–6
first uses of term 13–14, 254
see also meanings of ‘conversation’ above
conversazione in Italy 27–8
sacra conversazione altarpiece 28
Cook, Captain James 101
copies of group portraits 269, 271–2, 300, 321
Copley, John Singleton: The Sitwell Family 10, 10, 17, 329n.33, 352n.165
Copper Plate Magazine 169, 169
Coques, Gonzales 28, 29, 93
A Gentleman with His Two Daughters 20, 20
Corbally family 107
Cornforth, John 94, 96, 178, 184
Cosgrove, Denis 161
Costeras, Nicola 176
costs and pricing of pictures
advantages of smaller scale 219
duplicate copies for friends 271
landscapes as extra 170–71, 185
number of figures 46–7, 171, 185, 219
and objects 177, 185
costume 28, 67, 70, 318
Allan’s Highland portraits 112, 112
associations of tartan and Highland dress 113, 114, 115, 116, 117, 122
Allan’s studies in Italy 109, 112, 113
British in India and servants 104, 106, 107
colour and landscape setting 168
il costume and specificity 29, 97, 317
Devis’s skill 178
in Highmore’s Marriage of Miss Whichcote 52
and lay figures 48–9, 49
modern dress and settings 81, 93, 94, 95, 96, 100
customary or universal debate 97–8, 123–5, 318–20
Tuscher’s Shudi family 194
Van Dyckian costume 52, 80–81, 81, 82, 98, 161
see also fashions in conversation pieces
costume, il 29, 97, 123–4, 317, 319
Cosway, Richard: Group of Connoisseurs 190
Cotes, Francis: The Hon Lady Stanhope and the Countess of Effingham 368n.4
country houses and estates
estate portrait prints 141, 141, 142, 168–9, 169, 170
Gainsborough’s Mr and Mrs Andrews and agricultural landscape 149–51
gardenscapes as portrait settings 139–57
Brownian parkland landscape 12, 151–7, 160, 232, 316
inclusion of wider landscape 143, 148, 155
and Zoffany’s reinvigoration of conversation piece 157–69
and hospitality of landowner 146, 148, 160, 170
in situ painting of setting 139, 142, 171
landowners and local community 130, 146–7, 148–9, 170
Improving landowners in Scotland 121–2, 123
landscape painting as separate skill 166–7, 170–71
modernisation of houses and gardens 138–9, 155, 169, 202, 318
views of unbuilt proposed buildings 139, 142–3
prospects and views 130–39
bird’s-eye views 133–4, 133
Brownian landscapes and view to house 151–7, 160
for display in London homes 132–3, 160
and elite social status 130–33, 151–2
generic figures and specific likenesses 134–5, 142, 169, 170
and Wanstead House 201–2
public opening 141, 142, 169, 170, 200–01
Cowper, George Clavering-Cowper, 3rd Earl 209, 225, 306
Cox, Oliver 351n.120
Craske, Matthew 190, 192, 330n.67
Crerar, Alexander 113, 117, 245
Crerar, Charles 117
Cressy, David 218, 222
Crewe, John Offley and family 220–22, 221, 227, 245
Crookshank, Anne 107
curtains
display of wealth 94, 95, 96, 100, 100, 176, 177, 184
raised curtain and stage effect 65, 82–4, 91
customs see manners and customs as subject
Cuyp, Aelbert 208, 209, 210
D
Dance, George, the elder 269, 371n.93
Dance, George, the younger 272
Dance, Nathaniel 56, 60
and Grand Tour portraits 261, 264–9, 272, 284, 316
James Grant of Grant, John Mytton, the Hon. Thomas Robinson, and Thomas Wynne 18, 190, 267–9, 268
George, Lord Grey, later 5th Earl of Stamford, and His Travelling Companion, Sir Henry Mainwaring 272, 273, 274–5
Charles, Lord Hope and His Brother James, Later 3rd Earl of Hopetoun, with Their Tutor William Rouett 265–6, 265
Hugh, Lord Warkworth, later 2nd Duke of Northumberland, and the Rev. Jonathan Lipyeatt, 266, 266
dancing 84, 112, 113
Dandridge, Bartholomew 13–14, 15, 38–9, 60, 315
models of figures in portraits 49–50
Vertue on 63, 278, 302
illustrations for Nivelon’s Rudiments of Genteel Behaviour 69–70, 70–71
Uvedale Tomkyns Price and Members of His Family 39, 70–71, 71, 219, 364n.84
Daniels, Stephen 161
Dawkins, James 261, 262, 263
de Bolla, Peter 9, 11, 64–5, 67, 84
de la Cour, William 187
de Piles, Roger see Piles, Roger de
death and family groups
ancestors and absent members 234–9, 240, 260
dead spouses and reconstituted families 239–40
removal of children 147–8, 171, 240–41
decorative arts
engagement with conversation piece 210–13
artists’ experience in 210–11
conversation piece motifs 211–13, 212, 247, 280–81, 280
and literature on conversation piece 175–6
Defoe, Daniel 189, 358n.137
Delany, Mrs (Mary) 160
Delftware tea tray 212–13, 212, 247
della Casa, Giovanni: Il Galateo 66
Desaguliers, John Theophilus 303
Desborough, Lady 328n.3
detail
association with feminine 45, 318, 319
customary or universal debate 97–8, 123–4, 318, 319–20
as feature of conversation piece 320–21
Reynolds’s criticism of minuteness 320
Zoffany’s attention to detail 209, 210, 319
Devis, Arthur 11, 16–17, 108, 142, 206, 316, 330n.53, 352n.157
absence of humour in work 289, 305
country house views 135–9, 157, 171
correspondence on Okeover portrait 137–9
criticism of stock and ‘stilted’ figures 64, 75
and decorative arts 211
double marital portraits 219
fashionable dress and attention to detail 98
honeysuckle as sign of devotion 50
influence of Nivelon’s Rudiments of Genteel Behaviour 68
and perspective 56, 61
replication and authenticity of settings 55, 178–95, 209, 220, 237
design of interiors and significant objects 187–90, 210
economy of ornament and sparse settings 12, 182, 184–7, 195
working methods and explanations for 182–3, 187
Sassoon’s high opinion of 2
as student of Tillemans 21, 135
use of lay figure 48–9, 49
William and Lucy Atherton 178–9, 179, 182, 237
The Bacon Family 64–5, 64, 82, 83–4, 87, 94, 101, 357n.104
Mr and Mrs Bull 179, 180, 182–4, 185, 186, 187, 210, 219, 317
Children in an Interior 187, 219, 355n.37
The Hon. Robert Cholmondeley, His Wife and Son in a Garden 139, 140, 152
The Clavey Family in Their Garden at Hampstead 219, 220
Henry Fiennes Clinton, 9th Earl of Lincoln, with his Wife, Catherine, and his son, George, on the Great Terrace at Oatlands, Surrey 137, 161
The Clitherow Family 152
The Crewe Family 220–22, 221, 227, 245
The Cropp Family of Shudy Camps Park 152
Mr and Mrs Dashwood 181, 182–3, 185, 186, 219
The Duet 185, 186, 187, 220
The Edgar Children (Two Young Ladies, with Grapes, &c. in a Landscape) 153–4, 154, 219
A Family Group on a Terrace in a Garden (Cave family) 219–20
Edward Gordon, His Sister Mrs Miles and Her Husband in Their Garden at Bromley 219, 220, 223
A Group in an Interior Round a Harpsichord 182, 182
Robert Gwillym of Atherton and His Family 135–7, 136, 152, 157, 160, 169, 224–5, 245, 366n.149
Roger Hesketh and His Family 355n.37
Mr and Mrs Hill 55, 187, 188, 189, 190
Hoghton Tower 135
The James Family 190, 219
The Reverend Streynsham Master and His Wife, Margaret, of Croston, Lancashire 179, 236–7, 237
Members of the Maynard Family in the Park at Waltons 152, 152, 155, 156
Sir Roger Newdigate in the Library at Arbury 179, 365–6n.118
Leak Okeover, Rev. John Allen and Captain Chester in the Grounds at Okeover Hall 55, 138, 160, 169, 190, 252
John Orde, His Wife, Anne, His eldest Son, William, and a Servant 236, 236, 239, 247
Edward Rookes-Leeds and His Family of Royds Hall, Low Moor, Yorkshire 239, 239 D’Abernon, Edgar Vincent, Viscount 7
Sir John Shaw and His Family in the Park at Eltham Lodge, Kent (A Family with a View of the Gentleman’s House) 152, 153, 153, 154–5, 239
Sir George and Lady Strickland 50
Thomlinson Family 47, 185–6
The Till Family 219
Sir Joshua Vanneck and his Family, of Roehampton House, Putney 160–61, 220, 223
View of Windsor Castle 139
Francis Vincent of Weddington Hall, Warwickshire, with His Wife Mercy and Daughter Ann 50, 51
Devoto, John 85–6
A Capriccio 87
Dézallier D’Argenville, A. J. 23
Dick, Sir John 306
Dickie, Simon 302, 304–5
Dilettanti see Society of Dilettanti
Dilkes, General Michael Obrian 43
D’Oench, Ellen 11, 55, 68, 182
dogs 27, 55, 106–7, 160, 228, 312
and humorous incidents 287, 288, 289–90, 292, 307
laughter and light relief 295, 296, 297–8, 300, 313
as symbol of fidelity 289–90, 313
Dorment, Richard 195
double entendre and Zoffany’s humour 306–7
Drake, Reverend Ralph 147
Drake, William 261–4, 262, 283
drawings see preparatory drawings
dress see costume
drinking culture and polite and impolite
behaviour 27, 36–7, 274, 275–82, 283–5, 317–18
artists’ gatherings 283, 284–5
debate on drinking and conversation 275–6, 278
and Hogarth’s work 287–8
toasting 280–81, 280
‘drolls’ in Netherlandish art 13, 21, 29, 87, 254, 333n.141
and Hogarth’s humour 299–300
Drummond, Alexander 27
Drummond, Andrew and family 5, 176, 232–4, 233, 245
Dryden, John 79
du Cane, Jane 228–9, 229, 230
du Cane, Richard 228, 229, 230, 234
du Cane family 135, 228–30, 229, 232
ancestors in portraits within painting 234–5, 234, 236
Du Fresnoy, Charles 46, 47, 48, 50
‘dumb shews’ of politeness 27, 66–73, 84
advice to artists on gesture 67, 317
instruction in genteel behaviour 67–73, 74–5, 76, 91, 98
Dundas, Sir Lawrence 206–9, 207–8, 210, 271, 319, 320
Dunkeld House, Scotland 114, 115, 357n.109
Dutch art see Netherlandish art
Dyck, Anthony van see van Dyck
E
Ear-Wig, The (magazine) 249
Earlom, Richard 320
Tiger Hunting in the East Indies (after Zoffany) 103–4, 103
Edgcumbe, Richard 306
Edward, Duke of York 269–72, 270, 321
Edwards, Edward 135, 373n.146
Edwards, Ralph 370n.67
Early Conversation Pictures 8, 11, 13, 18, 20, 175
‘effective kindred’ 222
effeminacy 272, 282, 318, 319
Egerton, Judy 171, 236
Einberg, Elizabeth 229, 234–5, 303
elite classes
Allan’s Highland portraits 110–23
‘big bourgeoisie’ and marriage alliances 231–4, 248–9, 266, 321
broad social spectrum of ‘conversation’ subjects 11, 12, 28–9, 123, 266, 316
in Allan’s Highland scenes 113
gentlemen and conversation as connoisseurs 259–60, 259, 283
homosocial groups and polite and impolite behaviour 279
elite friends and practical jokes 300–05, 313
privileged young noblemen as Grand Tourists in Italy 12, 252, 260–75
and British ex-patriate community 269–70, 272, 274
community of peers abroad 267–9, 321
signs of social status 130, 187
black servants and white status 247
families joined in marriage 230–31
in twentieth century and conversation piece 5–6
see also country houses and estates; financial and mercantile plutocracy of London; Grand Tourists in Italy; wealth
Ellys, John 335n.35
Eltham Lodge, Kent 153, 153, 155
English Conversation Pieces exhibition (London 1930) 1–7, 2–3, 8, 10, 101
Drummond’s cane on display with picture 5, 176
Englishness of conversation pieces? 8, 96, 101
humour 288–9, 317
engravings see prints and engravings
Enlightenment in Scotland 114, 119
estates see country houses and estates
European conversation pieces 8, 11, 13, 18–26
‘conversation’ as term for 23–4
see also Netherlandish art
Evelyn, John 121
Everett, Nigel 146, 148, 154
extended family in paintings 218, 219–34
marriage and joining of two families 219, 224–34, 247–9, 321, 324
exterior settings and landscape 16, 17, 129–71
architectural backdrops
classical Rome 266, 266, 267, 272, 283
theatrical effect 85–6, 85–7
challenges of painting 44, 61
country house views 130–39
Gainsborough’s Mr and Mrs Andrews and
agricultural landscape 149–51
gardens and grounds as settings 139–57
Brownian settings 12, 151–7, 160, 232, 316
Grand Tour settings
classical objects 264–5, 266, 267
classical Rome 266, 266, 267, 272, 283
and Highland characteristics and customs 112, 123
in India 123
landscape settings and elite social status 130–33, 151–2, 160, 161–5
Mercier and ‘Watteauesque’ works 22–3, 40, 129–30
middle classes visiting countryside 130
problems of interpretation 327
tableaux de mode 21, 129, 139
variety of 129
Zoffany’s rejuvenated approach 157–69
F
Faber, John, the Younger: Benn’s Club of Aldermen (after Hudson) 18
‘Fallacies of Vision’ and perspective 57, 59, 61
family groups 9, 217–49
and advice on good conduct in family matters 223–4, 228
artist as family member 264
display of portraits 192, 193, 317, 321–2
evolving families 239–42
removal of children 147–8, 171, 240–41
Zoffany’s Nugent Family 322–3
extended family 218, 219–24
marriage and joining of two families 224–34, 247–9, 321, 324
hierarchy and arrangement of figures 221–2
portraits within portraits 234–9
of ancestors and family lineage 234–9, 260
private nature and limited public appeal 321–4, 327
range of depicted relationships 217–19
‘effective kindred’ 222–3
servants and ‘household’ portraits 218, 219, 222, 242–7, 248, 249
Philips’s Russell and Rivett Families 326–7, 326
see also kinship networks
Farington, Joseph 55
fashion plate prints 70
fashions in conversation pieces 28–9, 67, 318
fashionable activities 99, 100
modern dress of sitters 81, 93, 94, 100
modern or timeless dress 97–8, 123–5, 318–19
modern furnishings and textiles 94, 95, 96, 100, 100, 107–9, 108, 176, 177, 184
Fauquier family 15, 231
Fenton, Lavinia 79
Ferrers, Benjamin 38
A Group Portrait of Sir Thomas Sebright, Sir John Bland and Two Friends 281–2, 281, 315, 321
fêtes galantes 21–2, 31, 87, 93, 129–30, 315, 339n.40
Fielding, Henry
The Author’s Farce 80
‘Essay on the Knowledge of the Characters of Men’ 75, 304–5
Joseph Andrews 304
Tom Jones 91
figures in group portraits
challenges of group compositions 44, 45, 46, 47–60, 315
aesthetics of arrangement 47–8, 60–61
Highmore’s preparatory studies 52–3, 56
natural and contrived poses 48–50, 73–4, 75–6
negative response to Zoffany’s Sharp Family 312
perspective and figures in space 55–60, 61, 316
Wheatley’s imitation of Zoffany’s style 166–7
generic and specific figures in country house views 134–5, 142, 169, 170
identification issues 321, 322–7
landscape setting as extra cost 170–71
number of figures
advice against overcrowding 47
Hogarth’s ‘many figures’ 15, 47
popularity of three figures conversing 254, 338n.24
and pricing 46–7, 171, 185, 219
objects as linking devices 50
replication in different portraits 122
servants and ‘supporting characters’ 72, 84–5, 88, 136, 245–7, 248
tension between captured moment and posed figures 9, 87–91
see also family groups; poses and arrangement of sitters
financial and mercantile plutocracy of London 12
display of wealth in setting 94, 95, 96
marriage as alliance of wealth and power 228–34, 248–9
myth of tradesman ‘made good’ model 232, 233
fireplaces and overmantels
heraldic overmantels 192, 193
ornaments for 183, 184
overmantel and display of pictures 139, 190–95
central in architectural designs 188–9, 188
hearth and hospitality 190, 192, 317, 322
and format of paintings 192, 194–5
Wanstead House fireplace 200, 200
Fisher, Kitty 50
fishing as activity 115, 115, 142, 143, 144–5, 146, 147
Fitzpatrick, John see Upper Ossory Fitzwilliam, William Fitzwilliam, 3rd Earl 300
Flanders 11, 28
see also Netherlandish art
Fleetwood, William, Bishop of Ely 28, 93
Florence: Patch’s caricatures 272, 274, 283
Formentrou, Jacob de: A Cabinet of Pictures 205–6, 205
Forrest, Ebenezer 287
Fountaine, Sir Andrew
Hogarth’s portrait with friends 39–40, 41, 50, 260, 307, 335n.27, 369n.33
Pignatta’s portrait in the Tribuna 190–91, 191, 260–61, 274
Fountayne, John 51, 52
Fowler, John 94, 96, 178, 184
Fox, Henry 300, 303
Fox, Stephen (‘Ste’) 300–02, 301, 303, 304, 313
frames 192–3, 210
France
gardens as settings 139
genre painting 21, 22–3, 100
Hogarth’s explanatory notes 101
literature on art of conversation 65, 72–3
Frederick, Prince of Wales 11, 27, 31, 39, 193, 300
commissions and depiction with family 40–44, 41–2, 50
patronage of Shudi 193, 194
taste for rococo works 335nn.33&35
Free Society of Artists exhibitions 153, 321
Freeman, Lisa 76
Fried, Michael 91
friends and friendship groups 251–85, 321
and family ties 249
and guidance of young women 228, 249
and meaning of ‘conversation’ 28, 29, 36, 38, 43, 66, 67, 93, 317
see also ‘company’ and meaning of ‘conversation’; homosocial groups; social relationships
G
Gainsborough, Thomas 1, 2, 48, 56, 157, 316, 322
double marital portraits 218
Mr and Mrs Andrews 149–51, 150, 156, 167
humorous touches 305
Sitwell’s admiration for 8, 149, 330n.60
Brown Family 328n.3
The Gravenor Family 17, 17, 150
‘gallery’ paintings in Antwerp 21
Gamble, Ellis 211, 211
Gandon, James 155, 283, 284
Garden, James 119
gardenscapes as settings 139–57, 318
Brownian settings 12, 151–7, 160, 232, 316
carriage rides 153, 155, 167–8, 169
seats and views 155
inclusion of wider landscape 143, 148, 155
interiors and glimpses of gardens 200, 201, 204
landscape painting as separate skill 166–7, 170–71
temples 142–3, 144–5, 155, 157, 158, 160, 166, 167, 318
terrace as viewpoint 137, 139–40, 147, 148, 153–4
Zoffany’s reinvigoration of conversation piece 157–69
Garrick, David 79, 81–2, 84, 84, 271, 309
Zoffany’s commissions 157–61, 158–9, 170, 243
Garrick, Eva Maria 158–9, 160, 243, 309
Gay, John
The Beggar’s Opera and Hogarth 76–7
The What D’Ye Call It? 80
gender
absence of female friendship groups 251
appropriate behaviour in company 282–3, 317–18
art of conversation and ideal company 254–5, 275
children
appropriate behaviour for girls 294–5
attitudes towards animals 292
boys as black servants 247
gendered pastimes 161, 162–3, 164–5, 233
clubs and societies as male domain 252, 282, 284–5, 317–18
father/son activities 115
female influence and effeminacy 282
feminine appreciation of detail 45, 318, 319
feminine ideals and country retreat 133
and instructions for genteel behaviour 69, 218
masculinity and drinking behaviour 36–7, 279, 282, 283–5, 317–18
patriarchy and property 224–5, 226, 240
visibility of male servants 245
see also homosocial groups
genre paintings and conversation piece 11, 13, 18–26, 31
artist as figure in work 87, 89
English genre works or ‘conversations’ 26, 29, 96, 101
‘genre’ as nineteenth-century term 333n.41
high genre paintings in Europe 21
low genre works and popularity in England 22
national customs and artists abroad 101, 102–4
Allan’s studies in Italy and Scotland 109, 112–13, 123, 317
satirical view in genre paintings 183–4, 184–5
use of ‘conversation’ as term 23–4
genres of art
conversation piece overlap with other genres 17–19, 24–6, 31, 100, 113, 123, 316
conversation piece as sub-genre of portraiture 26–31, 316
gentility see politeness, discourse of
George II, king of Great Britain 40, 300
George III, king of Great Britain 12, 161–2, 202, 205, 309, 310
George IV, king of Great Britain 43, 116, 117
Georgian revival in early twentieth century 5, 6, 7
Georgian society and nostalgia for 3–4, 5–7
georgic scenes 148, 149
Gere, Charlotte 177
gesture 67, 79, 84
instruction in genteel behaviour 67–73, 69–70, 74–5, 76, 84, 91, 98, 317
see also poses and arrangement of sitters
Ghezzi, Pier Leone 274
Gibbon, Edward 231
Gibson, Walter S. 377n.64
Gibson-Wood, Carol 318
Gildon, Charles 341n.103
Gilpin, Sawrey 55
Gilpin, William 143, 358n.136
giving and receiving and genteel behaviour 69, 69
Godschall, Sir Robert 231
Goffen, Rona 28
Goldsmith, Oliver 79
The Vicar of Wakefield 342n.25
Goodman, Elise 23–4, 28, 139
Gough, Sir Henry and family 94, 95, 101, 175, 176, 177, 184, 239, 240
Goupy, Joseph 39
Gow, Donald 113
Gow, Neil 113
Graham, Lord George 277, 278, 280, 285, 287
Grand Tourists in Italy 12, 252, 260–75
British artists and their patrons 261–4, 269, 270, 321
and British ex-patriate community 269–70, 272, 274
caricature portraits 272–5, 283
Dance’s Grand Tour portraits 264–9, 272, 316
company of friends and peers abroad 267–9
and danger of effeminacy 272
Duke of York as Grand Tourist 269–72, 321
Grant, Lady 120, 121, 122
Grant, Charles see Vaux, Charles Grant, Vicomte de
Grant, Sir James, of Grant, 8th Baronet 117–23, 120–21, 190
on Grand Tour in Italy 267–9, 268
Grant de Blairfindy, Baron 117, 119, 120
Grantham, Lord 273, 274
Grantown new village in Scotland 121–2
grapes and arrangement of figures 47–8
Gravelot, Hubert: Complement Retiring (after Dandridge) 70, 70
Great Queen Street Academy 9, 38–9, 60, 257
Green, Guy: Wedgwood queensware teapot 212, 247
Greene, Maurice 252
Greenwood, John 208, 209, 210
Greville, Charles 306
Grey, George, Lord 272–5, 273
Gribelin, Simon: The Judgement of Hercules (after Mattheis) 54
Griffiths, Rodney 142
grounds see gardenscapes as settings
group portraiture
challenges of 44–61, 315–16
see also composition; figures in group portraits
Gubbay, Hannah 1, 6, 328n.3
Gwillym, Robert and family 135–7, 136, 138, 169, 224–5, 245, 366n.149
H
Habermas, Jürgen 254
Hadfield, Charles 274
Haecht, William: Cabinet of Cornelis van der Gheest 205–6
Halifax, George Savile, Marquess of 223, 224, 228
Hall, Linda 187
Hamilton, Gawen 3, 11, 17, 18, 27, 56, 60, 157, 288, 315
artists and patronage networks 110, 111–12
‘company’ as meaning of ‘conversation’ 93
humour in work 297, 312
imagined and replicated interiors 178
and Rose and Crown club 38, 255
servants as feature of portraits 245–6
subscription and raffle for Conversation of Virtuosis 39
Vertue on 13, 14, 63, 178, 316, 317, 318
notebook sketch and appearance in Conversation of Virtuosis 37, 37, 39
obituary of Hamilton and praise for work 15, 19–20, 21, 29, 38, 98
small stature 35
The Strafford Family 15, 65, 217
The Brothers Clarke with Other Gentlemen Taking Wine 246, 275, 276, 276
A Conversation of Virtuosis...at the Kings Arms 36–7, 37–8, 39, 50, 82, 87, 255–6, 255, 257, 258, 269, 283
The Du Cane and Boehm Family Group 228–30, 229, 234–5, 234, 236, 249
Edward Harley and His Family 187, 232
Elegant Company (attrib.) 288
Nicol Graham of Gartmore and Two Friends in a Library 66, 67
Group Portrait, probably of the Raikes Family 246, 289, 290
The Norris Family 355n.30
The Porten Family 48, 50, 82, 187, 231, 231, 247, 289
The Raikes Family see Group Portrait above
Rawson Conversation Piece 354n.19, 357n.87
The Strafford Family see Thomas Wentworth, Earl of Strafford, and His Family
The Vicar of the Parish Visits the Infant Squire (attrib.) 292–3, 293
Thomas Walker and Peter Monamy 39, 40, 50
Thomas Wentworth, Earl of Strafford, and His Family 12, 15, 65, 82, 130, 217, 232
Hamilton, Hugh Douglas
A Nobleman and His Secretaries: A Conversation 253, 373n.146
Sir Rowland Winn, 5th Bt, and His Wife, Sabine Louise d’Hervart, in the Library at Nostell Priory 176, 177–8, 195
Hamilton, John: Stereography, or a Compleat Body of Perspective 56, 61
Hamilton, Sir William 109, 109, 117
Hancarville, Pierre-François Hugues, Baron d’ 306, 306
Hancock, Robert 212
Hareven, Tamara K. 218, 239
Harley, Edward (later 3rd Earl of Oxford) and family 11, 187, 232
Harris, Jennifer 80
Harris, John 135, 141, 348n.47
Harrold, Edmund 240
Harry the Fifth’s Club 43, 44
Hart, Charles 243
Hartley, David 295–6, 297, 300
Harvey, John 28
Harvey, Karen 27, 278, 279, 281, 317
Harvey, Robert 252, 253
Hayes, John 64, 289
Hayman, Francis 11, 17, 56, 60, 77, 191, 251–2, 264, 305, 316
imagined and duplicated interiors 178
influence on Gainsborough’s work 150
self-portrait in works 87
David Garrick and Mrs Pritchard in Benjamin Hoadley’s ‘The Suspicious Husband’ 84, 84, 85
Hallett Family portrait 363n.53
Portrait of a Group of Gentlemen, with the Artist 88, 88, 283
George and Margaret Rogers 150–51, 151
Jonathan Tyers and His Family 355n.28
Haytley, Edward 16, 17, 132, 142–9, 157, 170, 211, 316, 342n.24
The Brockman Family at Beachborough: Temple Pond with Temple in the Distance at Left 142–6, 144, 149, 151, 154, 155, 156, 158, 160, 249, 318
The Brockman Family at Beachborough: Temple Pond with Temple in Right Foreground 142–6, 145, 149, 151, 154, 155, 156, 158, 160, 249, 318
The Montagu Family at Sandleford Priory 147–9, 147, 149, 150, 151, 241, 245, 299, 300
Haywood, Eliza 244
The History of Miss Betsy Thoughtless 218
The Husband 218, 223–4, 240
The Wife 223, 224
hearth see fireplaces and overmantels
Heemskerk, Egbert van 13, 19, 23, 28, 29, 87, 254, 300, 317
Interior of an Inn 13
Hell-Fire Clubs 279, 280, 281
heraldry and overmantels 192, 193
see also coats of arms
Herbert, Amanda 251
Hervey of Ickworth, John Hervey, 2nd Baron 300–05, 301, 313
Highland Society in London 114, 115, 123
Highlands
Allan’s studies of Highland life and customs 29, 96, 109, 110–23, 317
historical context and perceptions of 113–14, 115–17, 120–22
identity as Britons and Highlanders 114, 122
influence of Zoffany 115–17
Improving landowners 121–2, 123
romanticised view 113–14, 117, 119, 122
Highmore, Joseph 38, 50–55, 60, 146, 342n.27
observations on art in Paris 54–5, 61
and perspective 56–7
A Critical Examination of those Two Paintings on the Ceiling of the Banqueting-House at Whitehall 57–8
The Practice of Perspective 56
Hagar and Ishmael 61
The Family of Eldred Lancelot Lee 219
The Marriage of Miss Whichcote of Harpswell with the Dean of York and preparatory drawings 51–3, 52–3, 56, 61, 80, 224, 228, 230, 342n.24
Mr Oldham and His Guests 17, 278, 279
Pamela series 61
A Portrait of the Vigor Family 51, 56, 57
Samuel Richardson 191, 191
Highmore, Susanna 146
Hill, Bridget 245
Hindle, Steve 148
historical subjects and customary detail 96–8
history painting
and conversation piece 9, 18, 35
similar challenges and skills 45–6, 60, 315–16
customary or universal debate 97, 123–5
Dance’s output in Rome 264
preference for portraiture 46, 60
Hoadly, Benjamin 240, 241, 252
Hobbes, Thomas 296, 302
Hodges, William 101
Hoff, Ursula 146
Hogarth, William 27, 29, 93, 100, 335n.25
as leading proponent of conversation piece 13, 14–15, 17, 18, 60, 157, 316
as engraver of decorative goods 211, 211
explanatory notes for work 100–01
humour in work 287–8, 297–305, 313
Zoffany as heir 305–7, 310–12
large number of sitters 15
and Rose and Crown club 38
and St Martin’s Lane Academy 56
Sassoon’s high opinion of 2
satirical view of customary behaviour 183–4, 184, 211–12, 247, 275, 279, 285, 288, 299–300
on ‘stage-action’ and meaning without words 84
theatrical paintings 76–7, 77–8, 79–80, 91
theatricality of portraits 82
Vertue on 14–15, 17, 19, 35, 63
The Analysis of Beauty (treatise) 84
on humour 297, 299
Assembly at Wanstead House 18, 28, 47, 195–9, 196–7, 200, 231, 246, 249, 288
Beggar’s Opera paintings 79, 91
A Scene from ‘The Beggar’s Opera’ VI 76–7, 77, 82
The Cholmondeley Family 82, 290, 291, 292, 293, 328n.3
Cockpit 305
Conversation Piece (Portrait of Sir Andrew Fountaine with Other Men and Women) (Conversation of Six Figures) 39–40, 41, 50, 260, 307, 335n.27, 369n.33
Ashley Cowper with His Wife and Daughter 82, 83, 240
engraving on de Lamerie tea caddy 211, 211
Evening from The Four Times of Day 310, 311
Captain Lord George Graham in His Cabin 277, 277, 278, 280, 285, 287
A Harlot’s Progress series 212
Plate 1 54
Plate 2 29, 183–4, 184, 247, 299, 305
Heads of Six of Hogarth’s Servants 246
The Hervey Conversation Piece 300–05, 301, 313, 321
The Jeffreys Family 292, 292
The Jones Family 148, 298–300, 298, 313
Marriage à la Mode series 184
Plate 1 184
Plate 2 184, 185, 212, 317, 340n.101
A Midnight Modern Conversation 29, 275, 277, 279, 281, 284, 287–8, 302, 361n.220
A Performance of ‘The Indian Emperor or The Conquest of Mexico by the Spaniards’ 18, 78, 79, 80, 82, 91, 303
Portrait of a Family 289, 291
Woodes Rogers and His Family 246
The Strode Family 29, 211, 243, 244–5, 244, 287
The Western Family 246, 246
The Wollaston Family 16, 17, 27, 28, 82, 231, 330n.67
card playing and tea taking as narrative devices 50
composition and placement of figures 48
humour in 288, 296
Vertue’s notes on 15, 65, 98, 231, 288, 315
Holdsworth, Edward 261, 262–3, 262, 263–4
Holland, Caroline Fox, Lady 27
Holland and Flanders 11, 28
see also Netherlandish art
home as setting see interior settings and rooms; intimate and informal settings
homosexual relationships 300–01, 306
homosocial groups 17–18, 29, 35–44, 251–85
and art of conversation 66, 66–7, 254–60, 317–18
artists as friends 283–4
artists and patrons 35–44, 36–7, 60
artists as connoisseurs 255–8, 255–6, 258, 270
gentlemen as connoisseurs 252, 259–60, 259, 283, 306–7
drinking culture and polite and impolite behaviour 27, 36–7, 275–82, 283–5, 287–8, 317–18
homosexual relationships 300–01, 306
and humour 300–05, 306–7, 313
hunting scenes 252
royal members 42–3, 43, 269–72, 270
sharing of portraits and reproductions 252, 269, 271–2, 274
young British noblemen in Rome 12, 252, 260–69
artists and unequal relations with 263–4, 283
caricature portraits 272–5, 273, 283
company of friends and peers abroad 267–9, 272, 321
Hope, Charles, Lord 265–6, 265
Hopetoun, James Hope, 3rd Earl of 211, 265–6, 265
Hoppus, Edward 187
horses 55
carriage rides 153, 155, 167–8, 169
hospitality
centrality of hearth 190, 192, 317
family and friends in portraits 249
of landowners 146, 148, 160, 170
servants and ‘hospitality portraits’ 245
Venetian reception of Duke of York 271
Houblon, Jacob 274
Houlbrooke, Ralph 225
‘household family’ 218, 219, 222, 242–7, 249, 326–7
see also servants
Howdalian Society 284
Hudson, Thomas: Benn’s Club of Aldermen 17–18, 18
Huguenot families and émigrés 228, 231, 303
Hume, David 101, 114, 186, 369n.37
humour and ‘light incidents’ 27, 287–313
dogs and children 287, 288, 289–98, 300, 307, 313
as English trait 288–9, 317
Hogarth
and element of surprise 297–300
excursion round Kent with friends 287
pratfalls and cruel laughter 300–05
satirical inversion of polite behaviour 183–4, 184, 211–12, 247, 275, 277, 278, 279, 285, 288, 299–300
incongruity 296–7, 299–300, 302
raillery 296, 317
theories on 296–7
Zoffany’s light touches 305–12
see also ‘drolls’ in Netherlandish art
Hunt, John Dixon 153, 155–6
Hunt, Margaret 232
hunting and hunting scenes 43, 99, 130, 246, 252
Gainsborough’s Mr and Mrs Andrews 150, 151
Highland settings 96, 111, 111, 112, 113, 115, 117, 117, 120
and Steele’s imagined country gathering 254
Zoffany’s work 103–4, 103, 161, 164
Hussey, Christopher 3, 5
Hussey, Philip 107
Hutcheson, Francis 186, 295, 296–7, 302, 313
I
ideal see universal ideal in art
identification of figures in groups 321, 322–7
identity
and self-presentation 87
see also national customs and characteristics
illuminated manuscripts and children 295
imaginary features
costumes 98
interiors 55, 87, 122, 178–95, 209, 220, 237
landscapes 167, 171
sitters 31
Impey family 104, 105, 106, 107, 123, 247
Improvers: Scottish landowners as 121–2, 123
in-laws in portraits 219–24, 224–34, 247–9, 324
enduring links 240
incongruity and humour 296–7, 299–300, 302
India 123
British artists in 101, 102
Zoffany in 17, 29, 96, 102–7, 113, 247, 316
inheritance and position of women 224–5
interior settings and rooms 173–213
accuracy and authenticity 178–213
design of interiors and significant objects 187–90
generic and duplicated settings 55, 87, 122, 178–95, 220, 237
limited depiction of ornament 182, 184–7
Wanstead House interiors 195–202
Zoffany’s adjustments and reality 202–9
and garden views 200, 201, 204
information conveyed by pictures 12, 173–8
modern furnishings and dating of paintings 100, 107–9
as modern interiors 94, 95, 96, 100, 100, 107–8, 108
overmantel as location for pictures 139, 190–95
as setting for display of portrait 11, 58, 60, 90–91, 177, 177, 194–5
theatricality of figures and setting 65, 82–7
see also objects and possessions
intimate and informal settings 8, 194
and contrast with stiff postures 63–4, 65, 66–7, 74
art of sprezzatura and concealment of effort 73–4
male groups drinking 36–7, 282, 317–18
and perceived Englishness of works 101
private nature of family portraits 321–4, 327
invention see imaginary features
inventories 190–91, 202–3, 206–8, 209, 261
Ireland, John 285
Ireland
Hell-Fire Clubs 279, 280, 281
limited conversation piece tradition 107–9
Wheatley’s work in 167–9
Italy
British artists in 46, 261–4, 270
Allan’s studies of local dress and custom 109, 112, 113
British visitors and young men on Grand Tour 12, 252, 260–75
and British ex-patriate community 269–70, 272, 274
caricature portraits 272–5, 283
company of friends and peers abroad 267–9, 272, 321
Dance’s Grand Tour portraits 264–9, 272, 316
Duke of York’s Grand Tour 270, 270, 271, 321
conversazione assemblies 27–8
literature on art of conversation 65, 66
see also Rome
Ives, Jeremiah 252, 253
J
Jacobites 113, 115–17, 262–3, 282, 321
Janssens, Hieronymous 21, 22
Johnson, Cornelius: The Capel Family 129, 130
Johnson, E. D. H. 330n.52
Johnson, Samuel 27, 275–6, 320
jokes: cruel jokes and laughter 302–5, 313
Jones, Thomas 283–4
Jullienne, Jean de: Recueil 22
K
Kames, Lord 121
Kearsley, George 169
Kelly, Jason 267, 279
Kenny, Ruth 194
Kent, William 5, 38, 143, 197, 288
Kermode, Frank 132
Kerslake, John 38
Kettle, Tilly 102
A Conversation 253, 338n.24
Kidd, Colin 114
Kildare, William, Marquess of 267
Killingbeck, Benjamin: The Earl and Countess of Upper Ossory and Their Children at Ampthill Park 155–7, 156, 169–70
kinship networks 29, 67, 111–12, 218
and friendship 249
marriage and joining of families 224–34, 247–9, 321, 324
remarriage and step-families 240
portraits and inclusion and exclusion of
relatives 222–4
‘effective kindred’ 222
and wealth 12
property and women 224–5, 226, 240
see also family groups
Kirby, John Joshua
Dr Brook Taylor’s Method of Perspective made Easy 55, 56, 59, 60, 61
Highmore’s challenge to 56, 57, 59
Klein, Lawrence E. 75
Kneller, Sir Godfrey 38, 280
Knox, Vicesimus 265
L
La Mothe Le Vayer, Francois de 72–3
Laby, Alexander: The Shudi Family (after Tuscher) 194, 194
Laing, Alistair 133, 178
Lairesse, Gerard de: The Art of Painting 55, 74, 74, 97, 100
Lamb, Peniston 25, 225–6
Lamen, Christoffe van der 21, 24
Lamerie, Paul de: silver gilt tea caddy 211
Lamotte, Charles: Essay on Poetry and Painting 97, 98
Lancret, Nicolas 25
landscape painting 157
as separate skill 170–71
Wheatley’s skills in 166–7, 316
landscape settings see exterior settings and landscape
Landseer, Edwin: Death of a Hart in Glen Tilt 117, 117
Lane, Oliver 130
Langley, Batty 143
The City and Country Builder’s and Workman’s Treasury of Designs 187–90, 188–9, 220
Langley, Thomas 187
Langmuir, Erika 295
Laroon, Marcellus, the Younger 29, 38–9, 258, 315
A Dinner Party 30, 31
A Musical Assembly 31, 93–4, 94, 101
Laurence, Anne 148
Lauron, Marcellus, the Elder 13, 19, 29
lay figures as aide to artists 48–9, 49, 60
Le Sueur, Eustace: painting of Alexander and his doctor 54–5, 61
Lee, William 244
Leger Galleries, London: Realism through
Informality exhibition (1983) 329n.35
Lens, Bernard 28
Leppert, Richard 185, 247, 343n.62
Lewis, Judith 225
Lewisham, George, Viscount 306
Leypoldt, Günter 96–7
‘light incidents’ see humour and ‘light incidents’
Lindo, Francis 239
lineage family in paintings 218, 219, 249
hierarchy and arrangement of figures 221–2
and portraits within portraits 234–9, 260
Liotard, J. M. 23
Lipyeatt, Jonathan 266, 274
Lister, Thomas and family 135, 244
literature
on conversation pieces 7–13, 175–6
on conversation as ‘talk’ 27, 65–6
literary description and interiors 189
see also novels; treatises
Littleton, Sir Edward 283
Locke, John 57, 61, 66, 257, 377n.52
Loveday, John 18, 249
Lovell, Margaretta 183
low genre works
broad social spectrum of subjects 28, 316
Allan’s Highland scenes and high and low life 113
popularity in England 22
Lowry, Strickland: An Interior with Members of a Family (attrib.) 107–9, 108
Lucas, Richard 28
Lucian 341n.103
Lucy, Colonel George and family 134
Luton Hoo, Bedfordshire 161, 163–4
luxury goods 12, 186, 187
paintings as 210, 318–19
M
McCrone, David 114
MacDonald, Ramsay 7
McKellar, Elizabeth 5
Mackenzie, Mrs Henry 122
Macky, John 201
Macleod, Bruce 148–9
Macpherson, James (‘Ossian’) 113–14, 115, 119, 123
‘Ossian’s Hall’ 114
Maes, Nicolas: The Naughty Drummer Boy 89
Mainwaring, Sir Henry 272, 273
male social groups see homosocial groups
Mann, Horace 27, 263, 270, 274, 275, 306–7
manners and customs as subject 28–9, 67, 93, 316–17
appropriate behaviour for male and mixed company 282–3, 317–18
customary or universal debate 96–8, 123–5, 318–20
Indian customs in pictures within pictures 106, 106, 107, 123
inversion of genteel behaviour 183–4, 184, 247, 275, 279, 299–300
meaning of ‘custom’ 96–100
praise for Allan’s portrait of James Grant of Grant 122–3
see also conduct and behaviour; national customs and characteristics; politeness, discourse of
Marlborough, Charles Spencer, 3rd Duke of 300, 301
Marlborough, Sarah, Duchess of 302
marriage
loss of spouse and remarriage 239–40
portraits see marriage and betrothal portraits
separation and divorce 241–2
marriage and betrothal portraits 51–3, 54, 217, 348n.31
joining of two families and in-laws in portraits 219, 224–34, 247–9, 321, 324
bourgeois alliances of wealth and power 228–34, 248–9, 266, 321
enduring links 240
wife’s incorporation into husband’s family 226–8, 230, 248
property system and women 224–5, 226
see also wedding scenes
Mascuch, Michael 232
masquerades 85, 161
Master, Reverend Streynsham and family 179, 236–7, 237
material culture see consumption in eighteenth century; decorative arts; objects and possessions
Mattheis, Paolo de: The Judgement of Hercules 54
Mead, James 252, 253
Mead, Richard 13, 14, 22, 39
Mee, Jon 73, 255
Mengs, Anton Raphael 209, 272
George, Lord Grey, later 5th Earl of Stamford 272, 273, 274
mercantile plutocracy see financial and mercantile plutocracy of London
Mercier, Philippe 11, 38, 40, 157, 288, 339n.40
promotion of ‘Watteauesque’ style 22–3, 40, 129–30, 315
The Belton Conversation Piece 22, 87–8, 129–30, 131, 132, 133, 219, 247, 315
Comedians by a Fountain 40, 40
L’Ile de Cythère (after Watteau) 364n.84
The Music Party 40, 41, 50
Musical Family 22
The Park at Belton, Lincolnshire (attrib.) 132, 133, 160
Sir Thomas Samwell and His Friends 374n.183
The Schutz Family and Their Friends on a Terrace 22–3, 23, 51, 315
‘merry companies’ see drinking culture
Metsu, Gabriel 25, 29, 209
Portrait of Jan Jacobsz. Hinlopen and Leonora Huydecoper and Their Household 20, 20
Michelangelo 50
middle classes
countryside visits and landscape settings 130
display of mercantile wealth in setting 94, 95, 96
hunting scenes 252
marriage as alliance of wealth and power 228–34
‘big bourgeoisie’ families 231–4, 248–9, 266, 321
narrowness of designation of conversation piece as middle-class portraiture 10, 11, 12, 232, 266
myth of tradesmen ‘made good’ model 232, 233
perceived awkwardness as sitters 9–10, 64–5, 91
see also elite classes
Middleton, Revd Dr Conyers 303
Middleton, George 164
Mieris, Frans van 209
Milbanke family 25, 225–6
Milton, Thomas 169
miniature painting 45
minuteness see detail
Mitchell, Joseph 14, 28, 71
models
and interiors 187
lay figures 48–50, 49, 60
modern art
conversation piece as modern form of portraiture 9, 13, 35, 61, 93–6
modern portraiture and legacy of conversation piece 6–7
Monamy, Peter 39, 40, 50
monkeys 24, 26, 299, 299, 305
Montagu, Edward 147, 147, 148
Montagu, Elizabeth (1718–1800) (née Robinson) 142, 147, 147, 148, 149, 211
Montagu, Elizabeth (1743–1827) (later Scott and Duchess of Buccleuch) 124–5, 124
Montagu, Henrietta 124–5, 124
Montagu, John Montagu, 2nd Duke of 302, 304
Montagu family 147–9, 147, 149, 241, 245
Montesquieu, Charles de Secondat, Baron de la Brède et de 122, 304
Morland, George 2
Morris, Corbyn 289, 296, 297, 307
Morse, John 252, 253
Morse, John South 252, 253
Mortimer, John Hamilton 56, 60, 77, 252, 283–5
portrait of Sergeant-at-Arms Bonfoy and John Clementson 252, 283
A Caricature Group 284–5, 284
John, 3rd Duke of Dorset, and Mr Ralph Petley of Riverhead 283, 283
The Drake Family of Shardeloes 237–9, 238
Roundell Group 252, 283
Mount, Harry 22, 210, 320, 333n.141
Muilman, Peter 195, 196, 201
Murray, Lord George 115–16
Murray, James see Atholl
Murray, John (1712?–1775) 269–71, 270
Murray, John (1729–1774) see Atholl, John Murray, 3rd Duke of
Murray, John (1755–1830) see Atholl, John Murray, 4th Duke of
museums and visualising the past 176
music-making as theme 21, 50, 82, 88, 125
British in India 104–5
modern instruments and wealth 94, 125
and national identity 109–10
Allan’s Highland Wedding 112, 113
Zoffany’s Sharp Family 307–12, 308, 310
Musters, John and Sophia 241–2, 242–3
Myrone, Martin 264
Mytton, John 18, 267–9, 268
N
narrative and conversation piece 2, 9, 316
challenges for artists 44, 45, 50–55, 61, 315
Highmore’s betrothal portrait 51–3
children as narrative devices 295
client specifications 10–11
contextual objects and information 55, 100, 107–9, 112, 121–3
homosocial groups 17–18
servants’ role in 245, 246–7
static quality 9, 175
Nasmyth, Alexander: Neil, 3rd Earl of Rosebery and His Family at Barnbougle Castle 170, 171, 241
national collections and British conversation piece 7
national customs and characteristics 29, 96, 100–23, 317
Allan’s work and Scotland 29, 96, 109–23
Hogarth’s Englishness and explanatory notes 100–01
Irish conversation pieces 107–9
Reynolds on custom and politeness 98–9
trees and patriotic resonance 161
Zoffany in India 29, 96, 102–7, 113, 123, 247, 316
see also Englishness of conversation pieces?
Nazari, Bartolommeo 374n.174
neatness as sign of taste 186, 187
Nebot, Balthasar: view of Hartwell House 141, 148, 151, 153
needlework as activity 67, 100, 125
Netherlandish art
and British collectors 209–10
Bute’s collection 209
Dundas’s collection 208, 208, 209, 210, 320
broad category of ‘conversations’ 28–9
cabinet pictures 205–6, 209
children and humour in 293
country house views 133
Dutch civic portraiture 275
gardenscapes 139–40
genre paintings and conversation piece 11, 13, 19–22, 100, 316
appearance of artist in work 87, 89
and ‘conversation’ as ‘company’ 93, 317
humorous incidents 289, 293
see also ‘drolls’ in Netherlandish art
luxury goods and painting as luxury item 210
tableaux de mode 21, 24, 31, 129, 139, 339n.40
Walpole on Dutch painting 380n.12
Zoffany’s debt to 209, 210, 305
Netscher, Caspar 29
networks 12, 15, 29
artists and patrons 35–44, 60, 111–12, 150
British artists in Italy 261–4, 269, 270, 321
British noblemen in Italy
British ex-patriate community 269–70, 272, 274
community of peers 267, 268, 272
see also social relationships
new villages in Scotland 121–2
Newdigate, Sir Roger 179, 365–6n.118
Nivelon, François: Rudiments of Genteel Behaviour 67–71, 69, 70, 74–5, 76, 91, 190
nobility see elite classes
Nollekens, Joseph Francis 21, 135, 316, 333n.161
The Tylney Family in the Saloon at Wanstead House 198, 199–202, 208, 209, 354n.19
Norris, Mary 230
North, Roger 146
Nostell Priory, Yorkshire 176–7, 177–8
novels
clergymen and practical jokes 303–4
and family relationships 218–19, 223, 228
nuclear family in eighteenth century 217–18, 248
Nugent, Robert and family 322–3, 323
O
Oatlands, Surrey 137, 161
objects and possessions
artist’s self-portrait reflected in 89–90, 90
and client specifications 11
continuity through inheritance 4–5, 176, 202
conversation piece and decoration on 211–13, 212, 247, 280–81, 280
displayed with paintings 5, 176
drinking culture and homosocial groups 280–81, 280
generic objects and settings 183–7
Dance’s Grand Tour portraits 266, 267
Devis’s work 187–90, 209
economy of ornament 182, 184–7, 195
Hogarth and humorous effect 197, 288
as linking device between figures 50
minimalism and avoidance of ostentation 186
Netherlandish observational art 210
portrait as future possession 11, 60, 90–91
and reading of pictures 173–8
attention to detail and static quality 175
repetition of objects 178
significance as symbols of politeness and wealth 29, 50, 105, 130, 194
antique sculpture in Grand Tourist portraits 264–5, 266, 269
Child’s display at Wanstead 198–9, 209
consumption and display of possessions 175, 186–7, 209, 318
locked tea caddy and status of servants 245
mercantile wealth in setting 94, 95, 96
modern objects in homes 94, 95, 96, 100, 100, 107–9, 108
satirical view in Hogarth’s work 183–4, 184–5, 288
scientific interests of sitters 84, 94, 148, 261
tea tray and reflexive meaning 212–13
Zoffany’s attention to detail in Dundas portrait 209, 210, 319
Zoffany’s interiors and reality 202–9
Zoffany’s use of props 202
see also consumption in eighteenth century; decorative arts; interior settings and rooms; luxury goods; pictures within pictures; space and objects in
Odingsell, Gabriel 80
Okeover, Leak 55, 137–9, 138, 169, 211
Okeover Hall, Staffordshire 137–9, 138, 160, 169
Oliver family 226–8, 227
Olivier, Monsieur (artist): An English Family in Conversation and other nationalities 101–2
ornament
economy of 182, 184–7, 195
and feminine 319
Orpen, William: The Drawing Room at 25 Park Lane 6–7, 6
Ortigue de Vaumorière, Pierre d’ see Vaumorière
Ossian (James Macpherson) 113–14, 115, 119, 123
‘Ossian’s Hall’, nr Dunkeld 114
Ossory, 2nd Earl of Upper see Upper Ossory
Ostade, Adriaen van 25, 209, 316
outside space see exterior settings and landscape
overmantel see fireplaces and overmantels
P
Page, Thomas 46, 47, 48
Palladianism 195, 197
Pallant House, Chichester 354n.19
Palmerston, Viscount 271
Parissien, Steve 202
Parker, Reverend Edmund 146
Parkinson, Sydney 101
parks: Brownian settings 12, 151–7, 160, 316
Pasquin, Anthony 167
pastimes see activities and pastimes
pastoral scenes 133, 148–9
Patch, Thomas 283, 284, 285, 321
in Zoffany’s Tribuna 275, 306–7
Antiquaries at Pola 272, 274
A Punch Party 272, 273, 274–5
Pater, Jean-Baptiste 25
Amphitrite 40
patriarchy and property system 224–5, 226, 240
patrons
and artistic networks 38, 39–44, 60, 111–12, 272
British artists in Italy 261–4, 269, 270, 321
Child and Wanstead House commissions 197–8, 199
humorous portrayal 307
limited female patronage 251
popularity of portraiture over history painting 46
royal patronage 12, 193, 194, 202–6, 269–72
pattern books and interior settings 55, 187
Paulson, Ronald 77, 275, 288, 293, 347n.3
Paxton, John 17
‘peep-shows’ 9, 65
and moment in time concept 8, 88–91
Peeters, John 258
performance
figures in gardenscapes 143
of politeness 74–7, 317
and social indicators in urban life 74–5
see also reflexivity and performance; theatre
Perry, Ruth 218, 223
perspective 187
artists’ use of plans and models 50, 56
figures and objects in space 55–60, 316
‘Fallacies of Vision’ debate 57, 59, 61
Philips, Charles 3, 13, 15, 17, 18, 29, 35, 56, 61, 93, 235, 288, 315
humour in work 297, 312
The Cromwell and Thornhill Families Taking Tea 67, 68, 74, 82, 219
The Finch Family 85–6, 86, 288, 289, 324
Frederick, Prince of Wales, with the Members of ‘La Table Ronde’ 42–3, 43, 44, 82, 276, 278, 285
The ‘Henry the Fifth Club’ or ‘The Gang’ (attrib.) 43, 44
pendant of Russell family (attrib.) 381–2n.54
The Russell and Rivett Families 325–7, 325–6
The Strong Family 293–5, 294, 324
Tea Party at Lord Harrington’s House 47, 48, 50, 130, 173–5, 174, 177, 249, 317, 318
photographs: proto-photographic argument 3–4, 9–10, 65, 195
pictures within pictures 104–5, 173, 205–6
and Devis’s duplicated interiors 182, 237
family portraits
evolving families and absent figures 239
lineage and portraits of ancestors 228, 234–9, 260
negative criticism and artist’s removal 238–9
and future display of portrait 11, 58, 60, 90–91, 177, 177, 194–5
Zoffany
depiction of Dundas’s collection 208–9, 208
real and invented in royal interiors 205, 206
Pierre, Jean Baptiste Marie 119
Pignatta, Giulio: Sir Andrew Fountaine and Friends in the Tribuna 190–91, 191, 260–61, 274
Piles, Roger de 256, 257
The Principles of Painting 45–6, 50, 339n.52
bunch of grapes arrangement 47–8, 47
and customary or timeless dress 97–8
Pitt, George (later Baron Rivers) 263
Pitt, William, the Elder 113
Pittock, Murray 113, 114
plays see theatre
Plimmer, John 272
poetry: subjects for poets and artists 54–5
Pointon, Marcia 8–9, 11, 54, 202, 295
politeness, discourse of
and activities in pictures 15, 50, 61
homosocial groups and polite and impolite behaviour 275–82, 283, 300–05, 317–18
art of conversation and conversation piece 63–91, 317–18
connoisseurship and male homosocial groups 256–8, 283
instruction in genteel behaviour 67–73, 74–5, 76, 91, 98, 186
literature on conversation 27, 65–6, 72–3, 317
performance of politeness 74–7, 91, 317
national customs and characteristics 98–9, 100–23, 317
and significance of poses 10, 15, 61
as ‘dumb shew’ of politeness 27, 66–73, 84, 91, 317
see also conduct and behaviour; manners and customs as subject
political liberty and English humour 288–9
political ties 12, 173, 249, 300
country estate and elite status 130–31
Jacobites 113, 115–17, 262–3, 282, 321
ponds 142, 143, 144–5, 146
Pope, Alexander 300
porcelain see ceramics; china
portraiture
artists in Italy and Dance’s work in Rome 264–5
conversation piece as modern form of 9, 13, 35, 61, 93–6
conversation pieces as sub-genre of 26–31, 316
debate over real or imaginary subjects 29, 31
definition of conversation piece as type of portrait 12–13
grand manner portraits 83, 321, 322
Reynolds on universal appeal 96, 124, 319–20
influences from conversation piece 316
landscapes and exterior settings for 129
male group portraits as ‘conversations’ 252–4, 318
preference over history painting 46
Shaftesbury’s advice on group portraits 45
and skills demanded of artists 60
landscape painting as separate skill 166–7, 170–71
perceptions of conversation piece as inferior 9, 44–5, 64, 91, 315
twentieth-century portraiture and legacy of conversation piece 7
see also family groups
poses and arrangement of sitters
aesthetics of 47–8, 60–61
appeal of diversity of poses 48, 59, 72
artificiality and stiffness 17, 48–9, 63–5
art of sprezzatura and concealment of effort 73–4
attribution to unskilled painters 9, 64, 65, 91
contrast with captured moment perception 9, 87–91
contrast with informal nature of setting 63–4, 65, 66–7, 74
critical responses 64, 75, 272
perceived awkwardness of middle-class sitters 9–10, 64–5, 91
and significance 10, 65
theatricality of figures 65, 82–7
family groups 226–8, 230–31
hierarchy of figures 221–2
lay figures and models 48–50, 49, 60
and politeness 10, 15, 27, 61, 317
instruction in genteel behaviour 67–73, 69–70, 74–5, 76, 91, 98
representations of sociability and conversation 66–73, 190, 192
repetition of poses 65, 74
servants and ‘supporting characters’ 72, 84–5, 88, 136, 245
theatrical performers and ‘double address’ 79
Three Graces arrangement 254, 338n.24
Vertue on Hogarth’s Wollaston Family 15, 65, 315
see also figures in group portraits; gesture possessions see objects and
possessions Postle, Martin 306
Poussin, Nicolas 45, 50
Powell, Jonathan 243, 244–5, 244
Powys, Mrs Lybbe 200
practical jokes and pratfalls 300–05, 313
Praz, Mario: Conversation Pieces 8, 9, 11, 13, 18, 31, 175, 319, 334n.163
preparatory drawings
Dance’s Grand Tour conversation pieces 266
Highmore 50–51, 51–3, 53, 56
Nollekens’s Wanstead group 359n.150
Price, Uvedale Tomkyns 39, 71, 71
Price, Captain William 261, 274
pricing see costs and pricing of pictures
prints and engravings
estate portraits 141, 141, 142, 168–9, 169, 169, 170
fashion plate prints 70
lack of reproduction of conversation piece 321, 322
Netherlandish artists 26
popularity of the ‘Watteauesque’ 22
Pritchard, Hannah 84, 84
private nature of conversation pieces 321–4, 327
private theatricals 80, 81–2
property and position of women 224–5, 226, 240
Protogenes 318
Proverbs 28
public houses see drinking culture
punch bowls 29, 43, 252, 274–5, 278, 280, 281
puns and humour in Zoffany’s work 306–7, 309
Pyott, Colonel Richard 173
Q
Quaintance, Richard 349n.65
R
raillery and humour in portraits 296, 317
Raines, Robert 31
Ralph, James 80
Ramsay, Allan 164, 239
Dialogue on Taste 100
Gentle Shepherd 109
Raphael 54, 260, 295
Rawlinson, Thomas 19
reading as activity 67
realism 3, 5, 8, 101
Realism through Informality exhibition (1983) 329n.35
Redford, Bruce 266
reflexivity and performance 10, 65
and artists’ self-portraits 38, 87–91, 130, 261–3, 264, 274, 279, 283
self-awareness of sitters 88, 90, 91
Reinagle, Philip
Members of the Carrow Abbey Hunt 252, 253, 269
Portrait of Mrs Congreve with Her Children 190, 235–6, 235
religion
sacra conversazione altarpieces 28
sermons on ‘Christian Conversation’ 28
significance of curtain pulled back 82
remarriage and step-families 239–40
reproduction
copies for friends 269, 271–2, 300, 321
see also prints and engravings
Reynolds, Joshua 1, 48, 64, 82, 170, 206, 210, 338n.24
criticism of ‘minute painter’ 320
double marital portraits 218
on drinking 276
grand manner portraits 96, 124, 321
Idler contributions 319, 342n.11
male portraits as conversation pieces 253
maternal portraits 218
on national customs and politeness 98–9, 101
on rejection of customary for universal 96–7, 124, 319–20
sale of collection (1795) and ‘conversations’ 25–6
Discourses 29, 46, 75, 96, 97, 98–9, 319–20
David Garrick between Tragedy and Comedy 54
The Marlborough Family 18, 219
The Ladies Elizabeth and Henrietta Montagu (Two Ladies) 124–5, 124
Parody of Raphael’s ‘School of Athens’ 274
Sir Richard Piers Symons 75–6, 76
The Ladies Waldegrave 18, 124
Rich, John 86
Richardson, Jonathan
Essay on the Theory of Painting 45, 46, 47, 48, 97, 98, 295, 318, 319
Two Discourses 257–8, 259
Richardson, Samuel 132, 191, 191
Clarissa 218–19, 224, 225, 363n.51
History of Charles Grandison 189
Pamela 61, 189, 218
Richmond, Duke of 302
Riding, Jacqueline 50–51
Rigaud, Jacques
Stowe Gardens in Buckinghamshire 141–2, 141, 151, 153, 158, 168
views of Chiswick Gardens 140
Rimbault, Stephen 210–11
Rivett family 324–7, 325–6
Robertson, William 117, 119
Robinson, Elizabeth 142, 143, 146, 147, 148, 158, 249
Robinson, Matthew 37, 39, 256
Robinson, Thomas 18, 267–9, 268
Rockingham, 1st Marquess of 86
Rocksavage, Lord 328n.3
rococo 130, 335nn.33&35
Rocque, John 141
Rogers, Nicholas 231
Rome
British artists in 46, 261–9, 270
Dance’s Grand Tour portraits 264–9, 272, 316
young British noblemen in 12, 252, 260–69, 272, 283, 321
Romney, George 218, 364n.84
A Conversation 253
rooms see interior settings and rooms
Rose and Crown club 9, 36, 38–9, 40, 60, 255
Vertue’s sketch and account of 258, 258, 283
Rosebery, Neil, 3rd Earl of and family 170, 171
Rosenfeld, Sybil 80
Ross, Charles 192
Rothenstein, William 7
Roubiliac, Louis François: lay figure 48, 49
Rouett, William 265, 265
Rouquet, Jean André 101
Royal Academy 26, 29, 46, 60, 101, 166–7, 318, 321
Reynolds’s Discourses and conversation piece 319–20
Royal Collection: The Conversation Piece exhibition (2009) 8
royal patronage 12, 193, 194, 202–6, 269–72
Frederick, Prince of Wales’s commissions 40–44, 41–2, 50
Rubens, Peter Paul 19, 21, 22, 23, 27, 57
The Garden of Love 23–4, 24, 28, 29, 129, 139, 316, 339n.40
‘Lot going from Sodom with his Wife and Daughters’ 54, 61
Russel, James 270, 321
William Drake of Shardeloes with His Tutor Dr Townson and Edward Holdsworth in His Apartment in Rome 261–4, 262
artist’s self-portrait in 261–3, 263, 264, 283
Letters from a Young Painter Abroad 261, 266
Russell family 324–7, 325–6
Ryder, Dudley 75, 91, 190
Rysbrack, John Michael 38, 256
Rysbrack, Pieter Andreas: views of Chiswick
Gardens 140–41, 141, 151, 153, 158
S
sacra conversazione altarpieces 28
St John, Colonel Henry 271
St Martin’s Lane Academy 56, 60, 150
sale catalogues and use of ‘conversation’ 25–6
Sandby, Paul 161
Sanderson, Joseph 138–9
Sandleford Priory, Berkshire 147–9, 147, 151
Sargent, John Singer: The Sitwell Family 10–11, 10
Sartin, Stephen 182, 185, 237, 337n.95
Sassoon, Sir Philip 6, 7, 12
definition of conversation pieces 1–2
Sitwell’s expansion on 7–8
on Devis’s work as decorative art 210
English Conversation Pieces exhibition at 25 Park Lane, London (1930) 1–7, 2–3, 8, 10, 101, 176
and nostalgia for Georgian period 5–7
exhibitions of British painting 7
Orpen’s Drawing Room at 25 Park Lane 6
see also Trent Park, Hertfordshire
Sassoon, Sybil 6, 7
sati (Indian custom) 102, 106, 107, 123
satire
in genre paintings 183–4, 184–5, 275
Hogarth’s inversion of polite behaviour 183–4, 184, 211–12, 247, 275, 279, 285, 288, 299–300
see also humour and ‘light incidents’
Saumarez Smith, Charles 175–6, 185
scale of paintings
superiority of life-sized works 45
see also small scale of conversation pieces
Schaub, Luke 27
Schor, Naomi 319
Schutz, Augustus and family 22–3, 23, 40
science
contemporary interest and objects 84, 94, 148
virtuosi groups 261
and perspective 55–7, 59, 61
Scott, Sarah (née Robinson) 147, 148, 149
Scottish identity 109–23
Allan’s studies of Highlands 29, 96, 109, 110–23, 317
English Scottophobia 114, 115, 162
Improving landowners 121–2, 123
romanticisation of 113–14, 117, 119
Scottish Enlightenment 114, 119
Sebright, Sir Thomas 281–2, 281, 321
self-portraits of artists 38, 87–91, 130, 261–3, 264, 274, 279, 283
Sennett, Richard 65, 74
sermons on ‘Christian Conversation’ 28
servants 72, 84–5, 88, 130, 136, 233, 275
black servants 72, 130, 166, 212, 213, 246–7
conversation piece and ceramic decoration 212, 212, 213, 247
and Highland families 112, 113, 117, 122, 123
‘household family’ 218, 219, 222, 242–7, 248, 249
‘Bell Browne’ and Russell family 326–7, 326
Zoffany’s work 104, 106, 107, 123, 157–8, 160, 247
Seton, John Thomas 56, 109
The Chambers Family (A Conversation) 124–5, 125, 188
settings
challenges for artists 44, 45, 61, 316
information conveyed by 12
as symbol of wealth and status 29, 94, 130–33, 160, 161–5, 194
level of attention paid by artist 17
see also exterior settings and landscape; interior settings and rooms; intimate and informal settings
Seven Years’ War 113, 162, 206
sewing as activity 67, 100, 125
sexual activity and humour 299–300, 306
homosexual relationships 300–01, 306
Seymour, James 28, 55, 137
Shaftesbury, Anthony Ashley Cooper, 1st Earl of 45, 53–4, 55, 289, 307, 318, 319, 320, 376–7n.45
Sharp, Catherine 244, 307, 310
Sharp family 307–12, 308, 310, 313, 322, 327
Shaw, Reverend Stebbing 197
Shawe-Taylor, Desmond: The Conversation Piece: Scenes from Fashionable Life 8, 11, 13, 23, 203
Sheridan, Richard Brinsley: A School for Scandal stage set 87, 87
Shudi, Burkat and family 193–5, 193, 318
Siberechts, Jan: Wollaton Hall and Park 133–4, 133, 148
Simon, Robin 300
Simond, Louis 82
Sinclair, Sir John 114
Sitwell, Sir George, 4th Baronet 10–11
Sitwell, Osbert 7, 10, 330n.59
Sitwell, Sacheverell: Conversation Pieces 7–8, 10, 11, 13, 24, 149, 175, 206, 329n.28, 330n.53
Sitwell family portraits 10–11, 10
size of pictures see scale of paintings
Slaughter, Stephen: The Betts Family 240, 241
Slaughter’s coffee house, London 56, 60
Sluijter, Eric Jan 210
Smailes, Helen 239, 260
small scale of conversation pieces
and broad appeal 1–2, 8, 10, 11
as definitive of genre 18, 321
exceptions in late eighteenth century 18
practicalities for family groups 219, 232, 248
Shaftesbury’s disparagement 45
Vertue on size of works 14, 15
Smibert, John 258
Smith, Adam 186
Smith, Charles Saumarez see Saumarez Smith Smith, David 29, 96
social class
British in India and servants 104, 106, 107, 123, 247
broad spectrum of ‘conversation’ subjects 11, 12, 28–9, 123, 266, 316
in Allan’s Highland scenes 113
lower classes and appreciation of art 100–01
marriage and joining of families 230–31
mercantile elites and ‘big bourgeoisie’ 228–34, 266, 321
myth of middle-class tradesman ‘made good’ model 232, 233, 266
narrowness of designation of conversation piece as middle-class portraiture 10, 11, 12, 232, 266
snobbery and Sassoon’s nouveau riche status 5–6
and stiffness of figures in pictures 9
and tasteful interiors 187
unequal relationship of artist and young noblemen in Italy 263–4, 283
urban life and social indicators 74–5
see also elite classes; middle classes; servants
social gatherings 15
conversazione as Italian term for 27–8
extended families and friends 249
hospitality and country house views 146, 148, 160, 170
sociability and art of conversation 66–73, 190, 192, 317–18
connoisseurship and clubs and societies 255–60
young British noblemen in Italy and company of friends and peers 267–9, 272, 274–5, 321
see also friends and friendship groups; homosocial groups; wedding scenes
social relationships
broad social spectrum of subjects 11, 28–9, 123, 316
in Allan’s Highland scenes 113
‘conversation’ as circle of acquaintance 28, 43
diversity of relationships 217
see also friends and friendship groups; homosocial groups; networks; social class
societies see clubs and societies
Society of Artists exhibitions 24, 26, 55, 102, 124–5, 158, 165, 188, 202, 272, 305, 320, 321, 322
Society of Dilettanti 267, 268, 279
Society of the Virtuosi of St Luke 36, 38, 39, 255
Solkin, David 9, 11, 13, 148, 149
space and objects in conversation piece 15, 16
demands on artists’ skills 55, 61
and development of perspective 55–60, 61, 316
interiors and objects in Devis’s work 187–90
Spectator, The 36–7, 73–4, 75, 254, 255, 257, 307
Spikeman, Dick 244
sporting pieces 7, 24, 99, 135
see also fishing as activity; hunting and hunting scenes
sprezzatura and concealment of effort 73–4
stage see theatre
Stallybrass, Peter 300
standing and genteel behaviour 69, 69, 76
Stansky, Peter 5–6
Stanworth, Karen 107
Staves, Susan 225
Steele, Richard 75, 254, 255, 275
step-families and portraits 239–42
Stephanoff, James: Buckingham House: The Second Drawing Room 205, 205
Stevens, Edward 155
Stoichita, Victor 89, 90
Stone, Jeanne C. Fawtier 225
Stone, Lawrence 217, 225
Stothard, Thomas: Friars, a Conversation 26
Stourhead, Wiltshire 351n.120
Stowe, Buckinghamshire 141–2, 141, 143, 158, 168, 318
Strafford, Countess of 175
Strangways, Elizabeth 303
Straub, Kristina 244
Strode, William and family 244–5, 244, 287
‘stroll’ as activity in parkland 155–6
Strong, Roy 137, 349n.65
Stuart, John see Bute Stubbs, George 170–71
The Milbanke and Melbourne Families (A Conversation) 24, 25, 225–6, 328n.3
John and Sophia Musters Riding Past the South Front of Colwick Hall 241–2, 242
John Musters and the Rev. Philip Story Riding Out from the Stable Block at Colwick Hall 242, 243
Captain Samuel Sharpe Pocklington with his Wife Pleasance and (?) His Sister Frances 362n.
Sullivan, Luke 168
‘supporting characters’ 72, 84–5, 88, 136, 245
Swan, Abraham 192
Swift, Jonathan 73, 280
Switzer, Stephen 143
T
tableaux de mode 21, 24, 31, 129, 139, 339n.40
broad social spectrum 28–9, 317
Tadmor, Naomi 218, 222–3, 224, 242–3, 245, 249
tartan and Highland identity 114, 116, 117, 122
and Jacobite cause 113, 262
taste and connoisseurship as theme 12, 29
British collectors and Netherlandish art 209–10
and Bute’s choice of Zoffany 209
and Dundas’s choice of Zoffany 208, 209, 210
generic settings and accepted tastes 183–7
economy of ornament 186–7
Hogarth’s satirical view 183–4, 184–5, 197, 288
taste and social status 187
Grand Tourists in Italy 12, 252, 260–64, 262, 266
patrons and artistic networks 38, 39–44, 60
conversation and clubs of virtuosi 255–60, 283
virtuosi as subjects 37, 38, 39, 255–60
artists as virtuosi 255–8, 255–6, 258, 270
gentlemen as connoisseurs 259–60, 259, 283
Grand Tourists in Italy 12, 252, 260–64, 262, 266
humour in Zoffany’s work 306–7
Tave, Stuart 296, 304
Taylor, Brook: New Principles of Linear Perspective 55–6, 56
Taylor, R.: Conversation at a Country-Alehouse Window 26
tea parties and taking tea as theme 15, 50, 67, 88–9
black servants as figures in 245, 247
children and gendered activities 294–5
conversation piece and ceramic decoration 211–13, 212, 247
and customary behaviour 99, 317
inversion of customary behaviour 183–4, 184, 211–12, 247
in landscape settings 158–9, 160
objects for 175, 212–13, 212, 220, 247
and sociability and genteel behaviour 71, 72, 175, 190
tea table as symbol of politeness and wealth 29, 175, 220
telescopes 142, 145, 148
Temple, Sir William 101
temples in gardens 142–3, 144–5, 155, 157, 158, 160, 166, 167, 318
temporality see time
Teniers, David 19, 23, 25, 26, 208, 209, 210, 317
A Conversation of Monkies 24, 26
Tharp, Lars 184
theatre
deceptive appearances in plays 76, 84
paintings of theatrical performances 77–82, 91
Hogarth’s ‘play within a play’ 79–80
performance of politeness in daily life 74–7, 317
and reflexivity of artists and sitters 10, 65, 87–91, 261–3
and social indicators in urban life 74–5
portrayal of conversation on stage 65
private theatricals 80, 81–2
theatricality of figures and settings 65, 82–7
interiors and stage sets 85–7, 85–7, 91, 200
raised curtain and room as stage 65, 82–4, 91
theatrum mundi concept 65, 75, 91
Thelwall, Reverend 170–71
things see objects and possessions
Thomassin, Henri-Simon 70
Thoresby Hall, Nottinghamshire 134–5, 134
Thornton, Peter 175–6, 178, 182, 183, 186–7, 195
Three Graces arrangement of figures 254, 338n.24
Tillemans, Peter 199, 202, 220
Conversation [in] the Stile of Brower 21
Thoresby Hall 134–5, 134
time
modern or timeless detail and dress 96–8, 123–5, 318–20
moment in time nature of conversation piece 8, 61
evolving families and ‘static’ moment of portraits 239–40
impossibility and unreality of 88–91
proto-photographic argument 3–4, 9–10, 65, 195
Shaftesbury on representation of 53–4
telescoped time
display in room used as setting 11, 58, 60, 90–91, 177, 177, 194–5
family lineage and internal portraiture 234–6
present-day objects depicted in paintings 4–5, 176
views of unbuilt proposed buildings 139, 142–3
Tintoretto, Jacopo 50
Titian 47
Tobin, Beth Fowkes 247, 352n.157, 366n.149
Tompson, Jeremiah 252, 253
Tompson, Timothy 252, 253
Tonks, Henry 7
‘Tory’ view of landscape 146–7, 149
tourism
country house visiting 141, 141, 142, 169, 169
Wanstead House 198, 200–01
see also Grand Tourists in Italy
Townley, Charles 190, 206, 306, 306
Townson, Thomas 261, 262, 263–4
treatises
advice to artists
on aesthetics of arranging figures 47–8
aim of ease and naturalness in art 73, 75–6
customary or universal debate 97–8, 123–4, 318, 319–20
and design of interior space 187
on dumb show and gesture to convey meaning 67, 317
for history painting and conversation piece 45–6, 47
on management of objects in space 55
pattern books and interior settings 55, 187
Shaftesbury’s advice on representing time 53–4
on buildings and artists’ interiors 187–90, 220
on polite behaviour
art of conversation 27, 65–6, 72–3, 317–18
family matters 217–18, 223–4, 228
Nivelon’s Rudiments of Genteel Behaviour 67–71, 69, 70, 74–5, 76
trees and significance in landscapes 155, 156
and family prosperity 233–4
patriotic resonance 161
Trent Park, Hertfordshire 7, 328n.3, 357n.104
remodelling in Georgian style 5, 5
Trinquesse, Louis-Rolland: Charles Grant, Vicomte de Vaux (attrib.) 118, 119
Tucker, Abraham 295
Turnbull, George: Treatise on Ancient Painting 73
Tuscher, Marcus: The Shudi Family Group 193–5, 193–4, 217, 318
Two Essays, one on conversation, the other, on solitude. By a Gentleman of Oxford (anonymous publication) 254–5
Tylney, Earl see Castlemaine
Tyrconnel, Viscount 11, 40, 88, 130, 131, 132, 219
U
universal ideal in art 96–7, 124, 318, 319–20
upper classes see elite classes
Upper Ossory, John Fitzpatrick, 2nd Earl of, and family 155–7, 156, 169–70, 271, 272
urban life 74–5, 133
V
van Dyck, Anthony 19, 83, 202–3, 205
Van Dyckian (Vandykian) costume 52, 80–81, 81, 82, 98, 161
Vanderbank, John 38
Vanneck, Joshua and family 161, 220
Vardy, John 232
Design for the South Wall and Alcove of the Palm Room, Spencer House 188, 189
Vaumorière, Pierre d’Ortigue de: The Art of Pleasing in Conversation 66, 73, 254, 298
Vaux, Charles Grant, Vicomte de 117, 118, 119, 120, 122–3
Verelst, William: The Gough Family 94, 95, 101, 175, 176, 177, 184, 239, 240
Veronese, Paolo 50, 295
Wedding at Cana 289
Vertue, George 35–8
on ‘agreeable’ nature of conversation piece 63, 66
ease and naturalness of 73
broad use of ‘conversations’ in notebooks 19
categorisation of ‘conversations’ as genre painting 21, 22, 23
on costs of associating with artists in clubs 35–6
on Dandridge 49–50, 278, 302
on fashionable clothing and passage of time 98
first use of term and notes on conversation pieces 13–15
on Hogarth’s works 14–15, 17, 19
on Hamilton see Hamilton: Vertue on
on Hogarth’s Wollaston Family 15, 65, 98, 231, 288, 315
on Laroon as ‘Conversation painter’ 31
on models for interiors 187
and modern nature of conversation piece 93
on Nollekens 135, 199
non-artistic use of ‘conversation’ 27, 28
praise for Tuscher 193
on Rose and Crown club 258, 258, 283
on short stature of painters 35
Vickery, Amanda 186
Vidal, Mary 67
Vinckboons, David 21, 93
Music-Making Company 21
virtuosi see taste and connoisseurship as theme
Vitruvius Britannicus see Campbell, Colen
Vivares, Francis 169
W
Wales, Prince of see Frederick, Prince of Wales Walker, Thomas 39, 40, 50
Walker, William and John: St Woolstons, Kildare (after Wheatley) 169
walking as activity in parkland 155–6
wall coverings and tapestries 174–5, 177, 196–7
Wall, Cynthia 189
Walpole, Horace 50, 143, 300, 322, 331n.93, 335nn.25&35, 341n.116, 373n.146
on conversazione as Italian assembly 27
denigration of Dutch painting 380n.12
on Hogarth’s innate sense of humour 288
on improvements at Ampthill 155
on Patch’s caricatures 274, 321
on view of river from Strawberry Hill 161
on Winnington’s wit 303
on Zoffany 98, 202, 209, 305
Walpole, Sir Robert 173, 300, 303, 341n.116
Walton, Henry 47, 77
Cherry Seller 329n.33
William Crowfoot with the Burroughes Brothers 269
Wanstead House, Essex 18, 195–202
fireplace 200, 200
Ward family 226–8, 227, 230
Ware, Isaac 190
Waterhouse, Sir Ellis 7
Painting in Britain 11
Watteau, Antoine 13, 19, 25, 31, 39
fêtes galantes and conversation pieces 21–2, 87, 93, 129–30, 315
Mercier’s ‘Watteauesque’ style 22–3, 40, 129–30, 315
self-portrait in work 87
L’Amour Paisible and reproductions of The Pastoral Conversation 13, 14, 22
La Conversation 22, 23
Figures de Mode 70
L’île de Cythère 228, 339n.40
Italian Comedians 22
Les Plaisirs du Bal 22, 23
Shepherds 289
Watts, William: Seats of the Nobility and Gentry 169
Waugh, Evelyn 5
wax models 50
wealth
and activities depicted in pictures 50
ambivalent attitudes to 12
avoidance of ostentation 186
association of conversation piece with 10, 11–12, 29, 194, 209, 330n.67
landscape setting and view of house and estate 130–33, 151–2, 160, 161–5
marriage as alliance of wealth and power 228–34
‘big bourgeoisie’ 231–4, 248–9, 266, 321
networks in portraits 12
objects as symbols of wealth and status 29, 50, 94, 105, 130, 175, 194
Child’s display at Wanstead 198–9
Zoffany’s attention to detail in Dundas portrait 209, 210, 319
property and position of women 224–5, 226, 240
and servants in family portraits 245, 247
see also country houses and estates; elite classes; objects and possessions
Weatherill, Lorna 175
Weaver, John 341n.103
Webber, John 101
Webster, Mary 47, 202, 322
wedding scenes 112–13, 112, 114–15, 224
see also marriage and betrothal portraits
Wedgwood objects in homes 100, 100 queensware teapot 212, 247
West, Robert: Thomas Smith and His Family 72, 72, 82, 247
West, Shearer 8–9, 239, 364n.78
Wheatley, Francis 17, 18, 27, 77, 107, 151, 316
as heir to Zoffany and works in Zoffany’s style 165–9
conversation pieces in Ireland 167–9
estate portraits 169, 169
The Marquess and Marchioness of Antrim 167–8, 168, 171
The Browne Family 130, 167, 167
A Family Group in a Landscape 164, 165–6
The Irish House of Commons 167
The Oliver and Ward Families 226–8, 227, 230
Portraits of a Family; Small Whole-Length 166–7
Mr and Mrs Richardson (Portraits of a Family; Small Whole-Length) 166, 167, 171
St Woolstons, Kildare 169, 169
View of College Green with a Meeting of the Volunteers 167
View Near Ivy Bridge, Devonshire 166–7
The Wilkinson Family 167, 171
Whichcote, Frances 51–3, 52–3, 54
Whigs 173, 300, 322
Whistler, Rex
Trent Park with Philip and Sybil Sassoon 7, 7 portrait of Mr and Mrs Tritton 7
White, Allon 300
Wilkes, John 114, 115, 162
Wilkes, Wetenhall 223, 228
Willemin, Reverend Peter Lewis 303, 305, 313, 327
Williams, Charles Hanbury 300
Williams, John 26
Williamson, George C.
Apollo review of Sassoon’s exhibition 4
English Conversation Pictures (commemorative book of exhibition) 5, 6, 7, 88
Williamson, Tom 130–31, 156
Willoughby de Broke, John Verney, Baron, and
family 4–5, 4, 176, 202, 206
Wills, James 56
Wilmot-Sitwell, Caddy 206–7
Wilson, Benjamin 56, 77, 100, 157, 211
Wilson, G.: Warm Conversation 26
Wilson, Richard 154, 283
Winnington, Thomas 300, 301, 302–3, 304
Witt, Robert 7
Wollaston, William 15, 231, 232
see also Hogarth, William: The Wollaston Family
Wollaton Hall and Park, Nottingham 133–4, 133, 148
Wootton, John 39
The Shooting Party 40, 43
Woronzow, Catherine 196
Worsdale, James 56
The Limerick Hell Fire Club 279, 279, 280–81, 282
Wright, Joseph, of Derby 283, 284
A Conversation of Girls 24, 26
Wynne, Thomas 18, 267–9, 268
Y
York, Duke of see Edward, Duke of York
Young, William and family 80, 81–2, 81, 247
Z
Zoffany, Johan 11, 18, 27, 80–82
anti-Semitic comments on work 8, 319
collaborative work 55
comparison of pictures to aquariums 9
and decorative arts 210–11
elite clients 11–12
exhibition of conversation pieces 321–2
fashionable dress and attention to detail 98, 318
Hogarth’s works in collection and influence 307, 310
humour in work 305–12, 313
inventive approach to reality 202–9
national characteristics and work in India 29, 96, 102–7, 113, 247, 316
props to furnish works 202
revival of early conversation piece tradition 17, 96, 123, 316
exterior settings and landscape 157–69
humour in work 289
Sassoon’s admiration 2
self-portrait in works 87
Sitwell on 8, 330n.60
successors on departure for Italy and India 17, 165
theatrical paintings 77, 305
Walpole on 202, 209, 305
Wheatley’s works in style of 165–9
The Family of John, 3rd Duke of Atholl 47, 115–17, 116, 192–3, 217
The Auriol and Dashwood Families 247, 248
William Berry Introduced as Heir to Raith 87, 374n.174
Colonel Blair with His Family and an Indian Ayah 104–7, 106, 123
The Bradshaw Family 165–6, 165, 322, 362n.28
Queen Charlotte with her brothers and children 18, 77, 362n.28
Queen Charlotte with Her Two Eldest Sons 8, 202–4, 203, 205, 206
The Colmore Family 328n.3, 357n.104, 362n.28
Mr and Mrs Dalton and their Niece Mary de Heulle 363n.43
The Drummond Family 5, 176, 232–4, 233, 245
Sir Lawrence Dundas with His Grandson 206–9, 207–8, 210, 319
The Dutton Family 8, 359n.162
Embassy of Hyder Beg Khan to Calcutta 102, 103, 104
The Farmer’s Return with Garrick 157–8, 378n.116
The Garden at Hampton House with Mr and Mrs Garrick Taking Tea 8, 158, 159, 160, 243
Garrick’s Nieces in the Garden at Hampton 159
George III, Queen Charlotte and Their Six Eldest Children 81, 98, 99
George, Prince of Wales, and Frederick, Later Duke of York, at Buckingham House 202–3, 204, 205–6
The Gore Family with George, 3rd Earl Cowper 225, 226, 328n.3
The Impey Family 104, 105, 106, 107, 123, 247
Colonel Mordaunt’s Cock Match 305
The Nugent Family (A Family Piece) 322–3, 323
Colonel Antoine Polier, Claude Martin and John Wombwell with the Artist 305
The Royal Academicians 283, 369n.53
The Sayer Family 157, 157
The Sharp Family 47–8, 219, 244, 249, 307–12, 308, 310, 313, 316, 321, 322, 327
The Sondes Children 157, 157
The Temple to Shakespeare at Hampton House with Mr and Mrs Garrick 8, 158, 158, 160, 170
Three Daughters of John, 3rd Earl of Bute 161, 163, 164–5, 292
Three Sons of John, 3rd Earl of Bute 161, 162, 164–5, 292
Tiger Hunting in the East Indies 103–4, 103
Charles Townley and Friends in His Library at Park Street, Westminster 206, 256, 306, 306
The Tribuna of the Uffizi 206, 256, 256, 260, 275, 305, 306–7, 313
A View of Hampton House and Garden and David Garrick Sitting on the Lawn Reading 159
Lord Willoughby de Broke and His Family 4–5, 4, 176, 202, 206, 218, 322
The Family of Sir William Young 80, 81–2, 81, 247, 328n.3
Zucchi, Antonio 177, 178