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THE ARTISTIC and LITERARY CAREER of CHARLES JERVAS (C.1675-1739)

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THE ARTISTIC and LITERARY CAREER of CHARLES JERVAS (C.1675-1739) THE ARTISTIC AND LITERARY CAREER OF CHARLES JERVAS (c.1675-1739) by CAROLINE PEGUM A thesis submitted to The University of Birmingham for the degree of MASTER OF PHILOSOPHY Department of Art History School of Languages, Cultures, Art History and Music College of Arts and Law The University of Birmingham October 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. The Artistic and Literary Career of Charles Jervas (c.1675-1739) Thesis under the supervision of (successively) Professor Shearer West and Dr Paul Spencer-Longhurst Charles Jervas (c.1675-1739) was an Irish-born portrait painter who rose to the position of Principal Painter to King George I and II, succeeding his former teacher Sir Godfrey Kneller. His life and career have hitherto evaded a comprehensive study, possibly a legacy of the ridicule to which his person and oeuvre have long been subjected. The purpose of this study is to reassess the course and nature of Jervas’s career, and particularly in relation to three distinct patron groups; Sir Robert Walpole and his fellow-Whigs; the royal family and court; and William Digby, 5th Baron Digby of Geashill. In spite of his successful artistic career in London and Ireland, Jervas has often been remembered primarily for his friendships with literary contemporaries (most importantly Alexander Pope) rather than his artistic practice or his own writings. Jervas’s literary achievements, most famously his new translation into English of Cervantes’ Don Quixote (1742) are critically reassessed. A detailed biography, exploration of the artist’s extended period of training in continental Europe (1698-1708/09) and an illustrated catalogue raisonné of Jervas’s oeuvre are included in the scope of the present study. ‘Of Jervas only future Times shall tell None practis’d better, none explaind so well Thou only sawst what others coud not know; Or if they saw it, only thou canst show’. Alexander Pope, extract from initial draft of poem To Mr. Jervas, c.1715. ‘…between the badness of the age’s taste, the dearth of good masters, and a fashionable reputation, Jervas sat at the top of his profession’. Horace Walpole, Anecdotes of Painting in England, Strawberry Hill, 1771, vol. 4, pg. 12. Contents Vol. 1 Introduction pg. 1 Chapter 1 Jervas’s continental travels 1698-1708/09 pg. 46 Chapter 2 Jervas’s patrons: Robert Walpole and his Whig allies pg. 74 Chapter 3 Jervas’s court patronage, and appointment as Principal Painter pg. 87 to the King Chapter 4 Jervas’s patrons: The Digby family of Coleshill, Warwickshire pg. 106 and Sherborne Castle, Dorset Chapter 5 Jervas’s literary associations and achievements pg. 113 Conclusion pg. 144 Appendix A Untitled draft version of Pope’s ‘To Mr. Jervas’ pg. 148 Appendix B ‘To Mr. Jervas, with Fresnoy’s Art of Painting, pg. 150 Translated by Mr. Dryden’, by Alexander Pope, published 1716 Bibliography pg. 154 Illustrations pg. 177 List of illustrations Introduction Fig a. 19th century map of King’s county (co. Offaly). pg. 177 Fig b. Jervas’s family tree pg. 178 Fig c. Map of New Jersey. pg. 180 Fig d. St Benet Paul’s Wharf, Queen Victoria St, London. pg. 181 Fig e. Richard Blome’s ‘Parish of St. James’s Westminster’, c.1689. pg. 182 Fig f. John Rocque’s ‘Plan of the cities of London and Westminster, and pg. 183 borough of Southwark’, dated 1746, published in 1747. Fig g. View of the south façade of Bridgwater House, facing onto pg. 184 Cleveland Court, 1795, Fig h. Ordnance Survey 1:1,056 map of Westminster area (sheet 7, sub pg. 185 sheet 82), dated 1894-96. Fig I. Panorama of Cleveland Court, June 2009. pg. 186 Fig j. Ordnance Survey 1:25,000 map of Hampton (sheet 25, sub sheet 7), pg. 187 dated 1862-1868. Fig k. Photograph of The Elms after the fire of 1913. pg. 188 Fig l. A modern view of Woodbroke House, near Portarlington, Co. Laois. pg. 189 Fig m. Title page of Jervas’s sale of pictures, 11 – 20 March 1739/40. pg. 190 Fig n. Gerard Vandergucht’s frontispiece for the John Heath sale catalogue. pg. 191 Fig o. Gerard Vandergucht’s frontispiece (detail). pg. 192 Fig p. Sketch after a Van Dyck family portrait, formerly in Jervas’s collection. pg. 193 Fig q. Advertisement in the newspaper Collection for Improvement of Husbandry pg. 194 and Trade, which appeared on 29 March, 26 April and 16 August 1695. Chapter 1 Jervas’s continental travels 1698-1708/09 Fig 1a. Matthew Prior CR P17 pg. 195 Fig 1b. The Death of Ananias, after Raphael’s cartoon in Hampton Court. pg. 196 Engraved by Gérard Audran (1640-1703) c.1698-1703, after a drawing by Jervas. Fig 1c. Paul and Barnabas at Lystra, after Raphael’s cartoon in Hampton Court. pg. 197 Engraved by Gérard Audran (1640-1703) c.1698-1703, after a drawing by Jervas. Fig 1d. Jervas’s plan of the Stanze di Raffaello in the Vatican, sent to George pg. 198 Clark 28 November 1699. Fig 1e. ‘The Death of Germanicus’ (1627) by Nicolas Poussin (1594-1665). pg. 199 Fig 1f. Charles Talbot, 1st Duke of Shrewsbury (1660-1718) after pg. 200 Sir Godfrey Kneller. Fig 1g. ‘The Transfiguration’ (1516-1520) by Raphael (1483-1520). pg. 201 Chapter 2: Jervas’s patrons: Robert Walpole and his Whig allies Fig 2a. Robert Walpole CR W20 pg. 202 Fig 2b. The Holy Family with Ss Elisabeth and John the Baptist’ (1650s) pg. 203 by Nicolas Poussin (1594-1665). Fig 2c. Walpole family tree. pg. 204 Fig 2d. Townshend family tree. pg. 205 Fig 2e. ‘Deer, Dog and Cat’ CR Nonp1 pg. 206 Fig 2f. ‘Pope Clement IX’ (1669) by Carlo Maratti. pg. 207 Fig 2g. ‘Venus Resting in a Landscape’ attributed to Andrea Sacchi (1599-1661). pg. 208 Fig 2h. Catherine Walpole née Shorter CR W4 and Dorothy Townshend née pg. 209 Walpole CR T17 Fig 2i. The Dining Room of Wolterton Hall, Norfolk, 2008. pg. 210 Chapter 3 Jervas’s court patronage, and appointment as Principal Painter to the King Fig 3a. Cartoon Gallery at Hampton Court Palace, 1819. pg. 211 Fig 3b. Thomas Pelham-Holles, 1st Duke of Newcastle (1693-1768), CR P10 pg. 212 Fig 3c. Jervas’s copies of his coronation portraits of King George II and pg. 213 Queen Caroline CR G37, C30 Fig 3d. Queen Caroline (1683-1737) and her son William Augustus (1721-1765), pg. 214 Duke of Cumberland, CR C52 Fig 3e. Four portraits by Jervas commissioned by Queen Caroline. pg. 215 Fig 3f. King George II on horseback, the figure by Jervas, the horse and pg. 216 landscape by John Wooton, 1732. CR Coll2 Fig 3g. Sir John Brownlow (1690-1754), 1st Viscount Tyrconnel CR B26 pg. 217 Fig 3h. George Brudenell (1685-1732), 3rd Earl of Cardigan CR B30 and pg. 218 Elizabeth Brudenell née Bruce (1689-1745), Countess of Cardigan CR B27 Chapter 4 Jervas’s patrons: The Digby family of Coleshill, Warwickshire and Sherborne Castle, Dorset Fig 4a. William, 5th Baron Digby (1661/2-1752) CR D4 pg. 219 Fig 4b. Alexander Pope’s epitaph on the tomb of Robert and Mary Digby, pg. 220 children of William, 5th Baron Digby. Fig 4c. Robert Digby (c.1692-1726) CR D3 pg. 221 Fig 4d. Mary Digby (c.1690-1729) CR D2 pg. 222 Fig 4e. An unidentified woman of the Digby family, probably one of pg. 223 Lord Digby’s daughters CR D6 Fig 4f. An unidentified woman of the Digby family, probably one of pg. 224 Lord Digby’s daughters CR D7 Fig 4g. Frances Scudamore (1684-1729) and her daughter Frances CR S4 pg. 225 Fig 4h. Digby family tree. pg. 226 Fig 4i. Charles Jervas self-portrait, 1725 CR J3 pg. 227 Fig 4j. A gentleman, possibly Martyn Baldwin (1651-1725), Jervas’s pg. 228 maternal uncle CR B5 Chapter 5 Jervas’s literary associations and achievements Fig 5a. Dean Swift by Jervas CR S22 pg. 229 Fig 5b. Thomas Betterton (1635-1710) by studio of Kneller and the copy by pg. 230 Alexander Pope. Fig 5c. Notice in the London Gazette of Saturday 10 April 1725 announcing pg. 231 the imminent publication of Pope’s Odyssey Fig 5d. Title page of John Dryden [and Charles Jervas] (transl), The Art pg. 232 of Painting: by C A du Fresnoy with Remarks, London, 1716. Fig 5e. Title page of Niccolò Machiavelli [and Charles Jervas (transl)], pg. 233 The Marriage of Belfagor, Dublin 1719. Fig 5f. Frontispiece by John Vanderbank (1694-1739) of Miguel de Cervantes pg. 234 Saavedra and Charles Jervas [Jarvis] (transl), The Life and Exploits of the ingenious gentleman Don Quixote de la Mancha, London, 1742. INTRODUCTION Charles Jervas is a remarkably overlooked figure within British (and Irish) art history. For a portraitist with such an eminent range of patrons and equally celebrated literary friends he has hitherto evaded close scrutiny. Previous scholarship has consistently (and contentedly) presented him as having obscure familial/social origins, a ruthless ability to nurture advantageous contacts (which is used to explain his professional success), and an unpleasantly inflated sense of his own talents.
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