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John Collet (Ca JOHN COLLET (CA. 1725-1780) A COMMERCIAL COMIC ARTIST TWO VOLUMES VOLUME I CAITLIN BLACKWELL PhD University of York Department of History of Art December 2013 ii ABSTRACT This thesis focuses on the comic work of the English painter John Collet (ca. 1725- 1780), who flourished between 1760 and 1780, producing mostly mild social satires and humorous genre subjects. In his own lifetime, Collet was a celebrated painter, who was frequently described as the ‘second Hogarth.’ His works were known to a wide audience; he regularly participated in London’s public exhibitions, and more than eighty comic prints were made after his oil paintings and watercolour designs. Despite his popularity and prolific output, however, Collet has been largely neglected by modern scholars. When he is acknowledged, it is generally in the context of broader studies on graphic satire, consequently confusing his true profession as a painter and eliding his contribution to London’s nascent exhibition culture. This study aims to rescue Collet from obscurity through in-depth analysis of his mostly unfamiliar works, while also offering some explanation for his exclusion from the British art historical canon. His work will be located within both the arena of public exhibitions and the print market, and thus, for the first time, equal attention will be paid to the extant paintings, as well as the reproductive prints. The thesis will be organised into a succession of close readings of Collet’s work, with each chapter focusing on a few representative examples of a significant strand of imagery. These images will be examined from art-historical and socio-historical perspectives, thereby demonstrating the artist’s engagement with both established pictorial traditions, and ephemeral and topical social preoccupations. iii TABLE OF CONTENTS Volume I Title Page ....................................................................................................................... i Abstract .......................................................................................................................... ii Contents ......................................................................................................................... iii List of Illustrations ......................................................................................................... iv Acknowledgements ........................................................................................................ xxiii Author’s Declaration ...................................................................................................... xxiv Introduction .................................................................................................................... 1 Chapter 1: The Comic Countryside................................................................................ 28 Chapter 2: Imitation and Emulation ............................................................................... 78 Chapter 3: Violence, Laughter, and the Street ............................................................... 143 Chapter 4: Feathers, Fashion, and Female Beauties ...................................................... 195 Epilogue: The Death of the Commercial Comic Artist .................................................. 251 Appendix I: Catalogue of Extant Original Works.......................................................... 280 Appendix II: Catalogue of Extant Prints ........................................................................ 286 Appendix III: List of Exhibited Works .......................................................................... 297 Abbreviations ................................................................................................................. 302 Bibliography i. Primary Sources ........................................................................................... 304 ii. Secondary Sources ....................................................................................... 312 iii. Digital Sources ............................................................................................. 329 iv LIST OF ILLUSTRATIONS Introduction 1. John Goldar after John Collet, Thomas Bradford publisher. The Canonical Beau, or Mars in the Dumps, 1768, British Museum, London (photo: © Trustees of the British Museum). 2. Gérard Jean Baptiste Scotin after William Hogarth. “The Marriage Settlement,” Plate 1 from Marriage a la Mode, 1745, British Museum, London (photo: © Trustees of the British Museum). Chapter 1 1.1. John Collet. River Scene, ca. 1760-1770, Victoria and Albert Museum, London (photo: Beatrice Bertram). 1.2. James Caldwell after John Collet, Robert Sayer and John Smith publishers. The Gipsies, 1770, British Museum, London (photo: © Trustees of the British Museum). 1.3. Andrea Casali. Edward Martyr Being Stabbed in the Back in the Presence of Elfredo at Corfe Castle, ca. 1760, Burton Constable Hall, Yorkshire (photo: Courtesy of BBC Your Paintings). 1.4. George Smith. Landscape, ca. 1760, Cheltenham Art Gallery & Museum, Cheltenham. (photo: Courtesy of BBC Your Paintings). 1.5. William Hogarth. The Enraged Musician, 1741, British Museum, London (photo: © Trustees of the British Museum). 1.6. Detail of The Gipsies. See 1.2. 1.7. Detail from William Hogarth. The Jones Family, ca. 1730, National Museum, Wales (photo: Courtesy of BBC Your Paintings). 1.8. Thomas Major after David Teniers the Younger. A Flemish Wake, 1752, Hunterian Museum and Art Gallery, Glasgow (photo: Courtesy of Hunterian Collection online). 1.9. Housebook Master (Master of the Amsterdam Cabinet). Gypsy Family, ca. 1475, Rijksmuseum, Amsterdam. Drypoint (photo: Holberton, 1995: 383). v 1.10. David Teniers the Younger. The Gypsies, ca. 1650-1690, Musée des Beaux-Arts, Lille (photo: Courtesy of http://www.repro-tableaux.com). 1.11. Thomas Gainsborough. Landscape with Gipsies, ca. 1753, Tate Britain, London (photo: © Tate, London). 1.12. Simon de Vos. The Fortune Teller,1639, Koninklijk Museum voor Schone Kunsten, Antwerp (photo: Courtesy of http://www.kikirpa.be). 1.13. The Chequer’d World’s Before thee Go… 1753, British Museum, London (photo: © Trustees of the British Museum). 1.14. Antoine Watteau La Diseause d’aventure (The Fortune Teller), 1710, oil on canvas (ca. 1710), Fine Arts Museum of San Francisco (photo: http://www.topofart.com). 1.15. George Bickham after Antoine Watteau. Falsehood, illustration from the Universal Penman, 1740, British Library, London (Bickham, 1743: 41). 1.16. Edward Ryley after Antoine Watteau. The Fortune Teller, 1754, British Museum, London (photo: © Trustees of the British Museum). 1.17. Chelsea Porcelain Manufactory, Figurine after Francois Boucher. Fortune Teller, ca. 1760, British Museum, London. Porcelain (photo: © Trustees of the British Museum). 1.18. Francis Vivares after Francis Hayman, Thomas Bowles, publisher. The Fortune Teller or Casting the Coffee Grounds, 1743, British Museum, London (photo: © Trustees of the British Museum). 1.19. William Jones. The Fortune Teller, ca. 1740, Private Collection (photo: Courtesy of http://www.fineartbase.com). 1.20. Francis Hayman. The Milkmaid’s Garland or Humours of May, 1741-1743, Victoria and Albert Museum, London (photo: © Victoria and Albert Museum). 1.21. John Goldar after John Collet, Robert Sayer and John Smith, publishers. Female Nude, 1770, British Museum, London (photo: © Trustees of the British Museum). 1.22. Charles Grignion after John Collet, Robert Sayer and John Smith, publihsers. Female Nude, 1770, British Museum, London (photo: © Trustees of the British Museum). vi 1.23. Charles Grignion after John Collet, Robert Sayer and John Smith, publishers. Female Nude, 1770, British Museum, London (photo: © Trustees of the British Museum). 1.24. Album containing incomplete first installment of Collet’s Designs both Serious and Comic, ca. 1770, Burton Constable Hall, West Yorkshire (photo: Courtesy of Burton Constable Hall). 1.25. Edward Rooker after John Collet, Robert Sayer and John Smith, publishers. Plate 1, Collet’s Designs…, 1770, Burton Constable Hall, West Yorkshire (photo: Courtesy of Burton Constable Hall). 1.26. Samuel Smith after John Collet, Robert Sayer and John Smith, publishers. Plate 3, Collet’s Designs…, 1770, Burton Constable Hall, West Yorkshire (photo: Courtesy of Burton Constable Hall). 1.27. Samuel Smith after John Collet, Robert Sayer and John Smith, publishers. Plate 4, Collet’s Designs…,1770, Burton Constable Hall, West Yorkshire (photo: Courtesy of Burton Constable Hall). 1.28. William Byrne after John Collet, Robert Sayer and John Smith, publishers. Plate 6, Collet’s Designs…, 1770, Burton Constable Hall, West Yorkshire (photo: Courtesy of Burton Constable Hall). 1.29. John Collet. Landscape with Ruined Abbey and Figures, ca. 1770, Private Collection. Oil (photo: Courtesy of Dreweatts & Bloomsbury Auctions). 1.30. George Lambert. Classical Landscape with Fishermen, 1743, Private Collection (Einberg, 2001: 149). 1.31. Claude Lorraine. A Sunset or Landscape with Argus Guarding Io, date unknown, Holkam Hall, Norfolk (photo: Courtesy of http://www.magnoliabox.com). 1.32. Francois Boucher. The Bridge, 1751, Louvre, Paris (photo: Courtesy of photo: Courtesy of Wikipedia). 1.33. George Lambert. English Farm with Labourers, 1757, Foundling Museum, London (photo: Courtesy of http://www.art-prints-on-demand.com). 1.34. James Mason after George Lambert, John Boydell publisher. Detail from a Picture Presented to the Foundling Hospital (i.e. An English Farm with Labourers),
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