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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ‘This Painted Child of Dirt’: Dissident Aristocratic Masculinities in early Eighteenth-Century British Portraiture, 1717-1745 By Eric J. Weichel, B.A. (Hons.) A thesis submitted to The Faculty of Graduate Studies and Research In partial fulfillment of The requirements for the degree of Masters of Arts Department of Art History Carleton University Ottawa, Canada 2007 © Copyright Eric J. Weichel, 2006 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 978-0-494 - 33778 Canada Canada Your file Votre reference ISBN: Our file Notre reference ISBN: NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce,Canada de reproduire, publier, archiver, publish, archive, preserve, conserve,sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Nntemet, preter, telecommunication or on the Internet,distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform,et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission. In compliance with the Canadian Conformement a la loi canadienne Privacy Act some supporting sur la protection de la vie privee, forms may have been removed quelques formulaires secondaires from this thesis. ont ete enleves de cette these. While these forms may be includedBien que ces formulaires in the document page count, aient inclus dans la pagination, their removal does not represent ii n'y aura aucun contenu manquant. any loss of content from the thesis. B+S Canada Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Abstract Portraits of Lord John Hervey (1696-1743) and the ‘coterie’ of men associated with the court of George II of England are examined to demonstrate that their likenesses contain traces of dissident performances of masculinity. Artists under discussion include William Hogarth, Enoch Seeman, Jean-Baptiste van Loo, and the miniaturist C.F. Zincke. The appearance, demeanour and costuming of Hervey’s circle in their portraiture illustrates the kinds of gendered subversion that early 18a'-century portraiture can express. Drawing on archival research, I argue that the juxtaposition of biographical detail with art historical analyses of early Georgian portraiture contributes to a more sensitive, inclusive and historically accurate understanding of these men and their milieu. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Acknowledgements To the Trustees of the Muriel Folger Art History Travel Fund, and to the administrators of the Graduate Studies Travel Bursary, to whom I shall always remain grateful. I am also indebted to the kind and helpful staff at the Bury St. Edmunds branch of the Suffolk Royal archives, and to the wonderful people at Ickworth House, especially Neil Robinson, House Manager, and to the merciful member of his staff who drove me back to the Station one wet afternoon in Suffolk. I am so thankful for the encouragement and advice of Dr. Jill Carrick, my thesis supervisor, without whom this project would not have been possible, and to Dr. Ming Tiampo, for all her help and guidance. To Anna Khimasia, thank you for being an inspiration, a role model, and a muse. To Lord John Hervey himself, for the sheer courage of the man, I am truly grateful. To Kristin Bell- Murray, thank you for providing support. To Kori, whose patience and long-suffering over the past two years can never fully be repaid, I can never say thank you enough. And above all, to my parents, Norm and Lorraine Weichel, I can never fully express a sense of my gratitude, my love, and my respect. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Table of Contents Abstract Pg-« Acknowledgements pg. iii Table of Contents pg. iv List of Figures Pg-v Introduction Pg-1 Chapter One pg. 19 Chapter Two pg. 45 Chapter Three pg. 74 Conclusion pg.108 Figures pg. 119 Bibliography pg. 136 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. V List of Figures Figure One Enoch Seeman John Lord Hervey, Son to the Earl o f Bristol c. 1717-1730 Oil on Canvas, Full-length Private Collection, Melbury Flouse, U.K. Figure Two John Fayram Lord John Hervey as Vice-Chamberlain 1727-1730 Oil on Canvas, Three-Quarter Length National Trust: Ickworth House, Horringer, Suffolk, U.K. Figure Three John Fayram Bath Cross 1739 Drawing, 23.8 X 19 cm Victoria Art Gallery, Bath, U.K. Figure Four Studio of Jean-Baptiste van Loo John Hervey, Baron Hervey of Ickworth as Lord Privy Seal c. 1740-1741 Oil on Canvas, Full Length National Portrait Gallery, London, U.K. Figure Five Studio of Jean-Baptiste van Loo John Hervey, Baron Hervey of Ickworth as Lord Privy Seal c. 1740-1741 Oil on Canvas, Full Length Present Location Unknown Figure Six Enoch Seeman Stephen Fox c.1727 Oil on Canvas, Full Length, 127 x 103 cm. Present Location Unknown Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure Seven Brown (Agent at Redlynch) Lord Ilchester, Neddy Digby, Richard Cox and Delia 1744 Oil on Canvas Private Collection, Melbury House, U.K. Figure Eight George Knapton The Honourable John Spencer and his Son 1745 Oil on Canvas, Full Length Private Collection, Althorp, Northamptonshire, U.K. Figure Nine Christian Frederich Zincke Lord John Hervey 1723 Enamel, miniature. Present location unknown: Formerly at Ickworth House, Suffolk, U.K. Figure Ten Christian Frederich Zincke Stephen Fox Before 1728 Enamel, miniature, 1 W oval Sherboume Castle, U.K. Figure Eleven Christian Frederich Zincke Henry Fox c.1730 Enamel, miniature Present location unknown: formerly at Ickworth House, Suffolk, U.K. Figure Twelve Christian Frederich Zincke Lord Thomas Winnington Enamel, miniature, 44 mm. x 38 mm. National Portrait Gallery, London, U.K. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure Thirteen Sir Godfrey Kneller Charles Fiztroy, 2nd Duke o f Grafton 1703-1705, Oil on Canvas, ‘Kit-Cat’ format, 91.4 cm x 71 mm National Portrait Gallery, London, U.K. Figure Fourteen Johann Lorenz Natter John, Lord Hervey 1729 Engraved Gem National Trust: Ickworth House, Horringer, Suffolk, U.K. Figure Fifteen Edme Bouchardon John, Lord Hervey 1729 Marble, 76.2 cm National Trust: Ickworth House, Horringer, Suffolk, U.K. Figure Sixteen William Hogarth Hervey Conversation Piece, or Holland House Group c.1740 Oil on Canvas, 101.6 x 127 cm. National Trust: Ickworth House, Horringer, Suffolk, U.K. Figure Seventeen Carle van Loo Lord William Bateman, 1st Viscount Bateman c. 1739-1744 Oil on Canvas, 80.3 x 64.5 cm. Rafael Yalls Limited Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1 Introduction “I shall renew my attack when you come to town,” writes Lord John Hervey (1696- 1743), heir of the 1st Earl of Bristol, to young Henry Fox (1705-1774) in 1727, shortly after making his acquaintance at the resort town of Bath, where many courtiers fled from time to time to enjoy, under the veil of health-seeking treatments, aristocratic sociality unfettered by the heavy restraints of life at court. “I shall ply you frequently with Letters to keep a place in Your Remembrance tho’ I lose ground
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