|
The Reverend James Wills c 1705 - d. 1776 British Portrait Artist
The Life and Works of James Wills Complete Biography and Catalogue Raissone By David Freeman
|
HOME |
|
|
|
The artist Johan Zoffany gives us a tantalising view of an 18th century art school in his unfinished depiction of a life drawing class at the St. Martins Lane Academy in London. But one cannot be more intrigued by this rare glimpse of a young man at the back of the room obviously tutoring students of the arts and wonder if we are seeing a very young artist called the Reverend James Wills? |
A Painting, Poesy so similar Wills 1754 |
|
|
James Wills By David Freeman |
Documenting the life and work of the British artist James Wills is an ongoing and challenging journey for me. One compounded by scant if not misleading historical records, factual omissions and duplications. It's a task akin to being presented with 1,000 piece jigsaw puzzle of one of his fine portraits in oils to complete. But this one presenting itself with only one corner, two straight edges and a handful of middle sections to piece together. To make it more challenging, the jig saw is all plain blue, each piece giving us tantalising glimpses of eyes, hands and drapery to start the jig saw puzzle with.
Authors and commentators of art history have cited James Wills death date as being in the latter part of 1777. However, the Parish burial record for this sad event is quite specific and places the funeral at St. Lawrences church in Little Stanmore, Middlesex, on August 22nd 1776. This is the place where James Wills had been both curate and the incumbent vicar for several years and where full circle, George Frideric Handel was employed as composer in residence at the church. Here was a man whose charity for impoverished musicians James Wills strove to assist, way back in his days connected with the Foundling Hospital and James Wills would undoubtedly have seen him perform the Messiah there, possibly at his first benefit concert for the Hospital in 1749.
James Wills - The Early Years:
James Wills was likely born in London in 1705 and into a wealthy family. It was here that he attended a public school which gave him a thorough grounding in the classics and specifically Latin. This was a subject in which he was an outstanding scholar. During his life, Wills was married at least twice, latterly on 17th November 1759 to Ann Bland from Holborn in London and a widow herself.
|
It seems fairly certain that the young James Wills, the future British historical painter and portraitist, with what he called ‘a passion for history painting'' was in Italy around 1722. His name appears listed at the Padua University records of 22. 9. 1722.
What is known about the artist James Wills, is that a pastel self portrait was acquired by the Florentine collector Niccolò Francesco Maria Gaburri (1676-1742) in that same year. Here is a man it is believed, probably assembling his auto portrait collection in order to record the images of artists for a future dictionary of painters. In time, this important collection would be lent to an exhibition in 1737 at SS Annunziata in Florence. |
|
Veduta della Piazza Firenze (Tuscany, Italy) Piazza SS.Annunziata. |
In the eighteenth century, a visit to Italy was considered by many as essential in the career of a painter. Although contemporary Italian painting was not as prestigious as before. Rome however was still the artistic centre of continental Europe and attracted many artists eager to complete their training and to find patrons among the aristocrats on the Grand Tour.” |
It is not known how long James Wills stayed in Italy, but by 1737 James Wills, who latterly gave up his art and turned to the Church, was back in England and paints his earliest known portrait in oils to date. A picture of his friend, the antiquary the Reverend Thomas Birch; D. D. (1705-1766) Secretary to the Royal Society and a painting which in turn becomes the model for two published mezzotints. (one seen below) |
||
^ Rev Thomas Birch DD (1705–1766) Trustee of the British Museum Secretary to the Royal Society. Half-length portrait in black clerical robes by James Wills 1737. Oil on canvas, 91.8 x 71.2 cm Collection: The Royal Society |
Above: : Thomas Birch By John Faber Jr, after James Wills Paper size 14 1/8 in. x 10 1/4 in. 361 mm x 262 |
The St Martin’s Lane Academy
|
St Martins Lane Academy C 1740 |
As a young man recently returned from the Continent, James Wills, like many artists, frequented Old Slaughter’s coffee house in London’s fashionable Covent Garden. This was one of the most famous of all the Georgian London social meeting places. A place where Britain’s artists and intellectuals would meet and a venue where James Wills would in turn befriend the influential British artist, William Hogarth. The result of that profound encounter was that James Wills became both a Director and Tutor to the newly formed St Martin’s Lane Academy, the organisation which, back then was really the first dedicated British Art School.
|
|
|
After its re formation in 1735, the St Martin’s Lane Academy became a hive of activity and the breeding ground for Britain’s upcoming artists, including architects, potters, designers and print makers. Included on that list were people such as the young Thomas Gainsborough, Francis Coates, Thomas Hudson, George Knapton, Robert Maberly and John Shackleton the Principal Painter in Ordinary to the King of England. There were also were clerics, nobles and business men.
"The academy for the study of painting & other artists is carryd on and conducted by several, Ellis, Hayman, Gravelot, Wills— &c..."
Its primary art tutors listed there were listed as being: Wm. Hogarth, who had no official role, Francis Hayman RA (1708/2 February 1776) who was in charge of History painting, Hubert François Gravelot 1699/1773, concentrated on teaching Drawing. George Michel Moser (1706/1783) was in charge of the art of ‘Chasing’ and Louis-François Roubiliac (more correctly Roubillac) (1702/1705) Sculpture. Richard Yeo. RA (ca 1720/1779) the engraving of seals. There is an unnamed painter in attendance who was likely George Lambert (1700 /30 November 1765) who taught landscape painting and James Wills, who was also the treasurer, taught not unusually, portrait painting. |
|
Hogarth. |
|
Clearly James Wills was seen and accepted as both a proven and a talented artist. Not only by artist William Hogarth but his immediate peers and was justifiably worthy of both their trust and this post as tutor of portraiture at St Martin’s Lane. But James Wills at this time hated the state of century British art with a passion, sharing the political view of his friend William Hogarth.
Reynolds was a man who wanted art to be taught ‘officially’, the correct way, by copying the old masters or making drawings and studies of plaster casts of ancient sculptures. Hogarth’s more modern doctrine, one followed and supported by James Wills, was far more clear and simple solution to the issue. Underlining that ‘art was for the ordinary people and not just for the aristocracy.’ A solid working class ideology.
|
|
Joshua Reynolds
|
|
|
|
Wills and the Du Fresnoy Translation |
|
To date, nothing of great detail can be told of the earliest years of James Wills life, but it is evident that he was exceptionally well educated as he was a proven Latin scholar as I have previously mentioned. James Wills revered in Du Fresnoy’s words, seeing them as his champion and the work itself, the perfect model that all good artists should follow. In his eyes, its mother language, Latin, was also the only respectable and correct way to tell it. Having studied and followed its doctrine, James Wills would go on to translate and correct the original Du Fresnoy prose in 1754, though you might ask why?
|
Alas, James Wills’ Latin translation was not without great criticism from many, including fellow artists and critics, who saw it to be dry and uninteresting. Some went as far as to say, boring.
Whilst master of portraiture at St Martins Lane Academy, Wills would go on to meet many aristocratic individuals attending its drawing classes, in the main, there to improve their own draftsmanship skills. This included many members of the clergy and its hierarchy, high court judges, lawyers, architects…..all of whom he would concentrate his talent of painting portraits of as he never rose to the great heights of painting Royalty as we shall see and understand later. |
James Wills - The Known Works of Art: |
Records of individual works of art by James Wills are equally scant and in many cases inaccurate. When it comes to many of the formal academic listings of James Will's known paintings, many of Will's works are clearly lost, forgotten, simply overlooked, or innocently described as ‘school of’, or ‘English School’. Sadly left until now without any accurate attribution.
Usefully, the mezzotint reproductions of his many portraits of the Judiciary, Clerics, Nobles and Socialites, define the original author of those works from which they had been copied. In those we learn they were specifically being James Will's doing. It is equally interesting that in looking chronologically at his life, there are huge gaps in the time frame where no artistic product has as yet emerged and can be listed. But it seems impractical, almost impossible for a working artist and one active and in his prime, would not be turning out large amounts of product for numerous numbers of years.
|
REVERSE CHRONOLOGY OF THE LIFE OF JAMES WILLS
|
|
1776 | Deceased Stanmore Middx. Cannons. Buried 22. Aug |
1775 | |
1774 | |
1773 | |
1772 | Wills was appointed to the living at Canons,Little Stanmore St Lawrences., by Hallett's grandson. he was a prominent cabinet-maker of St. Martin's Lane. William Hallett had built a residence on part of the foundations of the great demolished house. |
1771 | |
1770 | |
1769 | |
1768 | |
1767 | Preached an important sermon before the Chartered Society of Artists at St Pauls Covent Garden for which he received £30.00 gns. Appointed Chaplain. Published as: A sermon preached at St. Paul's Church, Covent-Garden, on Monday the 19th of October, 1767. Before the Incorporated Society of Artists of Great-Britain. Being the Day of their Annual Election: St. Luke the proper Day, being on Sunday the 18th. By the Rev. James Wills, Chaplain to the Society and Curate of Whitchurch. Published at the Request of the Society |
1766 | Paints a portrait of a gentleman. Exh. Society of artists
|
1765 | Probably gone by now as the first perpetual curate, Walter L. Williams was appointed 26.4 1764 |
1764 | Paints a portrait of Miss Elizabeth Turner. Daughter of Sir Edward Turner 2nd Bt. (1719-66), of Ambrosden, Oxon. |
1763 | |
1762 | |
1761 | 6.1.1761 - Appointed Curate Harrow Pinner Chapel. Middx Deanery of Croydon Exhibited with the Society of Artists 'St. Peter returning from Prison |
1760 | Wills exhibited with the Society of Artists ' Liberality and Modesty / 1st Exhibition |
1759 | *Married Ann Bland 17th Nov. at St Andrews Holborn. Listed as Clerk of the Parish of Northolt Middlesex. Wills listed as Widdower. Anne Bland listed as Widdow of Holborne. Married by Licence. In the presence of Peter Toms and Mary Price. |
1758 | Probably leaves Market Bosworth |
1757 | |
1756 | June July; Paints Portrait of Hesta ( Hetty) Miller ( Children of Sanderson Miller Architect ) at Radway, Warwickshire |
1755 | Paints a Portrait of Sanderson Miller at Radway Warwikshire. |
1754 Published De arte Graphica; or, The Art of Painting (1754) Fitzwilliam Privately ordained Deacon 21. 04. By Cornwallis / Bishop Coventry Lichfield at Request. Hon Charles. Yorke |
|
1753 | |
1752 | |
1751 | |
1750 | |
1749 | Paints conversation piece the Andrews Family signed "J. Wills pinxit" & dated |
1748 | Circa paints portrait Reverend Joseph Standen |
1747 | Circa Paints portrait Sir Michael Foster |
1746 | At St Martins Lane Academy. Treasurer, teaching portrait painting Painted ‘Little children brought to Christ’ given to the Foundling hospital Paints portrait Christian Simpson |
1745 | |
1744 | Paints portrait of Philip Yorke, Philip, of Wimpole, Baron Hardwicke, 1st Earl of Hardwicke and Lord Chancellor |
1743 | Described by Vertue as a promising young painter . III, p.117 |
1742 | |
1741 | Paints Alured Clarke (1696–1742) Dean of Exeter |
1740 | ^ Described as being in the orbit of Francis Hayman RA in the 40’s Paints Lady Helena Rawdon (née Perceval) Daughter of John Perceval, 1st Earl of Egmont Draws pastel Sir John Percival. 1st Earl of Egmont |
1739 | |
1738 | |
1737 | Paints Portrait of Reverend Thomas Birch; D. D. Secretary to the Royal Society Gabburri the collector: Wills self portrait exhibited SS Anunziata Florence. |
1736 | |
1735 | St. Martin's Lane Academy set up |
1734 | |
1733 | Listed at University of Padua Italy 22.9 33 |
Unknown before | |
James Wills and the Foundling Hospital: | |
The Foundling Hospital was a children's home established in 1741 in London for the "education and maintenance of exposed and deserted young children" by the philanthropic sea captain, Thomas Coram. His friend William Hogarth, who had no children of his own, championed the cause and became one of the founding Governors. In 1746 James Wills is persuaded by his friend William Hogarth, though I really don’t think he would take much persuading, along with artistic colleagues such as Joseph Hymore and Francis Hayman (fifteen contributing men in all) to paint and gift to the hospital a number of religious pictures especially created to decorate the Foundling Hospital. Thus the artists were seen to be promoting British ‘history painting.
|
|
By donating those major works to this ever popular ‘peoples’ charity. Hogarth knew that Britain, which until that time had no major venue for artists to exhibit their works on a regular basis as the French did with the Académie des Beaux-Arts, Paris, that Britain would indeed now have such a venue. The Foundling hospital could therefore be called upon from then on in, to provide the perfect opportunity for them to display their works of art and was in essence, to become the first proper contemporary art gallery in the country. The artists involved with the hospital were all made Governors, thus rose in the eyes of society and would now meet there on a regular basis.
|
|
The coming of the RA. | By 1754, the time James Wills was translating Du Fresnoys book from the Latin, due to the politics of the time, he was watching his career as an artist founder and gradually slip away from him. Finding himself pushed further onto the outside of the group of ‘more fashionable artists,’ those championed by critics and ‘literary men’ such as Kneller and Gerves and including the more and more resented Reynolds. Reynolds was a man now heading up a group of artists getting the very best of commissions and because of them, national acclaim. “If I acquit myself as a painter, I shall be satisfied,” he wrote.
|
Arts and politics became the profound catalyst to his eventual downfall and with arguments and vast differences of opinion confronting him, Wills was resigned to what he viewed as his eventual and total failure as an artist.
|
|
History records that in May 1761, a Royal Charter was obtained and the newly formed ‘Incorporated Society of Artists’ born. With many founder members of the St Martin’s Lane Academy and prominent artists still striving to promote and exhibit British artist’s works, completely abandoning the original ship. Though James Wills was a formal part of its set up, he somehow slipped or was pushed through the net?
Here was a painter who, along with others, left the Incorporated Society of Artists almost immediately that it was set up, to form the Royal Academy and secondly, he squared up to the equally successful and distinguished Irish artist, James Barry.
‘I cannot omit congratulating you both on the present state of arts in Great Britain’
|
|
In his published sermon James Wills personally places the blame directly at the feet of very specific authorities and viciously poured scorn and criticism upon Joshua Reynolds and James Barry who held quite opposite views to his own. But Wills was now treading on very dangerous ground indeed. He was also seen as openly criticising the King, George III. the Monarch whose personal charter had established the RA and Wills publicly called him an; “arbitrary and politically bias ruler to royal sympathy to a foreign ‘Parisian ‘ academy.” And that’s precarious talk. Talk that could find him locked, forgotten and and banished to a debtors prison, or committed to a dank asylum, ‘vanished’ for life.... or even worse! It is true, the King had approved the RA and was its Patron and it was indeed now showing the elitist traits that Wills abhorred and had warned of. In only allowing an elite elected membership and completely restricting the viewing of its exhibitions to substantially eliminate the working class. In his mind, he felt he was a total failure as an artist.
With the Morning Chronical and London Advertiser - 18 May 1773 recording the revelation that; “Fresnoy is a Parson who spurn’d even by the church, turns scribbling assassin.”
|
Wills turns to the Church
|
|
James Wills had first turned to his God and the church and became ordained as a minister by Bishop John Thomas of Lincoln at the Bishop's Palace in Buckden, Cambridgeshire on the 22nd of September 1754.
|
|
Church records, were, until recently, totally inaccurate about the Reverend James Wills and in the main they were mostly missing and that is odd? Whether that is 18 century spin doctoring and deliberate eradication of the man from public record by the church is questionable, yet understandably quite a plausible view bearing in mind his radical outbursts.
|
|
James Wills was first posted as Curate, to Market Bosworth and Shenton in Leicestershire. However, this was to be a miserable time in his life, though it is clear he did not entirely give up his love of art or indeed painting, nor did he miss out on the opportunity to fire a broadside at old rivals and even old friends!
|
|
James did not agree to this change of path in his old friend’s focus on art and wrote of him; “Mr Wills is sorry any one of the profession should derogate so much from it as to print such stuff as Mr. Hogarth has done.”
|
|
From Market Bosworth on the 8 Nov. 1755, James Wills wrote to his old friend, the antiquary Thomas Birch, desperate to get away from the place and clearly he had two influential men trying to help him escape. But within this letter we find an interesting confirmation. He writes: |
|
“Dear Sir,
What is really interesting is that in an earlier letter to Birch from Market Bosworth, James Wills talks about himself rather oddly in the third party.
Dated Oct. 10.1755 “Our roads grow intolerable, we have nothing but tempests here within and without Doors. I, who had contacted my self to my humble room, am free from these commotions. I thank God my Duty is a pleasure otherwise I should be most unhappy. I retain nothing of worldly vanity but (?) ‘fringe’ paper about my candle and a cloth at breakfast which I will not give up.
|
( He continues) I spent three days lately with a Mr. Miller near Edge Hill the place describ’d in Tom Jones by Sir George Littleton, as Mr Alworthy’s seat, with some alteration. This Gentleman has an excellent taste in architecture, has built a XXXX [written above] ‘county’ house in Warwick very fine. Is building for Sr George a mansion house. I wish we live nearer. Could I have staid, he would have carried me to people of fashion in his neighbourhood, for you must know, there is a namesake of mine in London who is a famous painter, a very clever man. I am sometimes ask’d questions about him Your most Obliged and most Humble servant James Wills
|
|
Trying to find information about James Wills in the town of Market Bosworth proved difficult, but we are able to build up a picture of life in at the time from the Peter Foss book, ‘The History of Market Bosworth’.
At about the same time John Byng visited and wrote, “I happened to come across the town of Bosworth, if anything so mean can be called one”.
|
|
There are many factors which probably contributed to James Wills personal misery. Least of all loneliness, bitterness, failure as he saw it and lack of self-esteem. He was a widower after all, until he remarried again the following year when back in London. So, it would seem that his old friend and ally, Thomas Birch pulls more strings once again for James Wills and he suddenly finds himself back in the capital. Somehow he becomes the Chaplain to the Society of Artists, gets mixed up all over again in artistic rows and arty politics, then finds himself out of the capital holding yet another curates position. This time in Northolt. Before finally ending up at St. Lawrences church Little Stanmore, Middlesex. A lovely church full of equally lovely paintings following its earlier restorations and additions of Italian style frescoes.
Alas, even as a celebrated minister of the church and clergyman, there is no record of where that grave may be. Sadly, no stone marks his last resting place and no engraving of his image marks his troubled life........ There is for certain, still much yet to learn and add to this ongoing story.
|
Reverend. James Wills The Paintings
|
|||
1 | Suffer the little children to come unto me and forbid them not Given by the artist to the Foundling Hospital As in the case of the other three biblical scenes displayed in the Court Room, Wills’ subject is an allusion to the benevolent work of the Foundling Hospital. It depicts an Apostle who is trying to turn away a bare-breasted mother and her child, but Christ urges him to be compassionate. Collection: The Foundling Museum
|
1746 |
|
2 | The Andrews Family.
|
1749 |
|
3 | Liberality and Modesty Lit. Presented at the first exhibition of the artists to the Spring gardens London. A historical picture Lit: The gentleman's and connoisseur's dictionary of painters P 658 By Matthew Pilkington The Society of Artists of Great Britain, 1760-1791 ... p.282-3. |
1760 |
<Image unavailable. Whereabouts unknown |
4 | St. Peter returning from Prison.
|
1761 |
<Image unavailable. Whereabouts unknown |
5 | Croftes family of Saxham Parva, in Suffolk.
|
Date unclear |
|
6 | Time taking away the Powers of Love
|
Date unclear |
<Image unavailable. Whereabouts unknown |
7 | Prudence represented by restoring them Minerva See as above 6 |
Date unclear |
<Image unavailable. Whereabouts unknown |
James Wills, the Portraits
|
|||
1 |
Autoritratto - Self portrait James WILLS (Italy) |
1733c |
Image unavailable |
2 | Rev Thomas Birch DD (1705–1766) Oil on canvas, 91.8 x 71.2 cm Collection: The Royal Society
|
1737 |
Illustrated above |
3 | Sir John Percival -1st Earl of Egmont Pastel Lit: Diary of the 1st Earl of Egmont, London 1923 iii. 28v / 28th May 1740 |
1740 |
Image unavailable |
4 | Alured Clarke (1696–1742) Dean of Exeter, Principal Founder and First President of Royal Devon and Exeter Hospital Oil on canvas, 126 x 103 cm Collection Devon and Exeter Hospital “There are three portraits of Clarke at the Exeter Hospital. The largest, an oil painting by James Wills, hangs in the board-room; a small portrait, in crayons, is in the dining-room, and with it is a mezzotint engraving by Haskol, after Wills, but differently treated.
|
1741 |
|
5 | The Very Reverend Alured Clarke, Dean of Exeter (1740–1741) After James Wills Mezzotint, 1740s
|
1741 |
|
6 | Alured Clarke (1696–1742) Dean of Exeter A small portrait in crayons ( probably pastel) in the dining-room Exeter Hospital Lit; Dictionary of National Biography |
<Image unavailable |
|
7 | Lancelot Blackburne Bishop of Exeter, Archbishop of York. Oil on canvas, 124.5 x 99.7 cm high
Previously ascribed to Highmore
|
1742 |
|
8 | Philip Yorke -Philip of Wimpole, Baron Hardwicke, 1st Earl of Hardwicke and Lord Chancellor (1690 -1764) (1 December 1690 – 6 March 1764) Oil on canvas, 127 x 101.5 cm
Collection: National Trust Inventory Number 1151294
|
1743 |
|
Philip Yorke, 1st Earl of Hardwicke
Mezzotint by James Macardell, after James Wills
|
|
||
9 | Lady Helena Rawdon (née Perceval) Countess of Moira. Mezzotint, 1745
|
1744 |
<Original Portrait not found |
10 | Rev James Foster DD - Baptist Minister Mezzotint, circa 1750 by Peter van Bleeck, after James Wills
|
1745 |
<Original portrait whereabouts unknown
|
11 | Josiah Hort Archbishop of Tuam ( Ireland) Lit: British and Irish Paintings in Public Collections: An Index of British and ... edited by Christopher Wright Pos. Clare College Cambridge cat 1985 no 120 as artist unknown.
|
1745 |
|
Josiah Hort Late Archbishop of Tuam ( Ireland) Mezzotint after James Wills By Andrew Miller 1752 Fitzwilliam Collection
|
|
||
12 | Sir George Lee LLD, DCL. MP Commissioner of the Admiralty President of Doctors Commons.. 1700-1758 He was Member of Parliament for Brackley, 1733 to 1742 and afterwards represented Devizes, 1742 to 1747, Liskeard, 1747 to 1754 and Launceston, 1754 to 1758. By and published by John Faber Jr, after James Wills
|
1745 |
<Whereabouts of the original painting are unknown
|
13 | Sir Michael Foster (1689–1763)
after James Wills Whereabouts was in the possession of Michael Dodson Esq
|
1746 |
Whereabouts of the original painting are unknown
|
14 | Christian Simpson Oil on canvas - 23 x 17in. (58 x 43cm) - monogram and dated 1746 Lit: Christopher Wright - 2006 British and Irish Paintings in Public Collections. P 830
|
1746 |
Image unavailable. Whereabouts of the original painting are unknown. |
15 | Rt. Rev Thomas Secker - Lord Bishop of Oxford Archbishop of Canterbury, 1764 Mezzotint, 1747 by James Macardell, sold by Mary Overton, after James Wills 14 in. x 9 7/8 in. (355 mm x 252 mm) plate size; 14 1/8 in. x 10 in. (358 mm x 255 mm) paper size
|
1747 |
<Original whereabouts unknown
|
16 | Joseph Standen Rev. Vicar of Speen Berks. Pre 1749 Joseph Standon |
1748 |
Whereabouts of the original painting are unknown
|
17 | A Lady and her son James Wills Lit: Country Life May 10.1962 |
C 1748 | Whereabouts of the original painting are unknown
|
18 | Thomas Pennant - Naturalist, traveller and writer
(1726–1798)
Stipple engraving by J. Hopwood after J. Wills. Wellcome Library, London # Published by White and Co 1810
|
c1750 |
Whereabouts of the original painting are unknown |
19 | Sarah Hicks, Mrs William Windham (1710-1792)Mrs Robert Lukin Signed JW Reverend James Wills (fl.1746 – London 1776) Pastel Lit: Maddison 1995.P71. Collection Felbrigg Museum, Norfolk. Ketton Kremer
|
1754 |
|
20 | Thomas Herring. (1693 – 23 March 1757) Cat 1972 pp 26 27 as attributed to James Wills The portraits of Herring are discussed by Ingamells Catalogue of Portraits at Bishopthorpe Palace, 1972. A further painting is cited Ingamells A1 - Courtaulds List 1987 No 36 As attrib.
|
1755 |
Image not currently available |
21 | Stephen Niblett - Vice-Chancellor of Oxford University Oil on canvas, 73.6 x 62 cm James Wills (attributed to) Collection All Souls College, University of Oxford
|
1755 |
|
22 | Sanderson Miller of Radway Warwks. Gentleman Architect Oil on canvas - Painted oval 64 x 76.5 cm approximately 25.5 x 30 inches Provenance: by direct decent from Sanderson Miller
The portrait was used as the model for an early engraving by Emery Walker circa 1908 for the frontispiece of a book entitled; An eighteenth-century correspondence. Edited by Lilian Dickins and Mary Stanton and published in 1910
|
|
|
23 | John Nicoll. Oil on canvas, 76.2 x 63.5 cm
Note: Half length in clerical garb Lit: Gutch; List of church portraits 1790. This picture by Wills was in the hall. It appears to have been acquired between 1766 and 1770. See 172. Poole Oxford Portraits. 1925 III Lit. British and Irish Paintings in Public Collections:
|
1756 |
|
24 | Miss Susanna (Sue) Miller
2nd June: SM: “With Mr Wills painting Sue.”
|
1756 |
The whereabouts of this painting are unknown |
25 | Portrait of Miss Anna Miller of Radway B 1753 4th daughter of Sanderson Miller Lit Diaries of Sanderson Miller July 22 > 31st June 29 SM – “Making frame for Mr Wills to paint upon” |
1756 |
The whereabouts of this painting are unknown |
26 | Portrait of Miss Mary Miller of Radway 2nd daughter of Sanderson Miller. Lit Diaries of Sanderson Miller July 22 > 31st 26th July SM: With Mr Wills painting Mary |
1756 |
The whereabouts of this painting are unknown |
27 | Portrait of Hesta ( Hetty) Miller Radway
|
1756 |
Whereabouts unknown |
28 | “The Beautiful Picture”
Mention of a double portrait
Lit: Diaries of Sanderson Miller P 238/ 3: |
Whereabouts unknown |
|
29 | Portrait of Lucy Lyttelton
Daughter of Lord and Lady Lyttelton
|
1756 |
|
30 | George William Coventry 6th Earl of Coventry Lord Deerhust age 42. (26 April 1722 – 3 September 1809) Letter to Sanderson Miller in July & Aug 1764.
|
c1763 |
|
31 | Miss Elizabeth Turner. Daughter of Sir Edward Turner 2nd Bt. (1719-66), of Ambrosden, Oxon. Lit: A couple of letters from Sir Edward Turner to Sanderson Miller in July & Aug 1764, the first mentioning to Miller that he had not forgotten that Miller had asked to be told when Wills was at Ambrosden, the second confirms he is at Ambrosden and that Miss Turner has already sat to him. |
1764 |
|
32 | Mrs Ann Bowney Portrait of a Lady Cit. Wills, Rev. James Private Collection / Photo credit Agnew's, London
|
DATE UNKNOWN |
|
33 | The Rev. Dr. William Stukeley1687-1765 FRS, FRCP, FSA. Antiquary and Medical doctor Pioneer of field archaeology. Ref: Stone Henge. Lit: National Portrait Gallery: Early Georgian Portraits Catalogue: Stukeley Stukeley concludes his own portrait list with 'My picture in clerical habit, by Wills'. Whereabouts possibly Lydiard House |
" |
|
34 | Reverend Mr. Sanders A mezzotint exists after the original portrait by Wills Lit The gentleman's and connoisseur's dictionary of painters P 658 By Matthew Pilkington |
" |
Image currently unavailable. Whereabouts unknown |
|
Candidates as possible Attributions | ||||
|
||||
Reverend John Taylor (1711–1772) Oil on canvas, 124.5 x 99 cm |
John Newcome (1684–1765), DD, Master (1735) Oil on canvas, 74 x 61 cm |
Reverend Bryan Faussett (1720–1776) Oil on canvas, 97.5 x 84.5 cm |
Reverend John Loder Date painted: c.1740–1760 Vicar Napton on the Hill 1745 |
Thomas Balguy(1716–1795), DD, Platt Fellow (1740), Archdeacon of Winchester (1771) Date painted: c.1750 Oil on canvas, 73.6 x 61 cmCollection: St John's College, University of Cambridge |
Richard Newton (1676–1753), DD, Principal of Hertford Hall (1740) Oil on canvas, 73.7 x 62.2 cm |
George Ingram (1694–1763), 8th Viscount Irwin and Canon of Windsor Oil on canvas, 74 x 64 cm Leeds |
Mrs Niblett Oil on canvas, 33 x 29.2 cm |
John Garnet (1709–1782), Chaplain to the Duke of Dorset, Bishop of Ferns and Leighlin (1752–1758)
Oil on canvas, 73.6 x 61 cm Collection: St John's College, University of Cambridge |
Sir Lister Holte (1720–1770) 5th Bt of Aston Hall Oil on canvas, 73.7 x 50.8 cm |
Eleanor Frances Dixie 1760
|
||||
If you have any factual information or know of any regionally or privately held works by the English Artist the Rev James Wills, please advise the author of the details for inclusion in this ongoing project
|
Literature: James Wills. Rev. Edwards, Edward; Anecdotes of Painters who have resided or been born in England London 1808 Nagler: Künstler-Lexicon 1851 Samuel Redgrave; A Dictionary of Artists of the English School Bryan M; A Biographical and Critical Dictionary of painters and engravers 1905 Algernon Graves; Society of Artists of Great Britain, 1760–1791 Algernon Graves; A Century of Loan Exhibitions 1812-1912 Mrs. Reginald Lane Poole; Catalogue of Oxford. Portraits. F. O'Donoghue and H.M. Hake; Catalogue of engraved British portraits preserved in the Department of Prints and Drawings in the British Museum. Benezit; Dictionary of Artists Thieme Becker; Allgemeines Lexikon der bildenden Künstler Saur; Allgemeines Künstlerlexikon Hargraves; 'Candidates for Fame': The Society of Artists of Great Britain, 1760-1791 S Pugh; Reading Landscape: Country, City, Capital William T.Whitley, Artists and their Friends in England 1700-1799, 2 vols. (London, 1928),
Lawrence I. Lipking Ordering of the Arts in Eighteenth-Century England
|
LINKS TO SPECIALISMS / GENRES |
||
EUROPEAN ART - AUTHENTICATION | ||
SCOTTISH ART | ||
ITALIAN ART | ||
CUBAN ART AUTHENTICATION | ||
GROUP OF SEVEN AUTHENTICATION | ||
|
SOME SPECIALIST ARES WHICH YOU MAY WISH TO NAVIGTE TO; |
|||
OLD MASTER ART | EUROPEAN ART AUTHENTICATION
|
GERMAN ART AUTHENTICATION
|
|
ALTARPIECE & PANEL PAINTINGS | IMPRESSIONIST & MODERN ART | ||
BRITISH ART AUTHENTICATION | FRENCH ART AUTHENTICATION | ||
WEST COUNTRY & DEVON ART | CORNISH ART | AMERICAN ART AUTHENTICATION |
|
RUSSIAN ART AUTHENTICATION | SPANISH ART | CANADIAN ART AUTHENTICATION |
|
HUNGARIAN ART | NORDIC - SCANDINAVIAN ART | IRISH ART AUTHENTICATION |
|
PORTRAITS & MINIATURES | Judaica - Jewish Art | ||
CURRENT INVESTIGATIONS | ||
|
||
KEY: James Wills, Rev James Wills, Rev. James Wills, Reverend, James Wills, Rev James Wills Artist, 18C, 18 century, 18 century British, 18 century British portrait artists, artists, James Wills, rev James Willes, Rev Wills, English portrait artist, English portrait artists, mezzotint, mezzotint after, mezzotint after James Wills,Thomas Birch, rev thomas Birch, Sir John Percival, Alured Clarke, Bishop, Archbishop, Canterbury, Oxford, Philip Yorke, George Lee, Hardwicke, Sanderson Miller, biography, paintings list, value, auction, George William Coventry, 6th Earl of Coventry Lord Deerhust, portrait of a gentleman, engraving, engraving after James Wills, portraits by James Wills, historical paintings, William Hogarth, free society, Little Stanmore, St Peters, Church, Cannons, curate, curate of Market Bosworth, curate of Little Stanmore, Society of Artists, chaplain, treasurer, Fresnoy, du Fresnoy, translation, oil painting, crayon, pastel, pastel drawing, painting Incorporated Society of Artists, Academy of St Martin’s Lane |
Rev. James Wills | English Portrait Artist 18C | Catalogue Raissone of the Paintings & Biography |
Reverend James Wills - English Portrait Artist 18C British His Historical Paintings & Portraits. Time at Academy of St Martin’s Lane. Biography |