1726-1731
2: circa 1720 (Age ca. 35)
Artist:
AnonymousDescription
Three quarter length, looking forward to the right, playing a keyboard, not wearing a wig, red velour cap, a long green velvet coat with buttons on the front and on the sleeve, with ruffles.Type and material: H x W cm
Oil on canvas: 87.7 x 102.2Date of creation:
Circa 1720Comments:
Originally thought to be a portrait of G. F. Handel and attributed to Sir James Thornhill (1675-1734), but revised at a later date. However, it could be argued that this is a representation of Handel, due to a few typical characteristics (earlobe, shape of the head, indication of a birthmark on the left cheek).Mann, A. H. [MT14.12.1893]: “There are two pictures of Handel in the [Fitzwilliam] Museum. The first, as he appeared about the time when he was Capellmeister at Cannons 1718-1721, or very shortly after, is the work of Sir J. Thornhill (see engraving on p. 28), a celebrated artist, who was engaged by the Duke to decorate the private chapel and various parts of the house, previous to 1732. It is one of the very few pictures of Handel, when still a young man, and represents his seated at an old fashioned keyboard; he is in full dress, with ruffles and weares a crimson velvet cap instead of the usual wig. In 1830 this picture was the property of Mr. Richard Clark, Gentleman of the Chapel Royal, Lay Vicar of Westminster Abbey and of St. Paul's who resided in Litlington Tower, the Clisters, Westminster (author of The Composer of ‘God Save the Queen’ and ‘Reminiscences of Handel’). In 1875 it was presented to the Fitzwilliam Museum by Adam Lodge Esq. of London.” / On August 4, 1969, David Piper, the director of the Fitzwilliam Museum at the time, informs W. C. Smith that the portrait has been wrongly identified as being of Handel.
Sources and illustrations:
Schoelcher, p. 358 ; MT 14.12.1893, p. 19 ; Volbach, p. 22 ; MT, 1.4.1903, p. 231 ; Rockstro, p. 423.424 ; W. C. Smith, Nr. 89 ; Goodison, J. W. (1967) Unknown; Illustrated London News; 1960, London, p. 312 ; Illustrated London News (1960); Earp, F. R. (1902) A Descriptive Catalogue of the Pictures in the Fitzwilliam Museum, Cambridge (Cambs.), p. 194 ; (1912) The Principal Pictures in the Fitzwilliam Museum, Cambridge, London, p. 175 ; (1929) The Principal Pictures in the Fitzwilliam Museum, Cambridge (1929), London, p. 206 ; Fletcher, C. R. L (1919) Historical Portraits, p. 80 ; Goodison, J. W. (1977) Catalogue of Paintings in the Fitzwilliam Museum, Cambridge, Vol. III, British School, Cambridge (Cambs.): Cambridge University Press, p. 32-33Provenance:
‘Mr. Hallitt’; Richard Clark (1780-1856), London, ca 1830; his sale, London, Puttick’s, 25-8 June 1853 (577) bought [by] Ellerton; John Lodge Ellerton (1810-1873); since 1875 as a gift to the Fitzwilliam Museum from Adam Lodge, Esq., of London.Owner:
Fitzwilliam Museum, Cambridge
3: 1726-1728 (Age ca. 42)
Artist
Denner, Balthasar (1685-1749)Description:
Oil painting in an oval format, bust to the waist, looking towards the right, wig, long neck piece, light brown coat with six buttons.Type and material:
Oil painting: 74.9 x 62.6Date of creation:
ca. 1726 - 1728Comments:
This is considered to be one of the earliest authentic portraitsSources and illustrations
Flower 2 1923, p. 232 ; Hall. Monatsheft 1962, p. 212-213 ; Petzold, Richard: Georg Friedrich Händel - Sein Leben in Bildern. - Leipzig 1955, reproduction. 56 ; Coopersmith p. 158, note 11 ; Goddard p. 48, 49 ; Schoelcher p. 356 ; Vogel p. 31 ; Vertue, George: Vertue Notebooks. - In: Walpole Society. – Vol. III, p. 34 ; Kerslake, p. 121-122 ; Smith 3, 10 ; Simon, p. 36Provenance:
The painting is not mentioned in Handel’s will, but William Coxe (the stepson of Smith) mentioned in his Anecdotes that Handel had bequeathed the painting to J. Chr. Smith the Younger. The latter handed it on to Coxe. Some time later it was in the possession of Coxe’s sister Martha. After Martha’s marriage to Sir Peter Rivers, her daughter-in-law, Lady Rivers, became the owner of the picture and passed it on to the Sacred Harmonic Society. On March 3, 1883 it was auctioned off by Christies (Lot 82) and bought by Henry Littleton (Novello & Co.). It was then obtained from Littleton’s sons by A. F. Hill, who presented it to the NPG in 1923.Owner:
NPG 1976, displayed in Berningbrough Hall3.1.: Replica
Artist:
Denner, Balthasar (?) (1685-1749)Type and Material: H x W cm:
Oil on canvas: 71 x 58Date of creation:
Before 1763, possibly at the same time as the previously mentioned portrait by DennerComments:
Present location unknown. According to correspondence in the NPG, the painting was transferred to the Dutch Royal Collection between 1763 and 1798. It was last mentioned in a listing of pictures being sent from Loo to the Hague for the New National Museum. According to research by Smith, who had access to letters from Prof. Schewlar (Print Dept. of the Art History Institute of the Rijksuniversity) to John Kerslake dated February 9 and 28, 1972, it is thought in the Hague that this portrait could be identical to the one in the Heyer collection.Literature and illustrations:
Smith 3, 12 ; Simon, p. 36Owner:
Whereabouts unknown3.2.:Copy (?):
Artist:
Anonymous (?)Type and material:
Oil on canvas: [ larger than the above mentioned painting by Denner]Date of creation:
Possibly later than the originalComments:
With identical head and shoulders as the original, sitting at a cembaloSources and illustrations
Connoisser CCXV(1985) Febr., p. 94Owner:
Civico Museo Bibliographico Musicale, Bologna
3.3: Engraving
Artist:
Harding, E.Title of the work:
Händel, Georg Friedrich : GEORGE FREDERICK HANDEL, From an Original Picture Painted by Denner Published May 1. 1799. by Cadell & Davies, Strand.Inscribed signature:
"E. Harding scl”Type and material
EngravingDate of creation:
1799Comments:
Produced for the Anecdotes by CoxeSources and illustrations:
[Coxe, William]: Anecdotes of George Frederick Handel and John Christopher Smith : With select pieces of music, composed by J. C. Smith, never before published. - London : W. Bulmer and Co., 1799. - Frontispiece and p. 49; 554: Engraving
Artist:
AnonymousTitle of the work:
Handel, Georg Friedrich: „Mr. Handell“; with French addition from the mid 19th century (see Comments)Type and material: H x W cm:
Print: 30.2 x 21.9Date of creation:
Possibly at the same time as portait Nr. 2Comments:
Unfinished proof copy, probably produced in England. The following commentary (in French) was probably added during the middle of the 19th century: “Ce portrait est entierement! [?] inconnu des Marchands de gravures experts de Londres et des conservateurs du cabinet des Estampes du British Museum. Mr Carpenter du British Museum trouve dans cette planche quelque ressemblance avec la manire de Benaist [?] graveur francais que vivait à Londres et qui produisit plusieurs ouvrages en 1747. Le Portrait est probablement celui que Walsh annonce dans the London Gazette March 2d 1738.” The reference to Antoine Benoist (1721 – 1770) seems unwarranted, since he did not come to London until the 1740’s. The body, as well as the wig, seem to refer back to the oil painting by Denner from 1726 –1728.Sources and illustrations:
Marshall, Julian: Handel. - In: A Dictionary of Music and Musicians / ed. George Grove. - I. - 1879, p. 657 ; Simon, p. 37, reproduction p. 34Provenance
RCM ; B. Nationale Paris (Schoelcher)
5: possibly 1725-1730 (age ca. 40)
Artist:
Dandridge, Bartholomew (1691-ca. 1755), copy after Dandridge (?)Description:
Three quarter length, looking to the left, small cap, scarf, jacket with bordered buttonholes, ruffled cuffs, rolled up sheet of music in the right hand, left arm and hand placed over the bodyType and material: H x W cm:
Oil on canvas: 118.4 x 94Date of creation:
Possibly between 1725 – 1730 (?)Comments:
Many experts no longer consider this to be a portrait of G. F. Handel, although there are some indications that it could portray him. It was originally wrongly attributed to Hogarth and Dandridge. It was sold as “Hogarth” to Felix Thornley Cobbold at a Christie auction in July, 1909. The latter bequeathed it to the Fitzwilliam Museum on December 30, 1909.David Piper, director of the Fitzwilliam Museum at the time, wrote in a letter from August 4, 1969 to Smith: “Attributed to Dandridge, wrongly identified as Handel.”
Sources and illustrations:
Coopersmith, p. 157, FN 10 ; reproduction i. a. Musica 1959, 1, pannel 3 and Händel-Festspiele in Halle 1964, p. 52 ; Smith 3, 90 ; Earp, F. R. (1902) A Descriptive Catalogue of the Pictures in the Fitzwilliam Museum, Cambridge (Cambs.), p. 218 ; (1912) The Principal Pictures in the Fitzwilliam Museum, Cambridge, London, p. 42 ; (1929) The Principal Pictures in the Fitzwilliam Museum, Cambridge (1929), London, p. 50 ; Goodison, J. W. (1977) Catalogue of Paintings in the Fitzwilliam Museum, Cambridge, Vol. III, British School, Cambridge (Cambs.): Cambridge University Press, p. 64-65Provenance:
W. Hobson, London; anon. sale, Christie's, 23 July 1909 (98), bt. Cobbold Felix Thornley Cobbold gave it 1909 to Fitzwilliam MuseumOwner:
Fitzwilliam Museum, Cambridge
6. 1735-1736 (or earlier) (Age 45-50)
Artist:
Mercier, Philip (1689–1760)Inscribed signature:
Bottom – middle: „Phil. Mercier / pinxit An ... [Date illegible]“Description:
Half length, looking forward, sitting on a green upholstered armchair at a table with a green center (“drum table”). Some sheets of music and a rectangular ink holder are on the table, at which the composer is just working, with a writing feather in his right hand and the left hand supporting his head, while the elbow is resting on a cembalo harpsichord; he is wearing a reddish-brown house coat with a cap (but without a wig). The harpsichord seems to be identical with the harpsichord by William Smith in the Bate Collection (No. 974) in Oxford.Type and material: H x W cm
Oil on canvas: 127 x 101.6Date of creation
1730 (possibly 1735)Comments:
The date of creation is unknown. It was dated between 1730 and 1735 based on stylistic criteria on the occasion of a Mercier exhibit in 1969, which was later changed to 1735-1736 when compared with Mercier’s self-portrait from 1735. However, Kerslake judges this to be too late, in view of the youthful appearance of Handel. Philip Mercier, a member of a Huguenot family in Berlin, had studied in Paris and came to London in 1719. Until his move to York, he was one of the leading artists in London – he was the principal painter of Frederick, Prince of Wales from 1729 to 1736. Thomas Harris was a lawyer at Lincoln’s Inn. Handel named Harris as executor of his estate in 1750 and the latter was included in the last codicil of the will. Handel had known the Harris family for several years and their correspondence shows an interest in Handel’s welfare and artistic endeavors. Thomas died without heirs and the painting went to his brother James, who became known as a collector of Handel scores.Sources and illustrations:
MT (1913) Aug. (Article and reproduction) ; Rolland, Romain: Händel - 1920, Frontispiece ; Coopersmith, p. 160, FN 37 ; Kerslake, p. 129-130, pl. 322-333; Smith 3, 66 ; Landon, H. C. Robbins: Handel and his World. - 1984..., ill. p. 113 (colour) ; Simon, p. 37, ill. p. 8Provenance:
Handel is said to have given the painting to Thomas Harris in 1748. It came from Harris’ nephew to the Earl of Malmesbury, Viscount FitzHarris.Owner:
Viscount FitzHarris
Copy:
Artist:
Benson (Miss)Description:
This seems to be an accurate copy of the portrait by MercierType and material: H x W cm:
Oil on canvas: 127 x 106 (?)Date of creation:
ca. 1825Comments
The painting was sent to the publisher Peters in Leipzig, to be used for the production of a poster. It was destroyed there in a bombing raid during the latter part of 1943.Sources and illustrations:
Marholz, Kurt: Mercier und Roubiliac : G. F. Händel. - In: Hallesches Monatsheft 2(1955)6, p. 32-35 ; Illustrierte Zeitung 14.2.1935, p. 185: „Der Komponist bei der Arbeit ... Im Besitz von Geh. Raf. Prof. Clement, Bonn.“ ; Coopersmith, p. 160, FN 37 ; Art print of Peters ; Goddard, p. 48 ; Smith 3, 67Provenance:
Auctioned by Christie’s on July 20, 1872 (lot 100) and again on January 18, 1873 (lot 75). Bought by Prof. Clement of Bonn and later (possibly 1938) purchased for the Händel-Haus in HalleOwner and classification:
HH, destroyed (burned)
Copy of the above copy
Artist:
List, Hans (1902–1984)Description:
An exact copy, apart from the style of paintingType and material: H x W cm:
Oil on canvas: 125 x 102Date of creation:
1945Comments:
A copy produced by Hans List for the Handel House after 1945, using photographs and prints of the Benson copy.Sources and illustrations:
Marholz, Kurt: Mercier und Roubiliac : G. F. Händel. - In: Hallesches Monatsheft 2(1955)6, p. 32-35 ; Händel-Festspiele Halle, i. a. 1954, 1967, Frontispiece ; HH-Kat. II, p. 16 ; Smith 3, 68 ; reproduction in: Werner, Edwin: Das Händel-Haus in Halle... - 3. ed. - 1992, p. 55Owner and classification:
HH BS-I, 45
7: 1731
Artist
Attributed to George Andreas Wolfgang, the Younger, (1703–1745)Titel:
Handel, Georg Friedrich – applied to the frame: G. F. Handel. “Born 1684. D. 1759. By ... [?] Wolfgang“Description:
Half length, body turned to the right, looking to the left; wig, plain coat with trim, the right hand with ruffles (on the sleeve edge) is placed inside the coat. A note is glued to the back of the painting, stating: “Original Painting of George Frederick Hand[el] … [illegible] by M. W. Cla[rk] .” Also glued to the back is a copy of the print by J. S. Wolfgang, showing Handel on a pedestal with the inscription “George Frederick Handel.” This representation differs substantially from the painting; rather it is the graphic work which was sold to Clark in 1879 together with the painting.Type and material: H x W cm:
Oil on canvas: 61 x 73 ca.Date of creation:
1731Comments:
Smith: “Could be Handel, although not like any other portrait.”The picture possibly originally belonged to Burney, who refers to it in his will (cited by Smith 3, 80) with the following: “My half length picture of Handel, painted by Wolfgang at Hanover in the year 1710 [not possible!], where he stopt at the Elector's Court (afterwards Geo. the first, King of England) on his way from Italy to London, this portrait I indended to present to the Concert of Ancient Music, if the noble for that Establishment and for the great master whose unrivalled excellence has so justly endeared him to the nation, as it is the best picture of him and must have a strong resemblance in his 24th year when it was painted. Mrs. Delany, who saw him the first year of his arrival, to whom this portrait was shown, said no resemblance on canvas could be stronger and Sir Joshua Reynolds, when he saw it, said that he was 'sure it was like, as it was not a made up face’.”
Sources and illustrations:
Scholes, Percy A.: Burney’s Will … [?, According to Smith 3]; Reproduction of the cited graphic work in Smith 2, frontispiece; Smith 3, No. 80Provenance:
Brita Cervin, in correspondence with K. Sasse, refers to the portrait as formerly belonging to Burney. The latter sent the following notice to the Morning Post and Daily Adviser of May 8, 1789 (quoting Smith): “To be disposed of a very fine half length portrait of that such esteemed and celebrated musician George Frederick Handl Esq. Painted By Wolfgang, in fine preservation and admirably well adapted to decorate an elegant Concert, Music- or Ball-room &c.” ; It was sold in 1814 from the estate of Burney for the sum of £12.1.6d to James Bartleman, was then acquired by William Snoxell (date?) and was bought from the latter’s estate (auctioned through Puttinck and Simpson) by M. W. Clark for £15.10. 0d. (According to a note in a copy of the sales catalogue owned by the British Museum); Brita Cervin to K. Sasse: “It was purchased at Christie's London, presumably in March or April 1914, probably by Bratten, or possible even Gerts-Bratten. It came to Sweden in 1914, where it was in the possession of Mrs. Dora Gerts until 1968, when it became the property of Brita Cervin”. Cervin presented it to the Musikmuseet of Stockholm.
Owner and identification:
Musikmuseet Stockholm, K1485
