拍品專文
The lines inscribed on the frame (lower centre) are taken from Act II, Scene I of Shakespeare's Love's Labour's Lost, spoken by Rosaline with reference to Lord Berowne.
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Portrait of a gentleman, traditionally identified as David Garrick (1717-1779), bust-length, in a white shirt and rust robes
細節
French School, circa 1770
Portrait of a gentleman, traditionally identified as David Garrick (1717-1779), bust-length, in a white shirt and rust robes
oil on canvas, oval
21¾ x 17¾ in. (55.3 x 45.1 cm.)
inscribed 'An original GARRICK by Zoffany. This picture is highly valued for the correctness of the likeness: it was painted expressly for George Colman the elder. To avoid the different changes of countenance with which Garrick used to amuse himself while sitting for his portrait, Zoffany took the likeness, concealed in an anti chamber, during the times of Garrick's shaving his head, 'his constant custom in the afternoon.' (at the top of the frame); and indistinctly inscribed 'A MERRIER MAN WITHIN THE LIMIT OF BECOMING MIRTH, I NEVER SPENT AN HOUR'S TALK WITH ALL: HIS EYE BEGETS OCCASION FOR HIS WIT; FOR EVERY OBJECT THAT THE ONE DOTH CATCH THE OTHER TURNS TO A MIRTH-MOVING JEST, WHICH HIS FAIR TONGUE, CONCEIT'S EXPOSITOR, DELIVERS IN SUCH APT AND GRACIOUS WORDS THAT AGED EARS PLAY TRUANT AT HIS TALES AND YOUNGER HEARINGS ARE QUITE RAVISHED; SO SWEET AND VOLUBLE IS HIS DISCOURSE.' (at the bottom of the frame)
Portrait of a gentleman, traditionally identified as David Garrick (1717-1779), bust-length, in a white shirt and rust robes
oil on canvas, oval
21¾ x 17¾ in. (55.3 x 45.1 cm.)
inscribed 'An original GARRICK by Zoffany. This picture is highly valued for the correctness of the likeness: it was painted expressly for George Colman the elder. To avoid the different changes of countenance with which Garrick used to amuse himself while sitting for his portrait, Zoffany took the likeness, concealed in an anti chamber, during the times of Garrick's shaving his head, 'his constant custom in the afternoon.' (at the top of the frame); and indistinctly inscribed 'A MERRIER MAN WITHIN THE LIMIT OF BECOMING MIRTH, I NEVER SPENT AN HOUR'S TALK WITH ALL: HIS EYE BEGETS OCCASION FOR HIS WIT; FOR EVERY OBJECT THAT THE ONE DOTH CATCH THE OTHER TURNS TO A MIRTH-MOVING JEST, WHICH HIS FAIR TONGUE, CONCEIT'S EXPOSITOR, DELIVERS IN SUCH APT AND GRACIOUS WORDS THAT AGED EARS PLAY TRUANT AT HIS TALES AND YOUNGER HEARINGS ARE QUITE RAVISHED; SO SWEET AND VOLUBLE IS HIS DISCOURSE.' (at the bottom of the frame)
來源
Moss Harris & Sons, London, where acquired on 25 November 1936 (£30).
出版
A.E. Richardson, diary entry, 23 December 1951.
榮譽呈獻
Alexandra Cruden
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