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Sir David Wilkie's Portrait of Sir Walter
Scott (1824)
In 1824, Sir David Wilkie painted
a small half-length portrait of Scott measuring 17 by 14
inches. The writer is depicted almost in profile to the right;
he is holding a book in his left hand, his clothes are dark,
and his shirt is open at the neck. Originally painted for
Wilkie's friend, Sir William Knighton, the portrait now hangs
in Parliament Hall, Edinburgh. Click on the thumbnail, right,
to see an engraving by Edward
Smith.
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The 1824 portrait
began life as a study for Wilkie's The
Entrance of King George the Fourth at Holyrood, where
Scott was to figure among the King's attendants. Scott granted
Wilkie
two sittings at Abbotsford on
9 and 10 November. The first was witnessed by the artist William
Bewick who was surprised to find
that Wilkie intended to model the picture on Sir Joshua Reynolds's
portrait of Oliver Goldsmith. Bewick had expected hat
Wilkie would aim for 'something of his own [...] an original
impression of the individual character'. The house had been full
of company, and Scott's guests had crowded into his library to
watch Wilkie at work. Wilkie had seemed irritated by this circumstance,
but Scott, an experienced sitter, had succeeded in maintaining
his position while participating freely in the general conversation
(Life and Letters of William Bewick, I, pp. 252-3).
As Francis Russell argues, Wilkie's decision to model his portrait
on Reynolds's Goldsmith suggests strongly that he intended the
portrait to have an independent existence over and above its role
as a sketch for The Entrance of King George.
The elements imitative of Reynolds -- the open-neck collar, the
position of the book -- are absent from the group portrait. For comparison,
click on the thumbnail below to see an engraving of Reynolds's
Goldsmith by J.H. Baker:
 The
portrait was incomplete when Wilkie left for the Continent in 1825
in an effort to recover his health, which had been
badly shaken by a series of family bereavements and by
the financial collapse
of his printsellers. Scott was 'deeply grieved' to hear of Wilkie's
troubles for it was 'impossible for any man to have more admiration
of his talents than I have, and yet even that was inferior to the
regard inspired by the virtuous simplicity of his character'.
During the sittings at Abbotsford, Scott had 'observed with regret
[Wilkie] was in very low spirits, which I imputed to the illness
of his mother'. 'I am convinced,' Scott added, 'that mere men of
the world have not the slightest conception of the tax paid by
artists, poets, and musicians for the power of giving them pleasure.'
(To
Sir George Beaumont, 28 August 1825, Letters, IX, 215.)
Following his return
in 1828, Wilkie worked up the portrait for Sir William
Knighton. In January 1829, Wilkie wrote to Scott proposing that
it be engraved for inclusion in the Magnum Opus edition
of the Waverley Novels. Scott gratefully accepted the offer but
was advised by the engraver Charles
Heath that it was
a very poor resemblance. Scott disliked and distrusted Heath and
asked his son-in-law J.G. Lockhart for a second opinion. This proved
equally negative, and the portrait did not appear in the Magnum
Opus. Scott, however, declared himself 'extremely gratified' by
Wilkie's
depiction
of his 'unworthy person' (to Wilkie, 1 February 1830, Letters,
XI, 291).
The portrait appears to have been engraved only once, by Edward
Smith in 1829 (see top of page). Although the image was judged
unsuitable for the Magnum Opus, Smith's engraving appeared in Cadell's
edition
of
The Poetical Works of Sir Walter Scott (1830).
Bibliography
- Bewick, William. Life and Letters of William
Bewick (Artist) (London: Hurst and Blackett, 1871)
- Russell, Francis. Portraits
of Sir Walter Scott: A Study of Romantic Portraiture (London:
The Author, 1987)
- Scott, Walter, Sir. The Letters of
Sir Walter Scott, ed. H.J.C. Grierson (London: Constable,
1932-37)
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Last updated: 30-May-2005
© Edinburgh University Library
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