Skip to main content
Want more images or videos?
Request additional images or videos from the seller.

Portrait of a gentleman, standing full length, wearing a blue jacket, waistcoat

$13,073.50
£9,500
€11,606.89
CA$18,240.34
A$18,641.36
CHF 10,644.94
MX$242,566.71
NOK 121,629.94
SEK 126,773.09
DKK 86,759.64

About the Item

Circle of Arthur Devis (1712-1787) Portrait of a gentleman, standing full length, wearing a blue jacket, waistcoat and breeches, at a desk in a library Oil on canvas Signed lower centre Canvas size 30 x 25 in Frame size 37 1/2 x 33 in Arthur Devis was born on 19 February 1712 in Preston, Lancashire, and baptised there on 22 February, the eldest of the four sons of Anthony Devis (b. c.1682, d. after 1761), carpenter and town councillor, and his wife, Ellin, née Rauthmell (d. 1727). After his mother's death his father married, in 1728, Anne Blackburne (bap. 1695?), with whom he had two sons, the elder of whom was Anthony Devis the landscape painter.

Arthur Devis trained with the sporting and topographical landscape artist Peter Tillemans, whose sale in London in 1733 included nine of Devis's Italianate landscapes with ruins. His earliest documented work is a bird's-eye view, Hoghton Tower, Lancashire (1735, priv. coll.), for which he was paid £6 6s. Soon thereafter he began to produce portraits in the conversation piece genre. In 1742, when he was described in the Preston guild roll as ‘of London, Painter’, he married, on 20 July, Elizabeth Faulkner (1723–1788) at St Katharine by the Tower, London. By 1747 the couple had moved to Great Queen Street, where they lived until moving to Brighton in 1783. Of their twenty-two children only six survived, including Ellin Devis (1746–1820), author and a headmistress of a girls' school, and Thomas Anthony Devis (1757–1810) and Arthur William Devis (1762–1822), both painters.

Devis's speciality, the conversation piece, is described as a painting of one or more full-length figures in small scale, frequently accompanied by family members with their possessions, furnishings, and domestic animals, in compositions set within proprietary interiors or landscapes. Taken up in England during the 1720s by William Hogarth and used by Thomas Gainsborough and George Romney (early in their careers), the genre was popular with numbers of unnamed provincial artists whose works have been attributed wrongly to Devis. The most prolific of the eighteenth-century conversation piece artists, Devis produced more than 300 paintings in the format for members of the established, and largely tory, landed gentry and professional classes. For several years after he moved to London he relied on commissions which drew him back to Lancashire and adjacent counties. Thereafter he travelled less frequently, and attracted sitters to his studio in London where he refined his craft to produce, from 1745 until the early 1760s, his most important works.

Devis exhibited at the Free Society of Artists between 1761 and 1763, between 1767 and 1770, in 1775, and in 1780, and was elected president of the organization in 1768. He restored paintings for Sir Roger Newdigate in 1762–4 and was hired by the commissioners of the Royal Naval Hospital, Greenwich, in 1777 to clean and repair the Painted Hall for £1000. Devis also supplemented his income by producing paintings on glass. He had an apprentice, George Senhouse, from 1752 to 1755, and his pupils included Robert Marris and his sons Arthur William and Thomas Anthony. In 1783, the year in which Devis moved to Brighton, the London auctioneer Barford offered for sale, on 10 and 11 April, ‘Pictures belonging to Mr. Devis of Great Queen Street, Portrait Painter and Picture-Cleaner’.

Untrained in academic study from the live human model, Devis frequently used a small wooden manikin, or lay figure (Harris Museum and Art Gallery, Preston), and occasionally clothed it in costumes kept to hand. Although the practice made apparent his deficiencies in anatomical rendering, he was valued by his clients for his ability to describe a wealth of information and to place his figures within legible interior spaces or landscapes. His use of layered glazes and his meticulous handling of the brush, the result of a study of seventeenth-century Dutch masters and his own occasional work as a miniature painter, gave his canvases a highly crafted finish which increased their visual appeal. In such compositions as William Atherton, Mayor of Preston, and his Wife Lucy (c.1743–4, Walker Art Gallery, Liverpool) and Gentleman and Lady at a Harpsichord (1749, Victoria and Albert Museum, London) he demonstrates a topographer's eye for describing the sheen of satin dresses and waistcoats, and the glowing polish on furnishings and floorboards, and for placing his sitters within the vertical and horizontal planes of an interior. In his landscape conversation pieces he also defined with clarity of detail the natural features of a setting. For example, in Sir George and Lady Strickland (1751, Ferens Art Gallery, Hull) the burdock weeds, tree trunks, and winding river are so distributed as to present the figures within an ordered scheme. Only a few of Devis's compositions represent actual locations, among them the interior in Sir Roger Newdigate in his Gothic Library at Arbury, Warwickshire (1756–8, priv. coll.) and the river scenery in Philip Howard of Corby Castle, Cumbria (1759, priv. coll.). Within his restrained and carefully planned group compositions each figure is spaced at wide intervals, isolated by local detail and defined contours rather than assembling into an integrated pictorial whole. Interpreted as a visual allusion to his patrons' codes of behaviour, his conversation pieces record hierarchies of age, gender, and property. His sitters, such as Mr and Mrs Hill (c.1750–51, Yale U. CBA), comport themselves in a range of polite attitudes illustrated in contemporary etiquette manuals. Later in his career Devis attempted to give his figures greater mobility and several of his landscapes allude to the picturesque or summon up wilder aspects of the English countryside. But most of his tableaux remain static owing to their smooth finish, graphic precision, and pervasive reliance on displays of decorum. His work was criticized by those for whom such displays betrayed the sitter's social aspirations. After the Royal Academy's founding in 1768 (the year in which Devis became president of the far less prestigious Free Society of Artists), English artists were no longer marginalized by connoisseurs, and many enjoyed international reputations. In this competitive milieu, Devis's modest reputation suffered a steep decline, not to be reassessed until the 1930s. He has since been recognized as a master of his special craft, that of describing, in small compass, the ideals of a privileged society
  • Dimensions:
    Height: 37.5 in (95.25 cm)Width: 33 in (83.82 cm)
  • Medium:
  • Movement & Style:
  • Circle Of:
    Arthur Devis (1712 - 1787)
  • Period:
  • Condition:
  • Gallery Location:
    Stoke, GB
  • Reference Number:
    1stDibs: LU446318077792

More From This Seller

View All
A gentleman on horseback, 16 miles to London

A gentleman on horseback, 16 miles to London

By John Nost Sartorius 1

Located in Stoke, Hampshire

John Nost Sartorius (London 1759-1828) A gentleman on horseback, 16 miles to London Signed and dated 1796 Oil on canvas Canvas Size - 25 x 30 in Framed Size - 32 x 37 in John Nost ...

Category

18th Century Old Masters Animal Paintings

Materials

Oil

An equestrian portrait of Field Marshal Sir John Ligonier, 1st Earl of Ligonier

An equestrian portrait of Field Marshal Sir John Ligonier, 1st Earl of Ligonier

By David Morier

Located in Stoke, Hampshire

David Morier (c.1705–1770 London) An equestrian portrait of Field Marshal Sir John Ligonier, 1st Earl of Ligonier (1680–1770) Oil on canvas Canvas size - 40 x 50 in Framed size - 48 ...

Category

18th Century Old Masters Portrait Paintings

Materials

Oil

The Maitland Family Portrait

The Maitland Family Portrait

By Mason Chamberlin

Located in Stoke, Hampshire

Mason Chamberlin R.A. (London 1727-1787) Ebenezer Maitland Senior (1752–1834) and his wife Mary Winter (c. 1752–1835) with their son Ebenezer Fuller Maitland (1780–1858) in an interi...

Category

18th Century Old Masters Portrait Paintings

Materials

Oil

Lord Bentinck, on his grey hunter

Lord Bentinck, on his grey hunter

By John Ferneley Junior

Located in Stoke, Hampshire

John Ferneley Jnr (1815-1862) Lord Bentinck, on his grey hunter Signed with initials lower right Oil on panel Painting size 10 x 12 in Framed size 12 x 14 in Provenance The Collecti...

Category

19th Century Victorian Landscape Paintings

Materials

Oil

An Officer, Grenadier Co. 19th Foot, circa 1819

An Officer, Grenadier Co. 19th Foot, circa 1819

Located in Stoke, Hampshire

John Leslie Berry (1920–2009) An Officer, Grenadier Co. 19th Foot, circa 1819 Oil on canvas Signed lower right Canvas size - 14 x 10 in Framed size - 18 1/2 x 14 1/2 in ohn Leslie ...

Category

20th Century Modern Portrait Paintings

Materials

Oil

A Standing Leap at a Gate

A Standing Leap at a Gate

By James Seymour

Located in Stoke, Hampshire

James Seymour (1702-1752) A Standing Leap at a Gate Mezzotint with hand colouring Image size 10 x 14 in Framed size 16 1/2 x 20 in James Seymour was an English artist renowned for h...

Category

18th Century Old Masters Animal Paintings

Materials

Mezzotint

You May Also Like

Portrait of a Gentleman

Portrait of a Gentleman

By Arthur Devis

Located in London, GB

Oil on canvas, signed and dated 'Art Devis/fe 1755' lower left Image size: 29 1/2 x 24 1/4 inches (75 x 62 cm) Original ornate gilt wood frame Provenance: Ian Douglas Leonard Cochra...

Category

1750s Portrait Paintings

Materials

Canvas, Oil

18th Century portrait oil painting of a gentleman

18th Century portrait oil painting of a gentleman

Located in Nr Broadway, Worcestershire

Follower of Enoch Seeman the Younger German, (1694-1744) Portrait of Gilbert Sympkin Oil on canvas Image size: 29.25 inches x 24.5 inches Size including frame: 38 inches x 33.25 inches A fine three quarter length portrait of a gentleman traditionally identified as Gilbert Simpkin (Sympkin), follower of Enoch Seeman the younger, C1720. The portrait is set in a feigned sculptured oval cartouche, a device used to give a sense of depth. The sitter is depicted wearing a fashionable blue jacket and matching waistcoat with a white chemise and lace jabot. He wears a powdered wig in the fashionable style of the day and is posed holding his hat under his left arm with the fingers of his right hand stretched out. At court, long fingers signified wealth, culture and intelligence. The painting has clearly been executed by an artist of great ability who has been influenced by Enoch Seeman the younger. Gilbert Simpkin (Sympkin) was born in London on 24 August 1683, the son of John Simpkin and Susannah Butler. His grandfather was also called Gilbert Simpkin. He entered Oxford University in 1700 where he studied at St John’s College. In 1702, he became a student of Middle Temple, which at the time was one of the world’s most important centres of legal education. He later settled in Plymouth and then Bristol. He died in Bristol on 15 May, 1744 and was buried at Bristol Cathedral. He remained unmarried and the portrait may well have been commissioned to commemorate when he was first Called to the Bar or perhaps had established his own practice. Enoch Seeman or Seemann the younger was born in Danzig, Germany now Gdansk, Poland in 1694. His father was Enoch Seeman Senior, an artist of Flemish origin and his brothers Isaac, Noah and Abraham also became artists. He came to London with his father and brothers around 1704 and established himself as a portrait artist. From 1717 he became painter to the Royal court painting...

Category

18th Century Old Masters Portrait Paintings

Materials

Canvas, Oil

Large Portrait of an English Gentlemen/Duke, 19th Century

Large Portrait of an English Gentlemen/Duke, 19th Century

Located in GB

A large beautifully hand painted oil painting of an English gentleman, possibly a lord or duke. Set in the country side with trees and foliage, typical English landscape. Surrounded in a carved wood...

Category

Antique 19th Century English Paintings

Materials

Wood, Paint

Portrait of a Gentleman, 18th Century Oil Painting

Portrait of a Gentleman, 18th Century Oil Painting

By Anton von Maron

Located in London, GB

Oil on canvas Image size: 20 x 24 inches (51 x 61 cm) Period gilt frame This is a half-length portrait of a gentleman wearing a emerald coat and intricately designed waistcoat, dat...

Category

1760s Portrait Paintings

Materials

Canvas, Oil