Maria Ines Aliverti_The Miniatures of Jean Louis ... - Acting Archives

AAR Acting Archives Essays Supplement 10 – April 2011
(after the Baroda version of the painting) engraved by Valentine Green,
publ. by John Boydell 30 March 1776.; D.C. no. 7 features Garrick in the
‘dagger soliloquy’ before Duncan’s murder (Macbeth II, 1), when the
horrified Macbeth brandishes the daggers; D.C. no. 8 features a different
actress, Mrs. Yates, in the same acting moment as Mrs. Pritchard in the
theatrical conversation pieces (Macbeth II, 2), when Lady Macbeth with
daggers in hand is about to enter Duncan’s chamber to perform the
deed; the costumes are different in the paintings and in the vignettes but
the performers are similarly clad in fashionable contemporary garbs 89
• (D.C. nos. 15, 17, 19) Johann Zoffany, Thomas Weston as Doctor Last and
Samuel Foote as The Devil in ‘The Devil upon two sticks’, c.1768-9, Castle
Howard, Simon Howard Collection, exh. S.A. 1769; mezzotint engraved
by John Finlayson, publ. 30 Nov. 1769; the plate was later acquired by
Sayer c.1774
• (D.C. no. 16) Thomas Knight [?] as Farmer Harrow/or as Roger in ‘The Ghost’,
c.1795-1796, London, The Garrick Club, no. 411, exh. R.A. 1796. 90
Faesch’s vignette represents another actor, John Moody, in a different
character (Simon in Harlequin’s Invasion, a musical farce by David Garrick,
1759) and costume; nevertheless the attitude and position are the same
and both the actors hold an identical pitchfork. Actually the character of
Roger in the play adapted by an anonymous author after Mrs. Centlivre’s
The Man’s Bewitched (1709) was performed by Moody at Drury Lane on 10
April 1769. Knight played the same role at Covent Garden in 1795-1796,
when Zoffany’s interest in theatrical painting was over. It is not unlikely
that the artist, featuring this portrait, had retrieved some old theatrical
impression
• (D.C. no. 22) Johann Zoffany, Thomas King as Lord Ogleby and Mrs. Baddeley
as Fanny Stirling and Baddeley as Canton in ‘The Clandestine Marriage’, c.1769-
70, London, The Garrick Club no. 23; mezzotint engraved by Richard
Earlom, published by Sayer in 1772. The isolated character of Thomas
King as Lord Ogleby is also represented by Zoffany in a portrait (Collection
of the Hon. Evan E. Charteris)
• (D.C. no. 4) Johann Zoffany, Garrick as Abel Drugger with Burton as Subtle
and Palmer as Face in ‘The Alchemist’, c.1769-70, Castle Howard, Simon
Howard Collection; exh. R.A. 1770; see also two studies for Garrick as
Abel Drugger, Oxford, The Ashmolean Museum; mezzotint engraved by
John Dixon, pub. 12 January 1771; the plate was acquired by Sayer
c.1776
89 Garrick’s version of the play restored most of the original. For the long scene which opened second
act consisting of the dagger speech, the after murder dialogue, and the discovery of the deed, see K.
A. Burnim, David Garrick Director, pp. 111-116.
90 Geoffrey Ashton, Pictures in the Garrick Club: A Catalogue of Paintings, Drawings, Watercolours and
Sculpture, ed. by Kalman A. Burnim and Andrew Wilton, London, Garrick Club, 1997. The inventory
numbers of this and of the other paintings housed in the Garrick Club, cited below, refer to Ashton’s
catalogue.
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