Margaret 'Peg' Woffington (c1720 - 1760)
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Three-quarter length portrait of Margaret, known as 'Peg' Woffington. Peg stands with her body facing slightly right with her head inclined down towards the left. She wears a pink dress with a black lace shawl decorated with flower patterns and a straw bonnet tied under her chin. Her hands are crossed at her waist. She carries a pair of gloves in her left hand and a walking stick in her right.
Attributed to William Hogarth from 1886 until the 1970s, it is now thought that this portrait is by Philip Mercier. The features of the sitter correspond with known portraits of the Irish actress and singer, Margaret Woffington.
Philip Mercier came to England in 1715, bringing with him his experience training with French artists and travelling in Italy and France. He worked for members of the Royal Family and aristocracy painting many portraits. He introduced the style of portraiture known as the conversation piece which was later developed by Hogarth. His French style was influential on many later English artists.
There are several portraits attributed to Mercier and Hogarth that are thought to show Peg Woffington. This celebrated performer was depicted by many artists including Francis Cotes, Joseph Highmore, Thomas Hudson, John Lewis, and Johann Zoffany. The features in the Waddesdon painting are similar to the portrait of Woffington by John Lewis (National Portrait Gallery).
Margaret 'Peg' Woffington came to London in 1740 after finding success on the Dublin stage playing and singing in both female and male roles. She was widely admired after playing the male role of Sir Harry Wildair in Farquhar's 'The Constant Couple'. In 1741, she moved to the Drury Lane Theatre where she played many roles, including Shakespearian characters. She excelled at comic characters, particularly ill-treated wives. She lived with David Garrick (see acc. no. 102.1995), with whom she had a relationship until 1745. She tried to launch her sister on the London stage in 1745, but the attempt was unsuccessful. She continued acting in London and Dublin until she was paralysed whilst speaking the epilogue to 'As You Like It'. She died in 1760, leaving her great fortune to her sister and widowed mother. She never married and guarded her independence fiercely.
Phillippa Plock, 2012
Dimensions (mm) / weight (mg)
900 x 685 - sight
Signature & date
not signed or dated
Provenance
- Owned by Samuel Addington (b.Circa 1807, d.1886); sold at the Samuel Addington sale, Christie's, 22 May 1886, lot 78; bought at the Samuel Addington sale, Christie's, 22 May 1886, lot 78 for 85 guineas (as by Hogarth) by F B Henson of 51 Bedford Square; acquired by Harriet Georgina Thornewill, Baroness Burton (d.1931); by family descent; sold Sotheby's, London, 18 November 1992, lot 32; purchased by a Rothschild Family Trust, 1992.
Exhibition history
- Burlington House, London, 1887, no. 25 (as by Hogarth)
- Grosvenor Gallery, London, 1888, no. 33 (as by Hogarth)
- 'Jubilee Commemorative Exhibition', City Museum and ARt Gallery, Birmingham, 1934, no. 25
- 'Hogarth the Londoner', Guidhall Art Gallery, London, 1957
- Stoke on Trent, 1960
Collection
- Waddesdon (Rothschild Family)
- On loan since 1997
Bibliography
- Austin Dobson; William Hogarth; 2 vols; London; William Heinemann; 1902; p. 189
- John Ingamells, A Catalogue of the Paintings, Drawings and Etchings of Philip Mercier, The Walpole Society, 46, 1978, 1-70; Robert Raines; p. 50, no. 212
Subject person
- Peg Woffington, Sitter