Wellings, William (SCC Newsletter January 2011)

WILLIAM WELLINGS—fl. 1768?(1733) - 1796.

An elegant artist who did full justice to his patrons.

An account of his known work.

Introduction.

The written material for this article has been obtained from the Book and other silhouette literature. Also, from Martin Riley's article in "The Antique Collector" for June 1989 entitled "William Wellings - Silhouettes". The illustrations are from actual works, the literature and sale catalogues. Some of these have been reproduced in colour and some of these are a little too 'yellow' as a result - others are in black & white and therefore do not always do justice to the subtleties of Wellings' art and his use of grey & brown colouring. However, I hope all will show the artist's talents in spite of these 'defects'.

Above I have reproduced two miniatures by Wellings - in black & white of unknown ladies - to show that he was a skilled artist with other strings to his bow besides that of a silhouettest. Below is illustrated one of his theatrical compositions. This is of David Garrick & Mrs. Barry in "The Wonder". Wellings was well-known for these pictures in his day and it is likely that these and his theatrical contacts were a main source of income supplementing his silhouette career. It is probable that he carried on with this work after he had ceased to paint silhouettes. Also perhaps he had a longer time engraving and publishing prints of his work.

(note. The scene of Garrick & Mrs. Barry was painted in 1784 although Garrick died in 1779.)

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His background.

Almost nothing is known about Wellings personal background—we do not know where and when he was born or when he died or even whether he was married or not. It is possible that he had a relationship with a Mrs. Sledge, who may also have been an artist - see Mrs. McK's entry on S. Sledge page 437. Martin Riley thinks it is possible that S. Sledge was not Mrs. Sledge's son, as suggested by Mrs. McK. but rather Mrs. Sledge herself - her first name was Susannah. Also it is noted in the records that both Wettings and Mrs. Sledge were absent from their homes in the summers of 1794 & 95 - so they may have been together then!

However, we do know where Wettings was living during the years 1773 to 1796, when he was painting silhouettes, from Martin Riley's article. These addresses are where he lived and worked it seems - so I will mention these in more detail under his working career.

His working career.

The main information on this is contained in an advertisement published in October 1792, which I will quote in full:-

"Mr. Wellings, Miniature Painter Removed from No 3 Tavistock Row to No 26 Henrietta Street Covent Garden. The Original Person that introduced the so much approved & admired Light Shades in the Profiles, thereby giving them an Elegance of appearance and expressing the Drapery and Dress in a style totally peculiar to himself alone, and he had the honour and happiness to meet with the approbation and patronage of the first Personages and greatest judges in the three Kingdoms during the fourteen years of his residence at Mrs. Sledge's in the above street. He most respectfully informs the Nobility and Gentry & the Public in general that he will continue to Paint Portraits in miniature for Lockets, Bracelets, Rings and Fausse Montres, in whole lengths, coloured or black, Shaded or plain Blocks, Busts, Conversation etc in the most elegant Manner. Specimens to be seen by applying above. Theatrical Portraits finished in any character required on a few days' notice. NB Large Shades reduced to any size".

In fact Martin Riley's research discovered that Wettings had not lived for fourteen years at No 3 Tavistock Row but actually he had lived at 1 Henrietta Street from 1773 to 1787 and then probably lived at No 3 Tavistock Row from 1787 to 1792, when he then went to 26, Henrietta Street, where he was the subtenant. It is of note that all these addresses are within a very short distance of each other. Riley further points out that Wettings' above advertisement was not "so much a notice of a recent removal but a direct appeal to the public for custom". He thinks it was published when competition with other silhouette artists was increasing - also theatrical work had suffered a decline with the closure and rebuilding of the Theatre Royal, Drury Lane.

It is known that Wettings submitted watercolours to the Royal Academy in 1793, and he painted an important conversation piece in silhouette in 1794 - but Riley takes the view that his silhouette career probably ended in 1796 and cites the silhouette print of George III as being his last work. There is no record of a silhouette painted by Wettings that is dated post 1796.

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His silhouettes.

As can be gathered from Wellings' advertisement his object was to please his patrons - so all are portrayed in a flattering pose with elegance and panache. His best known works are those of single figures - largely of men either standing or sitting and surrounded by 'objects' that reflect their careers and standing in the world. I will illustrate a number of these later.

His patrons were generally amongst the "nobility & gentry". It is noted that he had a large practice with the Royal Navy, but does not seem to have painted any officer below the rank of captain! Apparently there is no record that he painted army officers - this seems odd to me. I think sometimes uniforms are difficult to identify so I would be suspicious of an officer painted in an outside scene if there was not a ship in the background! This 'fact’ if so enabled Mrs. McK. to attribute silhouettes of army officers to Wheeler, which had previously been recorded as being by Wellings. He frequently painted dogs with their masters - usually looking up adoringly. Occasionally he painted horses.

Wellings generally painted on thick laid paper and there is no record that he used gum arabic for highlighting details. He used different shades of black watercolour and indian ink for faces. His clothing detail was painted both on the main body and outside this. Unlike Torond's black work, where clothing detail was only outside the main body. His shading was subtle - he used greys, blacks and in some cases browns to acheive this.

John Woodiwiss was a great admirer of Wellings work and in his book "British Silhouettes" he states Wellings was "prominent among the masters of his age who does some of the most perfect conversation pieces ever attempted." He considered him to be "the epitome of aristocratic shadow-painters, who continued to add a wealth of dignified beauty to any work he attempted." Whereas Arthur Mayne in his book "British Profile Miniaturists" is not lavish in his praise and suggests that Wellings' approach was "smiling, bowing and slightly subservient" - perhaps it was but Wellings needed to please to attract custom and obviously it suited his clientele!

A silhouette of Capt. Hood, 1st. Viscount Bridport 1727-1814. He later was made Vice-Admiral of England in 1796 and Baron Bridport in the Irish peerage. He was sold at Sotheby's on 1st. December,1980 (lot 21) making a mere £1 80 - some damage was noted but otherwise in a fair condition! No mention of a signature. Size 10" in height. Note as with many of Welling's standing figures - his body is full-on, so that full details of his uniform can be shown, whilst his face is in profile.

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His single figures.

These are the figures with which most collectors are familiar when looking at the work of Wellings. These are usually of men and most of the figures are standing rather than sitting. I have not seen a woman painted as a standing figure by Wellings although it is possible that one does exist. Most are signed and dated on the obverse - usually at the base of the work. Sometimes this is difficult to see as it is almost 'hidden' in the shadows or placed on part of the background such as a tree. The size of these figures varies - although Mrs. McK. in her Book recorded that these figures were generally about 10 inches in height. I have recorded the size where it is possible to do so.

Amongst the sitting figures I have illustrated four women, but only one of these has a signature - the others have been attributed on stylistic grounds. This is curious I think.

This is Capt. William Affleck R. N. - it is signed and dated "W. W. 1783" His name has been inscribed on the reverse as well. Size 10" by 8". He was sold at Sotheby's in October 1977 (lot 38) and at the Shirley North Sale at Bonhams on 14th June 2000 (lot 47) Some of his biographical details are known - it seems he had a distinguished naval career. He has been lightly cleaned by a paper restorer in recent years. Note the shading on the curtains - quite unlike those of Torond that are in solid black.

A beau with his horse holding his hat. There is no evidence of a signature or date. Size 12" in height. He was exhibited at the National Portrait Gallery in 1972 and is illustrated in "Silhouettes" by Peggy Hickman (illus. 50)

He was sold at the Pollak Sale at Bonhams on 21st. February 1996 (lot 48). I noted at the time of this sale that he was not Wellings at his best, but a good subject nevertheless - also I like the angle of the horse's head !

This is from Arthur Mayne's "British Profile Miniaturists" (illus. 20) It is of a naval officer signed and dated 1783. Size 14" by 11" The setting is more intricate than usual with plants rocks and tree branches, also the sea and a ship to which the subject is pointing. The reproduction is somewhat dark but this seems to be a good example of Wellings work.

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This is of an officer, but I am not sure whether he is naval or not as there is no ship or sea in the background. He is wearing a tricorn hat, which was also worn by the army at the time. I like to hope he is an army man for once! He is signed and dated "fecit 1782". It seems that Wellings was very busy during the years 1782-83 if these illustrated examples are anything to go by! The date in this case is at the base of the tree trunk. Size 8.75" approx. It was sold at Phillips, New Bond Street on 12th July 1999. The illustration is from the catalogue of the sale.

This is Capt. William Carlyon and he is signed and dated "W. Wellings fecit 1782". Size 10" by 8". He is reading an order, which be-gins "By order of the Right Honourable the Lord of the Admiralty" - with his ship out to sea and framed by the customary tree. It is a nice crisp example of Wellings work and I am grateful to Martin Riley for the reproduction, which is from his article in The Antique Collector.

This is another naval officer a Capt. Pellow. He later became a Viscount and a Vice-Admiral. Apparently he had a very distinguished career and was the greatest frigate captain of his time. He fought many famous battles. He was born in 1757 and died in 1833. He was sold at Christies, King Street and bought by a Member of the S.C.C. He had a slight scratch across his legs just below his knees, but this did not detract from the fineness of the silhouette,

This is of an unknown gentleman with his dog, probably a landowner standing on his own land. Size 10" by 8". He is signed and dated "Wellings fecit 1783"- this in the shadow under the tree. It has had a rough time at some point in its history with the resulting damage to the backing paper. Unfortunately nothing can be done to improve this as the paper is too fragile. He has been lightly cleaned and put in a replacement frame. In spite of his defects I think the subject and his appealing dog are delightful!

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This is of Mr. J. M. Days pictured surveying his surrounding landscape - obviously a prosperous landowner. He is dated 7th. July, 1788 on a label on his reverse. He is illustrated in Mrs. Mc.K's Book on page 508 (plate 96) He is described as an unknown man as she did not know about the label on the reverse - this came to light when he was sold at Christies, King Street on 8th March 1995. For many years he had formed part of the Christie Collection. He now belongs to a Member of the S.C.C. He is illustrated in Mrs. Hickman's "Silhouettes A Living Art" on page 29.

This is Capt. Peyton in naval uniform with the customary globe and compass. He is signed and dated 1782. Size 9' approx. He was sold firstly at Phillips on 9th November, 1987 (lot 29) and subsequently at the Andrew Ransford Sale on 24th November 1999. The illustration is taken from the back of the Ransford sale catalogue. As you will see he does have some water damage which I hope has been dealt with by a paper restorer. It is interesting that his sale price only rose by £350 between the two sales.

This is of John, Earl St. Vincent, who became an admiral and defeated the Spanish fleet off Cape St. Vincent on 14th February 1797. He is signed and dated 1783 and is pictured with his property Loughborough in the distance. It is a wonderful silhouette in a wonderful frame. The illustration is from the front cover of the Morgan May Sale, which took place on 22nd February 1985. Size 1.25". He made more at the Sale than Wellings' silhouette of William Pitt which was in the same sale.

This is of William Pitt (1759 - 1806) He is signed and dated 1781. Size 10.5". It was painted when Pitt was 21 after he had made his speech in favour of the American colonies—he has the speech in his hands. He is illustrated in the Wellesley "One Hundred Silhouette Portraits" from the Collection of Francis Wellesley (pl. XVI) He was sold at the Morgan May Sale on 22nd February 1985. I have used the illustration in the Wellesley book.

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His seated figures - ladies and gentlemen.

Mr. Wellings seems to have painted two versions of Earl Fauconberg Firstly on the left an illustration in Mrs.Jackson's "The History of Silhouettes" plate XLIII published in 1911 and described as being of "the late Lord Fauconberg". Although this is shown in black & white it does indicate wonderful detail with the terrier dog delightfully depicted gazing adoringly at his master. Mrs. Jackson gives the measurements as 15" by 20", which seems rather large so may not be accurate. In 1911 the work was part of the Lady Sackville Collection at Knole. It seems that it was sold at Sotheby's on 1st December 1980 (lot 22) then being described as "unknown naval officer". The size was given as 27.7 cms ( about 11") which seems more likely. Described as being signed and dated 1786. It appears to have been reframed since 1911.

Secondly on the right is a silhouette illustrated in John Woodiwiss's" British Silhouettes" (illus. 28) It is said to be of "Henry Belasyse (and last) Earl of Fauconberg 1743 - 1802". He was Lord of the Bedchamber to George III. Described as being painted in grey, dark brown and black, but there is no mention of a signature or size of the work. Both paintings show the subject with his hat and quill pens, but only one with his dog. Woodiwiss has a carping critisism of this work - "could his lordship's legs really have been of such feminine proportions"! (my exclamation mark).

Below is Henry Thompson playing a cello, who for once seems to be using the customary side-table to some purpose He was sold at the Frederick Joachin Collection Sale Part II at Christies, S. Kensington on 2nd. May 1995 (lot 68) Size 10.5" and no mention of a signature in the catalogue. At the time I thought the work as a little crude by Wellings' standards - although the illustration from the catalogue does not seem to bear this out.

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An unknown woman at a spinning wheel - although clearly not dressed for the purpose! Signed "Wellings Fecit" and probably painted c. I782. Size 11" by 8.5". She is illustrated in Martin Riley's article in The Antique Collector for June, 1989 (figure 5) The illustration is small so it is difficult to see all the detail, but she seems to be a fine example of Welling's work.

A silhouette of a mother and child that was sold at Phillips on 19th April 1999. She was attributed to Wellings by the auction house, although there was no obvious signature, on the grounds of the size of the work i.e. 11" x 15" and the form of the composition with the tree and foliage. It is a delightful work - the lady with her transparent spotted overskirt and the animated child with her frilled collar and buckle shoes. There was an inscription on the reverse, which did not help the attribution, but stated that it had been given as a present in "Sept 1821". It made a very good price at the sale - £2,600 on the hammer and quite a record for an unsigned work.

This is of a young lady of the Gosset Family playing a keyboard instrument. Size 11.5". She was sold at the Morgan May Sale on 22nd February 1985 (lot 93). She was in the same sale as two very fine signed works by Wellings. (already illustrated) - she compared very favourably with them although she was unsigned and attributed on stylistic grounds. In fact she made only £450 less that William Pitt!

This lady was sold at Bonhams on 11th February 1999 with her male companion (not illustrated). Both were in wide matching maple frames - size 10.5"in height. Both were attributed to Wellings on stylistic grounds as no signatures were visible. The auction house made out a good case for the attribution but collectors at the time were not happy. One point made was the lady, whilst she held a riding crop, she was looking at nothing. Interestingly her companion had his back to the customary globe with one hand tucked into his waistcoat - seemed unusual. In the event they did not sell - estimate was too high (£5,000-£6,000) plus the doubts.

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His bust lengths

None of the following bust-length works are signed or dated as being by Wellings - all have been attributed on stylistic grounds. Mrs. McK. in her Book illustrated only bust-length prints by Wellings (see page 509 illus. 962-964) - clearly she was not certain about any painted works. Interestingly she attributed three works to Wheeler that had previously been recorded as being by Wellings - i.e. on pages 509-510, illus. 965-967. I think the jury is still out on this decision.

On the left above is George III - for many years he was part of the Peggy Hickman Collection. He was first illustrated by her in an article in "Country Life" on 25th January 1962 entitled "The Woman, who refused to be Queen". At the time she attributed him to William Locker mentioning that a similar work was in the Lady Sackville Collection. Subsequently she changed the attribution to Wellings. The silhouette was sold at her sale at Christies on 12th May 1993 and later sold at Bonhams on 27th February 2007 (lot 51). He is about 2.75" in height.

On right is a print of George III produced by Wellings and illustrated in the Book on page 509 illus. 964. Mrs. McK. accepted that this was after one of Wellings' silhouettes, but she did not reproduce the original.

On the left is a gentleman from my Collection. He was bought unframed, but after a paper restorer had given him a 'light' wash, is now in a pressed brass frame. Size just over 3" in height. He is particularly well painted especially his hair and I have stuck my neck out and attributed him to Wellings!

On his right is an illustration from Mrs. Jackson's "Dictionary" published in 1938. By this date she had 'discovered' Wellings. He was part of her Collection but she gives few details and does not record any signature or his size - simply dates him to circa 1785.

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This is of an officer in uniform. Black and white pigments have been used plus white for heightening his frill. He was sold at the Pollak Sale on 21st February 1996 (lot 60) from which this illustration is taken. He has a good provenance - his previous owners being The Hon. Gerald Ponsonby and the Dowager, Countess of Mayo. Size 3.25" in height. He was later sold at the Martin Willcocks Sale at Phillips on 10th November 1998 (lot 15)

This is of an unknown gentleman, also sold at the Pollak Sale with the same provenance (lot 53) He is smaller in size being only 2.5" in height. I am not so convinced that he is by Wellings - his bust-line termination does not seem to fit. The verre eglomise border is unusual, but that could have been added at a later date. I remember several collectors had their doubts at the time of the sale.

This is a pair - again sold at the Pollak Sale (lot 56) Size 3.75" in height - quite a lot larger than the two gentlemen above. Both in style are very similar in my view to the pair in Mrs. McK's Book on page 510 illus. 966 & 967 that she has attributed to Wheeler, which I mentioned earlier. I do not have the 'feeling' that all four silhouettes I have illustrated on this page are by the same hand.

This silhouette is of a Mrs. Millington of Howden. She was sold at the Willcocks Sale at Phillips on 10th. November, 1998 (lot 47) In the catalogue he was only described as "Attributed to W. Wellings". Her size was given as just under 4" in height, which I doubt is quite correct as this seems rather large. She was very nicely painted in shades of grey and could have been by Wellings in style, but she was dated on her reverse 1800, which I think is a little late for Wellings.

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This is of the Creffield Family - signed and dated 1794. Size 13.5" by 21.75". It is owned by the Colchester & Essex Museum. It did suffer some damage in the past but has now been restored by the Museum. The illustration is from the Museum, but the work is also illustrated in Martin Riley's article in "The Antique Collector". An interesting and fine example of Wellings' work.

These works were the subject of an article in the August 2003 S.C.C. Newsletter. The work on the left is without doubt by Wellings. It was owned for many years by the M.C.C., but was sold by them at their "Bicentenary Auction at Lords Cricket Ground held by Christies on 13th April 1987 (lot 35). It is of William and Thomas Earle - brothers or father and son I am not clear. It is signed and dated 1785. Size 17" by 14". Thought to have been bought by someone in Australia and taken to that country.

The work on the right strangely appeared at the Woolley & Wallis Sale in Salisbury on 13th May 2003 (lot 111) - purporting to be the same silhouette that was sold by the MCC. The Auction House were concerned and took advice. They decided to catalogue it as "Circle of William Wellings". It was sent in by a respectable local family, who had sent good items in the past. Size was 13.5" by 165" - somewhat smaller than the MCC version—also there were other differences notably the ball in the boy's hand was black in the one and white in the other. A Member of the S.C. C. viewed the work and was not convinced it was a genuine Wellings, although he did not claim to be an expert. Nevertheless it made a good price and was bought by a dealer. I think it is likely that it will be accepted as a Wellings as the years go by!

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His Conversation Pieces.

This work is entitled "Ladies Seated at a Table". It forms part of the Victoria & Albert Museum Collection. Size 7.75" by 9.75". It is illustrated in Mrs. McK's Book on page 508 illus. 957. This work was considered by John Woodiwiss to be the finest conversation piece he had ever seen - he thought the work basket, scissors etc. used by the ladies were beautifully shown. This illustration is from an article in "Country Life" April 27th 1945 by Bernard Hughes entitled "English Silhouettes-I".

This is of the Austen & Knight Families, who got together to celebrate Jane's brother Edward's adoption at the age of 15 by his cousins Mr. & Mrs. Thomas Knight a childless couple. The Rev. George Austen is on the left. Mrs. Knight is engaged in a game of chess with a female friend and cousin Thomas is on the right. Signed & dated 1783. Size 22" by 18". It is owned by the Knight Family. The image is from "Country Life" 14th December 1966 from an article by P. Hickman entitled "The Jane Austen Family in Silhouette". Also it is in Mrs. McK on page 508.

This is of an unknown lady & gentleman taking tea with their dog looking on. Signed & dated 1784. Size 11" by 15". It was firstly sold at Phillips in July, 1986 (lot 215) and later at Gorrdnges in Lewes at the Denys Cowell Collection Sale on 24th October 2002 (lot 834) - a delightful subject.