William Jones

Damon and Phillida Reconciled: A Scene from Colley Cibber’s ‘Damon and Phillida’

1740

Medium
Oil paint on canvas
Dimensions
Support: 635 x 762 mm
Collection
Tate
Acquisition
Purchased 1980
Reference
T03111

Summary


Phillida Rejecting Mopsus and Cimon: A Scene from Colley Cibber's 'Damon and Phillida' Damon and Phillida Reconciled: A Scene from Colley Cibber's 'Damon and Phillida'

1740
T03111

This is the first of two pendant pictures illustrating scenes from a one-act opera Damon and Phillida by Colley Cibber (1671-1757) (see Tate T03112), first performed in 1729. In the opera, the handsome shepherd Damon courts Phillida, a shepherdess. However, Damon's inconstancy exposes her to the unwelcome attentions of two boorish shepherds, Mopsus and Cimon. Fortunately, she unexpectedly receives a dowry, enabling her to escape their clutches and accept the prodigal Damon. In the first scene, illustrated here, Phillida rejects the advances of the kneeling Mopsus; in the second scene she is reconciled with Damon, while in the background Cimon and Mopsus vent their frustration.

The opera Damon and Phillida was conceived as an 'after-piece', the slight story little more than an excuse for the performance of popular ballads, along the lines of The Beggar's Opera by John Gay (1685-1732), which had taken London audiences by storm the previous year. Although Cibber's opera was a far less accomplished piece, it was redeemed by the singing and acting of Kitty Clive (1711-85), who continued to play the role of Phillida until the 1750s. It is almost certainly her likeness that appears in the present pictures.

Cibber's opera appears to have been a response to the popularity of The Beggar's Opera, and the present pictures may have been inspired by Hogarth's various depictions of that piece, and by his work in general of the 1730s.

Editions of Cibber's Damon and Phillida, published during the 1730s and 1740s, carried a frontispiece by Gerard Van der Gucht (1696-1776). The present pictures, which have previously also been attributed to an unidentified member of the van der Gucht family, are now thought to be by William Jones, who appears to have signed the second picture, Phillida and Damon Reconciled, with his monogram 'W.J.'. Little is known of Jones, other than that he worked as a portraitist and landscape painter in Ireland, probably during the 1740s. The landscape style of the present pictures is also reminiscent of four landscape overdoors in the Great Hall of Kimbolton Castle, Huntingdonshire, one of which is signed and dated 'William Jones Pinxit / 1738'. In 1747, or possibly 1748, landscape and history paintings were offered for sale in Dublin 'done by the late ingenious Mr Jones'.

Further reading:

Elizabeth Einberg and Judy Egerton, The Age of Hogarth. British Painters born 1675-1709, Tate Gallery, 1988, pp.234-6, reproduced in colour

Martin Postle
August 2000

Display caption

The second picture shows the reconciliation of the two quarrelling lovers, Damon and Phillida, to the disappointment of the heroine’s two awkward suitors, Mopsus and Cimon. It probably represents Kitty Clive as Phillida, and Charlotte Clarke as Damon in 1739. Damon was often a ‘breeches part’, that is, one played by a woman. The theatre was always a strong focal point for London’s artistic community and scenes from plays or actors in character became an increasingly important genre for painters.

Gallery label, August 2004

Catalogue entry

T03111 [from] Two Scenes from Colley Cibber's ‘Damon & Phillida’ [T03111- T03112]

PROVENANCE ...; T.Lumley, sold Christie's 21 June 1940 (91 as ‘Mercier School’) bt Mrs P.Aitken; sold Sotheby's 27 November 1974 (81); ...; anon. sale Christie's 24 July 1980 (109, repr., as by ‘W.J.’) bt Leggatt for the Tate Gallery Purchased (Grant-in-Aid) 1980

T03111 Phillida and Damon Reconciled 1740

Oil on canvas 635×762 (25×30)
Inscribed ‘W.d G. [or ‘W.VdG.’] Pinxit 1740’ initials in monogram

The paintings represent two scenes from Colley Cibber's one-act opera or ‘after-piece’ Damon and Phillida, which was first performed in 1729 in a somewhat longer version as Love in a Riddle. The simple story tells of the shepherdess Phillida who, while in love with the handsome but fickle shepherd Damon, is wooed by two boorish shepherds called Mopsus and Cimon. An unexpected dowry enables her to reject the boors and accept a reformed Damon. The ballad form of the piece aimed to capitalise on the success of John Gay's The Beggar's Opera of the previous year. In this it failed, but was saved from extinction by the singing and acting of Kitty Clive (1711–85) - then still Miss Raftor - in the lead. Cibber immediately changed the title and slimmed the piece down to centre on Mrs Clive's scenes, in which form it remained a favourite after-piece on the London stage for many years. Mrs Clive continued to play Phillida well into the 1750s and was painted a number of times in what became one of her most popular roles (Chaloner Smith 1883, pp.331, 1364, 1397, 1682). Known portraits of her correspond reasonably well with the Phillida in the Tate Gallery pictures. Damon was played by various people and was sometimes a ‘breeches part’, i.e. played by a woman, notably by Charlotte Clarke until 1739. In the 1730s Mopsus was played by one Oates, about whom little is known. The part of Cimon, on the other hand, was a great success for the comedy actor Joseph Miller, and an engraved portrait of him after C. Stoppelaer, published in 1739, does show a certain resemblance to the beetle-browed laughing buffoon in T03112. Miller died late in 1738, but his memory remained green with the publication of Jo Miller's Jest Book in 1739, which was a runaway success.

This pair of paintings may be a response to the popularity of the entertainment and its leading actors, in the manner of Hogarth's famous scene from The Beggar's Opera, of which he painted at least six versions between 1728 and 1731 (see N02437). In treatment and style the pictures certainly show an awareness of Hogarth's work of the 1730s.

A version of T03112, unsigned and undated, was sold at Christie's 20 November 1964 (91, bt Marshall) with an attribution to Hayman, and was said to come from the collection of T.T. Cook of Messing, Essex, 1770,.A version of the single figure of Phillida in T03112 was with John Mitchell & Son in 1963, also ascribed to Hayman.

Most of the very many editions of the play published throughout the 1730s and 1740s have a frontispiece designed and engraved by Gerard Van der Gucht (1696–1776). Its upright design is loosely but nonetheless undeniably related to both T03112 and its other known versions in oils, and in some of its elements also to T03111. Moreover, the first letters of the artist's engraved name ‘Vdr Gucht’ conflate almost exactly into the latter part of the otherwise unfamiliar monogram signature on T03111. Although the Van der Gucht family produced several illustrators, engravers and painters over three generations, there is so far no record of anyone whose name begins with a ‘W’, which is clearly the first letter of the monogram. Nevertheless, in view of the Van der Guchts' evidently strong links with the theatre and the sheer size of this as yet little-studied family (Benjamin Van der Gucht, 1753–94, the painter of portraits and theatre scenes, is said to have been the thirty-second child of the above-mentioned Gerard, and it is not known if Gerard's brother John, 1697–1733, also an engraver and occasional painter, had any children) it seems reasonable at this stage to assume that the painter here is an as yet unrecorded member of the Van der Gucht family of artists. The name Vandergucht appears also in the list of ‘those painters of our nation, now living, many of whom have distinguished themselves and are justly esteemed eminent masters’, published in the Universal Magazine, November 1748, but there is no indication as to which Vandergucht is meant. A small group of similar genre or theatre scenes, usually ascribed to Mercier, Hayman or even Hogarth, can be attributed to the same hand (e.g. an interior with several figures called ‘Fortune Telling’, with Spink 1937; another version of the same subject with Gavin Graham Gallery 1981). The compilers gratefully acknowledge the help of Clare Hughes in identifying the play and actors.

Research in progress as the catalogue was going to press suggests that the author of T03112 and T03111 is the little-known painter William Jones (active 1738, died? 1747), and that the monogram in T03111should therefore be read as ‘W.J.’. His work as a painter of landscapes and portraits in Ireland is attested by a number of engravings after his works published 1744–47 (A. Crookshank & the Knight of Glin, The Painters of Ireland c.1660–1920, 1978, p.62). The distinctive landscape style of both Tate paintings and the handwriting of the signature in T03111 can also be seen in the four landscape overdoors in the Great Hall at Kimbolton Castle, Huntingdonshire, one of which has been found to be fully signed and dated ‘William Jones Pinxit/1738’. The attribution is also upheld by closer inspection of the figures, which, however, are more roughly painted in the overdoors, which are designed to be seen from afar. These were presumably painted for William Montagu, 2nd Duke of Manchester (1700–1739).
According to W.G. Strickland's Dictionary of Irish Painters, 1913, Jones's last work would seem to have been a portrait of ‘Charles Lucas’, known only from an engraving inscribed ‘Wm Jones pinxit 1747’, and in February ‘that year’ (which could also be February 1748 New Style) Samuel Dixon advertised as having for sale at his shop in Capel Street, Dublin, landscape and history paintings ‘done by the late ingenious Mr Jones’.


Published in:
Elizabeth Einberg and Judy Egerton, The Age of Hogarth: British Painters Born 1675-1709, Tate Gallery Collections, II, London 1988