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After Sir Joshua Reynolds, Pra Frs Frsa, 1723-1792 Portrait of Dr Samuel Johnson 1709 - 1784
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for sale €2,574     $2,794
£2,200

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After Sir Joshua Reynolds, Pra Frs Frsa, 1723-1792 Portrait of Dr Samuel Johnson 1709 - 1784

18th century
For Sale by Artware Fineart
Description

After Sir Joshua Reynolds, PRA FRS FRSA, 1723-1792

Portrait of Dr Samuel Johnson 1709 - 1784

oil on panel

21 x 16.6 cm (8.1/4 x 6.1/2in.)

after the portrait by Sir Joshua Reynolds in the Tate N00887

Literature

Engraved by James Heath from the painting by Sir Joshua Reynolds. This engraving is the frontispiece to Johnson's Dictionary of the English Language, published 1 January 1799 by Longman. The dedication notes that the portrait was at this time in the possession of B Langton. James Heath also engraved a different portrait of Johnson used in an earlier Dictionary, 1791 edition.

Notes

Johnson, Samuel (1709–1784), author and lexicographer, was born in Breadmarket Street, Lichfield, on 7 September 1709 (after the change of calendar in 1752 he celebrated his birthday on 18 September), the first child of Michael Johnson (1657–1731) and his wife, Sarah Ford (1669–1759); later the couple had another son, Nathaniel (1712–1737), of whom little is known apart from the fact that he went into the family trade of bookselling and did not enjoy good relations with his elder brother. Samuel's birth took place in the Johnsons' home, a new four-storey house on the corner of Breadmarket Street and the Market Square; it survives today as the Samuel Johnson Birthplace Museum. Overlooking the property stands St Mary's Church, where Samuel may have been baptized on 17 September 1709, although he appeared so frail at first that a baptismal ceremony was carried out in his home within hours of his birth. Attending his birth was George Hector, ‘a man-midwife of great reputation’ (Yale Edition, 1.3), whose nephew Edmund Hector (1708–1794), a Birmingham surgeon, became a close lifelong friend. As godfathers the parents chose Richard Wakefield, the town clerk, and Samuel Swynfen (c.1679–1736), a prominent local physician. The child was named after his maternal uncle Samuel Ford.

Michael Johnson's bookshop occupied the ground floor. Originally apprenticed to a member of the London trade in 1673 and made a freeman of the Stationers' Company in 1685, he had set up business in Lichfield in 1691. He published a few books and operated in other local towns on market days. In later years he also practised as a tanner and parchment manufacturer, though with little success. Michael Johnson held a number of civic offices in the borough, including those of senior bailiff and magistrate: Samuel was born during his term as sheriff. Michael was a high-churchman and possibly, as Boswell believed, a Jacobite, although outwardly at least he conformed to the Hanoverian dispensation. Plagued by ‘a vile melancholy’ that he may have passed on to his son (Boswell, Life, 1.35), he possessed some learning and ambition. At the same time he was evidently subjected to Sarah's consciousness of her own superior social origins. Awkward in company, strictly pious, and uninterested in books, she can hardly have found an ideal companion in Michael; later in life her son respected her memory, but gave little sign that he enjoyed a warm or loving relationship with his mother.

Almost immediately the parents placed Samuel in the care of a wet-nurse named Marklew, who lived in George Lane nearby. By the time he returned home a few weeks later, he was already suffering from maladies, which affected him all his days. ‘A poor, diseased infant, almost blind’ (Yale Edition, 1.5), he had an infection in his left eye and a severe case of scrofula (tuberculosis of the lymph nodes), possibly contracted from the nurse's milk. An operation was later carried out on the glands in his neck, which left visible scars. At some stage he also underwent a bout of smallpox which caused further disfigurement. When he was two, in March 1712, he was taken by his mother to London, in order to be ‘touched’ for the scrofula by Queen Anne. Johnson was almost totally deaf in his left e

Physical Dimensions
Height
21cm (8.27")
Width
16cm (6.30")
Declaration

Artware Fineart has dated this Samuel Johnson Oil Painting to the 18th Century.

Reference Numbers
Sellingantiques Reference
SA485944
Dealers Internal Reference
3923
Description
After Sir Joshua Reynolds, PRA FRS FRSA, 1723-1792

Portrait of Dr Samuel Johnson 1709 - 1784

oil on panel

21 x 16.6 cm (8.1/4 x 6.1/2in.)

after the portrait by Sir Joshua Reynolds in the Tate N00887

Literature

Engraved by James Heath from the painting by Sir Joshua Reynolds.

This engraving is the frontispiece to Johnson's Dictionary of the English Language, published 1 January 1799 by Longman.
Artware Fineart

The dedication notes that the portrait was at this time in the possession of B Langton. James Heath also engraved a different portrait of Johnson used in an earlier Dictionary, 1791 edition.

fig 1. An antique oil painting depicting Dr Samuel Johnson in half-length portraiture wearing a powdered wig and a deep red coat against a dark background.
fig 1. After Sir Joshua Reynolds, Pra Frs Frsa, 1723-1792 Portrait of Dr Samuel Johnson 1709 - 1784

Notes

Johnson, Samuel (1709–1784), author and lexicographer, was born in Breadmarket Street, Lichfield, on 7 September 1709 (after the change of calendar in 1752 he celebrated his birthday on 18 September), the first child of Michael Johnson (1657–1731) and his wife, Sarah Ford (1669–1759); later the couple had another son, Nathaniel (1712–1737), of whom little is known apart from the fact that he went into the family trade of bookselling and did not enjoy good relations with his elder brother. Samuel's birth took place in the Johnsons' home, a new four-storey house on the corner of Breadmarket Street and the Market Square; it survives today as the Samuel Johnson Birthplace Museum. Overlooking the property stands St Mary's Church, where Samuel may have been baptized on 17 September 1709, although he appeared so frail at first that a baptismal ceremony was carried out in his home within hours of his birth. Attending his birth was George Hector, ‘a man-midwife of great reputation’ (Yale Edition, 1.3), whose nephew Edmund Hector (1708–1794), a Birmingham surgeon, became a close lifelong friend. As godfathers the parents chose Richard Wakefield, the town clerk, and Samuel Swynfen (c.1679–1736), a prominent local physician. The child was named after his maternal uncle Samuel Ford.

Michael Johnson's bookshop occupied the ground floor. Originally apprenticed to a member of the London trade in 1673 and made a freeman of the Stationers' Company in 1685, he had set up business in Lichfield in 1691. He published a few books and operated in other local towns on market days. In later years he also practised as a tanner and parchment manufacturer, though with little success. Michael Johnson held a number of civic offices in the borough, including those of senior bailiff and magistrate: Samuel was born during his term as sheriff. Michael was a high-churchman and possibly, as Boswell believed, a Jacobite, although outwardly at least he conformed to the Hanoverian dispensation. Plagued by ‘a vile melancholy’ that he may have passed on to his son (Boswell, Life, 1.35), he possessed some learning and ambition. At the same time he was evidently subjected to Sarah's consciousness of her own superior social origins. Awkward in company, strictly pious, and uninterested in books, she can hardly have found an ideal companion in Michael; later in life her son respected her memory, but gave little sign that he enjoyed a warm or loving relationship with his mother.

Almost immediately the parents placed Samuel in the care of a wet-nurse named Marklew, who lived in George Lane nearby. By the time he returned home a few weeks later, he was already suffering from maladies, which affected him all his days. ‘A poor, diseased infant, almost blind’ (Yale Edition, 1.5), he had an infection in his left eye and a severe case of scrofula (tuberculosis of the lymph nodes), possibly contracted from the nurse's milk. An operation was later carried out on the glands in his neck, which left visible scars. At some stage he also underwent a bout of smallpox which caused further disfigurement. When he was two, in March 1712, he was taken by his mother to London, in order to be ‘touched’ for the scrofula by Queen Anne. Johnson was almost totally deaf in his left e

Height
21cm (8.27")
Width
16cm (6.30")
Date of Manufacture

Artware Fineart has dated this Samuel Johnson Oil Painting to the 18th Century.

Reference Numbers
Sellingantiques Ref
SA485944
Dealers Internal Ref
3923
Artware Fineart
Sellingantiques verified Since Sep 2008
Dealer Profile

You can view the stock and full dealer information on the Artware Fineart Profile Page

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An antique oil painting depicting Dr Samuel Johnson in half-length portraiture wearing a powdered wig and a deep red coat against a dark background.
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Archive I An antique oil painting depicting Dr Samuel Johnson in half-length portraiture wearing a powdered wig and a deep red coat against a dark background.

After Sir Joshua Reynolds, Pra Frs Frsa, 1723-1792 Portrait of Dr Samuel Johnson 1709 - 1784

Archive II An antique oil painting depicting Dr Samuel Johnson in half-length portraiture wearing a powdered wig and a deep red coat against a dark background. View II
Enlarged Archival View
Telephone 07958 699 645
Location
18 La Gare
51 Surrey Row
London
SE1 0BZ
United Kingdom
Verified Since Sep 2008
Items For Sale 243
Items Sold 223
Artware Fineart
Verified Since Sep 2008
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Location: 18 La Gare , 51 Surrey Row , London , SE1 0BZ , United Kingdom
Verified
Sep 2008
For Sale
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An antique oil painting depicting Dr Samuel Johnson in half-length portraiture wearing a powdered wig and a deep red coat against a dark background.
After Sir Joshua Reynolds, PRA FRS FRSA, 1723-1792 Portrait of Dr Samuel Johnson 1709 - 1784
Ref: SA485944
An antique oil painting depicting Dr Samuel Johnson in half-length portraiture wearing a powdered wig and a deep red coat against a dark background.
Detail View 1
Archival Detail
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Antiques are the ultimate green purchase. By choosing historical pieces over newly manufactured goods, you completely eliminate the carbon footprint of modern mass production while preserving exceptional, timeless craftsmanship.

Georgian portraiture from the 18th century frequently depicted prominent literary, political, and social figures using dramatic chiaroscuro lighting, naturalistic posing, and rich oil paint tones popularised by artists like Sir Joshua Reynolds.

Artists typically executed oil portraits using hand-ground pigments bound in linseed oil, applied to stretched linen canvas or timber panels, and finished with protective natural resin varnishes.

Period oil paintings generally exhibit natural age-related craquelure across the paint surface, historic stretcher constructions, and uneven hand-woven canvas textures typical of pre-industrial canvas production.

A historical portrait functions as a focal point when hung above a mantelpiece or integrated into a gallery wall alongside contrasting modern frames and contemporary artwork.

Oil paintings should be displayed away from direct sunlight, heat sources, and fluctuating humidity, with light surface dust removed using a dry, soft-bristled brush rather than chemical cleaning agents.
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