The Portrait of Dr William Harvey in the Royal Society Since 1683

Keynes, Milo

doi:10.1098/rsnr.2006.0152

Cited by 4 publications

(4 citation statements)

References 1 publication

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The Society also hung portraits of those who were not members of the Society. On February 27, 1684, Haak presented a portrait of a correspondent of the Society, Johann Christoph Sturm (1635-1703) of Altdorf, and John Mapletoft a portrait of William Harvey, both of which were ordered to be hung in the meeting room (Birch 1756(Birch -1757Keynes 2006) . Harvey (1578-1657) had posthumously become a significant hero (Jordanova 2018, pp.…”

Section: Portraitsmentioning

confidence: 99%

The Early Royal Society and Visual Culture

Kusukawa

2019

Perspectives on Science

View full text Add to dashboard Cite

Recent studies have fruitfully examined the intersection between early modern science and visual culture by elucidating the functions of images in shaping and disseminating scientific knowledge. Given its rich archival sources, it is possible to extend this line of research in the case of the Royal Society to an examination of attitudes towards images as artifacts—manufactured objects worth commissioning, collecting, and studying. Drawing on existing scholarship and material from the Royal Society Archives, I discuss Fellows’ interests in prints, drawings, varnishes, colorants, images made out of unusual materials, and methods of identifying the painter from a painting. Knowledge of production processes of images was important to members of the Royal Society, not only as connoisseurs and collectors, but also as those interested in a Baconian mastery of material processes, including a “history of trades.” Their antiquarian interests led to discussion of painters’ styles, and they gradually developed a visual memorial to an institution through portraits and other visual records.

show abstract

Section: Portraitsmentioning

confidence: 99%

The Early Royal Society and Visual Culture

Kusukawa

2019

Perspectives on Science

View full text Add to dashboard Cite

show abstract

“…3 3 However, Janssen does appear to have painted Harvey, as a portrait by C Janssen of Dr Harvey was sold at Christie's in 1794 at the sale of pictures from the collection of John Hunter, 1728-1793. Unfortunately, this portrait was destroyed in a fire in 1830.…”

Section: From Trades To Professionsmentioning

confidence: 99%

“…2 Two other portraits of Harvey are those attributed to Daniel Mytens, 1590-1642, in the National Portrait Gallery since 1976, and a lost portrait by Sir Peter Lely, 1618-1680, of which five copies have recently been identified. 3 However, Janssen does appear to have painted Harvey, as a portrait by C Janssen of Dr Harvey was sold at Christie's in 1794 at the sale of pictures from the collection of John Hunter, 1728-1793. Unfortunately, this portrait was destroyed in a fire in 1830.…”

mentioning

confidence: 99%

Engraving of William Harvey

Keynes¹

2007

J R Soc Med

Self Cite

View full text Add to dashboard Cite

“…Milo Keynes's excellent short paper on the Society's picture of William Harvey (1578 -1657) attributes the work now in Carlton House Terrace to a copyist after a lost original by Sir Peter Lely (1618-80) and argues that it was in the Society's custody from 1683. 1 The donation was by John Mappletoft FRS (1631 -1721), and there is some clear evidence to support this within the Society's minutes, which state that 'Dr Mapletoft presented the Picture of Dr. Wm. Harvey; for which Mr. Hill was desired to return him the thanks of the Company.'…”

mentioning

confidence: 99%

The Royal Society's lost seventeenth-century portraits

Moore

2013

Notes Rec. R. Soc.

View full text Add to dashboard Cite

The re-cataloguing of the Royal Society's collection of oil paintings has thrown up some interesting questions about works of art no longer in the Society's care, and in particular the whereabouts of at least four (or possibly five) 'missing' pictures that were very early acquisitions and that formed an important display element in the organization's houses at Gresham College and Crane Court during the Society's first century of activity. Although all of these works must have been painted in the seventeenth century, only two were donated then: a further two were eighteenth-century acquisitions. This last pair survived into the nineteenth century before disappearing from the occasional catalogues produced by the Society. What were they and what happened to them? Milo Keynes's excellent short paper on the Society's picture of William Harvey (1578-1657) attributes the work now in Carlton House Terrace to a copyist after a lost original by Sir Peter Lely (1618-80) and argues that it was in the Society's custody from 1683. 1 The donation was by John Mappletoft FRS (1631-1721), and there is some clear evidence to support this within the Society's minutes, which state that 'Dr Mapletoft presented the Picture of Dr. Wm. Harvey; for which Mr. Hill was desired to return him the thanks of the Company.' 2 The association of the painting and donor is recorded in the first list of artworks printed by the Royal Society in 1834. 3 However, there is a slight complicating element to this story, not dealt with by Keynes. A minute of 1696 records that 'Mr. Povey presented the Society with the picture of the fam'd Dr. Harvey and Mr. Buchanan, both of wch. were order'd to be hung in the Society's meeting room.' This implies that a second Harvey portrait was gifted to the Society by Thomas Povey FRS (ca. 1615ca. 1702) and that in common with the accompanying likeness of George Buchanan (1506-82) it was an oil painting rather than a print. Keynes's main argument is unaffected (that the Royal Society's surviving Harvey portrait has a seventeenth-century provenance), but there now seems to be an element of uncertainty as to which donor originally owned the image. Oddly, although Keynes cited a list of the Society's pictures compiled by the eighteenth-century engraver George Vertue (1684-1756) in 1737 within his article, he seems to have missed the second portrait (it is there as 'ditto', after the first). 4 If confirmation of the nature of the additional work were needed, a later piece describing the Society's paintings from The Gentleman's Magazine lists two Harvey portraits as late as 1768, 5 one on the staircase at Crane Court, the other in the meeting room. The anonymous writer distinguishes between original pictures, busts and prints, confirming the medium of both works as oils. No clue as to the appearance of the *

show abstract

The Portrait of Dr William Harvey in the Royal Society Since 1683

Cited by 4 publications

References 1 publication

The Early Royal Society and Visual Culture

The Early Royal Society and Visual Culture

Engraving of William Harvey

The Royal Society's lost seventeenth-century portraits

Contact Info

Product

Resources

About