George Perfect Harding (c. 1779/1780–1853) stands as a significant, if sometimes overlooked, figure in the annals of British art history. He was not a painter of grand, original compositions in the vein of his more famous contemporaries, but his contribution was nonetheless vital. Harding was a master miniaturist and, more crucially, a dedicated copyist of historical portraits. In an era before photography, his meticulous watercolor replicas served to preserve, disseminate, and popularize the likenesses of Britain's historical figures, making them accessible to a wider audience and contributing immeasurably to the study of iconography and the burgeoning field of antiquarianism.
Early Life and Artistic Foundations
Born in London around 1779 or 1780, George Perfect Harding was immersed in the world of art from his earliest days. His father, Silvester Harding (1745–1809), was a respected and successful artist in his own right – a painter, notably of miniatures, and an accomplished engraver and publisher. It is almost certain that George received his initial artistic training from his father, learning the delicate art of miniature painting and the precise skills of drawing essential for engraving. This familial grounding provided him with both the technical proficiency and the artistic sensibility that would define his career.
The late 18th and early 19th centuries were a period of burgeoning national consciousness and a keen interest in history in Britain. The Society of Antiquaries of London, of which Harding would later become a Fellow, was a focal point for this interest. There was a growing demand for images of historical personages, fueled by collectors, scholars, and an increasingly literate public. Silvester Harding himself was involved in projects that catered to this demand, such as his series of engraved portraits of theatrical figures and historical personages. George, therefore, grew up in an environment where the value of historical portraiture, both as art and as historical document, was keenly appreciated.
This upbringing undoubtedly shaped his decision to specialize in copying historical portraits. While some artists might have viewed copying as a lesser pursuit, Harding approached it with scholarly diligence and artistic integrity. He understood that these copies were not mere imitations but vital conduits for historical knowledge and artistic appreciation. His choice of watercolor as his primary medium for these copies was also significant. Watercolors were portable, relatively inexpensive compared to oil paintings, and allowed for a high degree of detail and luminosity, making them ideal for both intimate study and for translation into engravings for wider publication.
The Life of an Itinerant Copyist
George Perfect Harding's career as a copyist was characterized by remarkable dedication and extensive travel. For approximately four decades, he journeyed throughout Great Britain, a veritable artistic pilgrim. His destinations were the grand aristocratic houses, the burgeoning public art galleries, and the ancient colleges of Oxford and Cambridge – repositories of the nation's artistic and historical treasures. His mission was to seek out, study, and meticulously replicate historical portraits, particularly those from the 16th, 17th, and early 18th centuries.
This was no small undertaking. Access to private collections often depended on the goodwill of their owners, and the conditions for copying could vary greatly. Harding would have spent countless hours in dimly lit galleries and private libraries, carefully transcribing the details of costume, physiognomy, and heraldry from often centuries-old canvases. His focus was primarily on portraiture, capturing the likenesses of monarchs, nobles, scholars, and military heroes who had shaped British history.
His work was not merely about creating aesthetically pleasing images; it was an act of historical documentation. He recorded details with an antiquarian's eye, often noting inscriptions, provenances, and any available information about the sitter or the original artist. These notes, sometimes accompanying his watercolors, added another layer of value to his work, transforming them into scholarly resources. The sheer volume of work he produced during these decades attests to his industry and passion.
The Art of Replication: Technique and Purpose
Harding's chosen medium, watercolor, often heightened with bodycolor (gouache) for opacity and richness, was perfectly suited to his task. He developed a refined technique that allowed him to capture the character of the original oil paintings while imbuing his copies with a distinct, delicate charm. His miniatures and small-scale watercolors were prized for their fidelity and their exquisite finish.
The primary purpose of many of Harding's copies was to serve as exemplars for engravers. Engravings were the primary means of mass-producing images in the 19th century, and publishers frequently commissioned artists like Harding to create accurate watercolor versions of oil paintings that could then be translated into engraved plates. These engravings would illustrate historical texts, biographical compilations, and series of "portraits of illustrious personages," which were popular at the time. Harding's clarity and precision made his watercolors ideal for this translation process.
He copied works by a wide range of earlier masters. Among the most prominent was Hans Holbein the Younger, whose iconic portraits of the Tudor court were of immense historical interest. Harding's copies after Holbein, such as those of King Henry VIII or his courtiers, would have been highly sought after. He also replicated works by later artists who defined British portraiture, including Anthony van Dyck, whose elegant depictions of the Stuart aristocracy set a standard for centuries, and his successors like Sir Peter Lely and Sir Godfrey Kneller, who chronicled the Restoration and Augustan eras.
Harding's copies were not always slavish imitations. While striving for accuracy in likeness and essential details, he sometimes adapted compositions or focused on the head and shoulders, particularly if the copy was intended for a specific publication format. There were also practical considerations; the time and cost involved in replicating every minute detail of elaborate costumes or complex backgrounds could be prohibitive. As noted in some accounts, accessories or extensive drapery might be simplified or omitted, especially if the primary goal was to capture the sitter's face for an engraved portrait.
Notable Subjects and Prestigious Commissions
The range of historical figures whose portraits Harding copied is vast. He is known to have produced likenesses of monarchs such as King Henry VIII, Mary, Queen of Scots, and King Edward VI. His copy of a portrait of Edward VI, for instance, was lauded for its exquisite detail, with some contemporary observers even suggesting it surpassed the original in certain aspects of finesse, a testament to Harding's skill as a miniaturist.
He also depicted celebrated figures like Sir Francis Drake, the Elizabethan naval hero, and numerous other statesmen, scholars, and cultural icons. His work extended to copying portraits held by esteemed institutions. For example, he produced a series of miniature watercolors for the Royal Society, some of which were based on portraits in their collection and were subsequently used as illustrations for editions of Sir Isaac Newton's collected works. This connection with the Royal Society underscores the scholarly value attributed to his work.
Harding also engaged with literary history, copying portraits of figures associated with William Shakespeare and his plays. To do so, he gained access to important private collections, indicating the respect he commanded within artistic and collecting circles. His meticulous work provided visual references that enriched the understanding and appreciation of these historical and literary figures. One such example is his copy of a portrait of Lady Jane Grey, believed to be after Lucas de Heere.
Beyond Copying: Original Miniatures and Other Ventures
While best known as a copyist, George Perfect Harding was also a capable original miniaturist. He exhibited his works, likely including original miniatures as well as copies, at the prestigious Royal Academy of Arts in London between 1802 and 1840. This regular participation in the Academy's exhibitions demonstrates his standing within the contemporary art world and his desire to be recognized not just as a replicator but as an artist in his own right.
His oeuvre also included other forms of artistic production. He produced engravings himself, following in his father's footsteps. An example is his stipple engraving of the aeronaut Charles Green, published in 1839, which showcases his ability to work in different printmaking techniques. He also created portraits with unique personal touches, such as a depiction of Horace Mann that included a handwritten inscription, adding a layer of intimacy and specific context to the work.
A fascinating, though brief, interlude in his life was his involvement in military volunteer activities. In 1803, during the Napoleonic Wars and the heightened threat of a French invasion, Harding joined the Royal York Marylebone Volunteers. He even painted a self-portrait in his volunteer uniform, a striking image that captures a different facet of his identity and his participation in the patriotic fervor of the times. This self-portrait is a valuable record, offering a glimpse of the artist himself, engaged with the pressing concerns of his day.
Architectural Depictions and the Picturesque
Harding's artistic interests were not confined solely to portraiture. He also produced accomplished architectural views, often imbued with a sense of the picturesque, a popular aesthetic of the period. One notable example is his watercolor titled The great cloisters at Strawberry Hill, depicting the famous Gothic Revival villa of Horace Walpole. This work showcases his ability to render architectural detail with precision while also capturing the romantic atmosphere of the location.
Such works demonstrate his versatility and his engagement with broader artistic trends. The interest in Gothic architecture and historical settings was part of the same antiquarian spirit that fueled the demand for historical portraits. Harding's architectural pieces, therefore, complement his primary focus, reflecting a comprehensive appreciation for Britain's visual and historical heritage. These works would have appealed to collectors who shared this passion for the nation's past, as well as to those who admired skillful watercolor technique.
Recognition, Reputation, and the Art Market
George Perfect Harding achieved a considerable degree of recognition during his lifetime. His election as a Fellow of the Society of Antiquaries of London (F.S.A.) was a significant honor, acknowledging his contributions to the study and preservation of historical artifacts, including portraiture. This fellowship placed him among the leading antiquarians and scholars of his day.
His works were also commercially successful. The demand for his meticulously crafted watercolor copies and miniatures translated into a respectable market value. As mentioned, one of his miniature copies of Edward VI reportedly fetched a significant sum, around £25,000 in a later sale (though the exact period of this sale needs careful contextualization, as such a sum would have been exceptionally high in his lifetime or the immediate decades after). More typically, his works appeared in auctions and were sold through dealers, commanding prices that reflected their quality and the artist's reputation. Prices could range from a few hundred to several thousand pounds in more modern auction contexts, depending on the subject, size, condition, and provenance.
The fact that his copies were widely used for engravings further amplified his influence. Through published prints, his interpretations of historical portraits reached a broad public, shaping popular perceptions of these figures. Publishers like Joseph Strutt, known for his antiquarian publications, would have relied on artists like Harding to provide accurate visual material.
The Artistic Milieu: Contemporaries and Influences
George Perfect Harding operated within a vibrant and evolving British art scene. His father, Silvester Harding, was his primary early influence. As a copyist, he engaged directly with the works of past masters like Holbein, Van Dyck, Lely, and Kneller. He also would have been aware of the great portraitists who dominated the late 18th and early 19th centuries, such as Sir Joshua Reynolds, Thomas Gainsborough, and Sir Thomas Lawrence, whose works were setting new standards for British portraiture, even if Harding's own style was more focused on faithful replication than innovative interpretation.
In the specialized field of miniature painting, Harding was a contemporary of several distinguished practitioners. Richard Cosway was a flamboyant and highly fashionable miniaturist, known for his elegant and somewhat idealized portraits. John Smart, another leading miniaturist, was celebrated for his precise and characterful likenesses. Ozias Humphry also enjoyed considerable success as a miniaturist and pastellist. While Harding's work, particularly his copies, served a different primary function, his skill in the miniature format places him within this tradition of intricate and highly valued small-scale portraiture.
He is also known to have imitated the style of earlier miniaturists, such as Samuel Cooper, the pre-eminent English miniaturist of the 17th century, whose powerful and psychologically astute portraits were highly prized. Harding's engagement with Cooper's work demonstrates his deep knowledge of the history of his chosen specialization.
The engravers with whom he, or his publishers, collaborated were also crucial to the dissemination of his work. Mezzotint engravers like Valentine Green or stipple engravers of the period played a key role in translating watercolor copies into prints. Harding himself, as noted, was an engraver, and he would have understood the technical requirements for a drawing or watercolor intended for reproduction. He is also noted to have copied from engravings by artists such as Robert Williams, a mezzotinter active around 1700, indicating the complex interplay between different reproductive media. Furthermore, figures like John Ferdinand Smyth Stuart are recorded as having commissioned or collected Harding's work, representing the type of patron who valued his specialized skills.
Challenges and the Nature of Copying
The task of a copyist in the 19th century, while vital, was not without its challenges. As mentioned, technical limitations and economic pressures sometimes necessitated abbreviations or simplifications in the copies. Harding himself was reportedly aware that many of his reproductions were partial representations rather than complete, mirror-image facsimiles of the originals. This honesty reflects an understanding of the practicalities of his profession.
The very nature of copying also involves interpretation. No copy is entirely neutral; the copyist's own hand and eye inevitably mediate the original. However, Harding's reputation was built on the perceived fidelity and meticulousness of his work. His aim was to provide the most accurate possible representation within the constraints he faced, and in this, he largely succeeded, earning the trust of patrons and publishers.
His dedication to traveling to see original works, rather than relying on intermediate copies or engravings, also speaks to his commitment to accuracy. This direct engagement with the source material was crucial for maintaining the quality and historical value of his replicas.
Legacy and Historical Significance
George Perfect Harding died in Lambeth, London, in 1853. His legacy is multifaceted. Firstly, he played an invaluable role in the preservation of historical iconography. Many of the original portraits he copied may have since been lost, damaged, or remain inaccessible in private collections. His watercolors, therefore, often serve as crucial surviving records of these images.
Secondly, his work significantly contributed to the dissemination of historical knowledge. By creating portable and reproducible images, he made the faces of Britain's past accessible to a much wider audience than could ever view the original paintings. This visual dissemination was vital for education, for fostering a sense of national identity, and for supporting the burgeoning interest in history and biography.
Thirdly, his oeuvre provides a rich resource for art historians and researchers today. His copies can help in tracing the provenance of portraits, in studying the work of earlier artists, and in understanding the history of collecting and taste. The annotations he sometimes included further enhance their documentary value. His works are held in numerous public collections, including the National Portrait Gallery in London, the British Museum, and the Victoria and Albert Museum, a testament to their enduring importance.
While the advent of photography in the mid-19th century would eventually transform the nature of image reproduction, for much of his career, Harding's meticulous hand and discerning eye were indispensable. He was a bridge between the historical artifact and the public, a skilled artist who dedicated his life to chronicling the visual record of Britain's past.
Conclusion: An Artist of Enduring Value
George Perfect Harding may not be a household name in the same way as some of his more flamboyant contemporaries, but his contribution to British art and historical understanding is undeniable. As a dedicated copyist, a skilled miniaturist, and an active participant in the antiquarian pursuits of his time, he created a body of work that is both aesthetically pleasing and historically invaluable. His watercolors, often produced for the engraver's bench, captured the likenesses of kings, queens, poets, and scientists, ensuring their faces would be known to future generations. In an age that craved connection with its past, Harding provided a vital visual link, and his meticulous efforts continue to enrich our understanding of British history and portraiture. His life's work stands as a testament to the power of art to preserve, educate, and inspire.