17 04 ‘ 2022 museomag THE IRISH VAN DYCK James Latham was almost certainly born in Thurles, County Tipperary. So far, no written evidence has emerged about his early training as a painter, although we do know that the artist spent a year in Antwerp for his studies (1724-25). He is believed to have been a Protestant, which would have given him easy access to patrons among the Anglo-Irish ruling classes, including Catholics. Early examples of his portrait art include a painting of Christopher Butler, Catholic Arch- bishop of Cashel, dated before 1720. After returning from Antwerp (from which time his work becomes noticeably more subtle), Latham established himself in Dublin, where – despite some evidence of an occa- sional trip to London – he remained until his death at the age of 51. Regarded by contemporary critics and historians as one of the most talented painters of his day, Latham was influenced by painters from the Low Countries (especially in his portrayal of fabrics), as well as by English portraitists like William Hogarth (1697- 1764) and Joseph Highmore (1692-1780). His portrai- ture included half, three-quarter and full-length works, as well as a number of double portraits. Our portrait came from the London art dealer Rafael Valls Ltd., who, in turn, had acquired it from an Italian private collection. The convincing attribution to Latham draws on such works as the painter’s Self-Portrait of c. 1730 in the collection of the National Gallery of Ireland in Dublin. The latter shows a confident artist who looks almost disdainfully at the viewer, his hand thrust reso- lutely into his waistcoat. It demonstrates Latham’s status and his artistic success. The Self-Portrait probably was part of the collection of Philip Hussey (1713-1782), himself an Irish painter of portraits and interiors, as well as an art dealer, active in Dublin. The work was seen in person and recorded as a painting “which was excee- dingly valued by the possessor” by Latham’s first bio- grapher, Anthony Pasquin, in his Memoirs of the Royal Academicians and Authentic History of the Artists of Ireland... (London 1796, p. 29). Pasquin also mentions two other portraits by James Latham, which, so he claims, were the reason why the artist was sometimes considered the Irish counterpart to the great Anthony van Dyck (1599-1641): “His portraits of Mrs. Woffington, the actress, and Geminiani, the composer, were painted in so pure a stile as to procure him the title of the Irish Vandyke.” One of these portraits is Latham’s Portrait of Francesco Geminiani (1667–1762), an Italian composer active in London, Paris and Dublin (c.1725), now in the collection of The Royal Society of Musicians of Great Britain, London. As is born out of my preliminary re- NEW ACQUISITION search, the MNHA’s new acquisition may very well be the other painting Pasquin refers to: the previously un- identified and now rediscovered portrait of Margaret “Peg” Woffington (1720-1760), an Irish actress and one of the most remarkable theatrical personalities of her time. LOVELY PEGGY In 18th century England and Ireland, Peg Woffington (also called “lovely Peggy”) was indeed a star, and her reputation lived on well into the early 20th century, several novels, biographies and movies being based on her life’s story. She was born in Dublin around 1714 and her charm and beauty as a child attracted attention early on, resulting in her first stage role at the tender age of 10. Woffington’s first important performance in Dublin was as Ophelia in Shakespeare’s Hamlet in 1737, swiftly followed by her greatest role, the male part of Sir Harry Wildair in Farquhar’s Constant Couple, in 1738 which led to John Rich offering her a spot at London’s famous Covent Garden Theatre in 1740. She became David Garrick’s leading lady in London and Dublin from 1742-48 and her involvement with the stage actor and impresario was the most publicised of her numerous affairs. Ill health compelled Peg Woffington to retire in 1757 and she never acted again. She enjoyed social James Latham (c.1696-1747), Self portrait, c.1730. Oil on canvas, 76 x 63.5 cm. National Gallery of Ireland, Dublin.