l the new modes of portraiture, the conversation piece, which had come into fashion towards the end of the 1720s. He related the category to its sources by referring to “conversations” done over one hundred years before, by Teniers, Brower, Breugil, Watteau and some Flemish disciples of Rubens and Vandyke. He described the conversations of Gavin Hamilton as follows: “pieces of Conversations, family pieces, small figures from the life in their habits and dress of the Times. Well-disposed, graceful and natural easy actions suteable to the characters of the persons and their portraitures well toucht to the likeness and Air, a free pencil, good Colouring and ornamented and decorated in a handsom grand manner every way suteable to people of distinction.” The term “conversation piece” derives from “conversatione” in the sense of a party or recreational gathering of persons who are socially connected. The “conversation piece” may be defined as an informal portrait group in a familiar, private and proprietary setting, with an emphasis on recreation, a precise attention to costume and accessories, and frequently a bit of playful invention. Hogarth almost invariably introduces “conceited, pleasant Francies”, whereas others, like Arthur Devis, rarely did. The distinguishing feature of the English category is the stress on proprietary. The lady gives a tea party in her parlour, the sea captain a drinking party in his cabin, the nobleman arranges a fishing party in his park, the club of artists and musicians meet in their reserved room in the frequented tavern. In many cases the party is simply a family one, with chaplain, tutor or governess, and perhaps a close relation or intimate family friend. Familiarity among the members of the group is essential, and if possible the place should be familiar as well, in a category that constitutes the supreme visual express...
