Sledge, Susanna

Introduction:

"Mrs." Sledge was known to be profilist William Wellings' (1766-1796) shopkeeping landlady in Henrietta Street and an extremely rare trade labelled likeness by "S. Sledge" from the same street was also recorded. McKechnie speculated "S. Sledge" may have been the son of Mrs. Sledge. However, 2021 research discovered "Mrs." and "S. Sledge" to have been the same person and was an early commercial profilist who later worked in tandem with Wellings in the 1780s.

First recorded in Henrietta Street in 1768 selling prints, theatre tickets and rheumatism remedies, newspaper advertisements mostly show her using the honorific "Mrs.". In fact she never married, which is confirmed by a 21st of September 1789 SUN FIRE OFFICE insurance policy on her Henrietta Street abode, where she is listed a "spinster".

SUSANNA SLEDGE (1726-1794), baptised in July 1726, was the last of 5 children born to Susanna née Gibbs and Thomas Sledge, who, according to the WESTMINSTER MAGAZINE of the 21st of December 1751, died in Chelsea "...possessed of a large fortune".

She proved to be an early commercial profilist. In a MORNING CHRONICLE advertisement of the 25th of March 1775, she "...offers portrait shades...in the highest taste and perfection by MRS SLEDGE... [who]...hopes the improvement she has made in this art...will recommend her to the future favour of the public...".

Given their close proximity at the time, it's probable she was influenced to take up "...this art..." by pioneering profilist Mrs. Sarah Harrington (1745-1819), who a year before is generally accepted as the anonymous "Lady" advertising in the MORNING CHRONICLE from March 1774 at 34 Tavistock Street, which is immediately south of Henrietta Street.

Possibly Sledge's "...improvements..." meant moving on from hollow cut-work as practised by Mrs. Harrington, to painting on paper, as a bust-size work bears an extremely rare printed trade label stating "MINIATURE PROFILES, ACCURATELY TAKEN BY S. SLEDGE HENRIETTA ST. COVENT GARDEN". A second trade labelled full-length likeness was described by McKechnie as painted in the style of Wellings, but "...inferior to his authenticated works".

The observation is intriguing. Several unsigned, unlabelled works appearing in auction and presumed to be by Wellings, differed sufficiently in quality from his signed works for some collectors to question their attribution.

Comparing like for like, unsigned full-length works, while superficially similar, are painted with a more hurried hand. In particular, the overall rendition of wigs is more cursory. Wellings' signed works show more attention to detail. Wig hair in particular is carefully delineated with wig curls represented by neatly painted thin parallel lines.

The theory that unsigned full-length works were by Sledge is further strengthened by an advertisement in the WORLD of the 11th of August 1788. It states "SLEDGE & WELLINGS...[of] the Original Shop No.1 Henrietta Street...[offer]...likenesses in their well-known and approved manner...in whole and half-length. Coloured or black, shaded or plain...". The advertisement indicates they developed a working partnership sometime in the 1780s, and painted in a similar style.

A third Sledge-labelled work is a profile in crayon (pastel) of Vice Admiral Philip Afflick (1726-1799). Pastel is a difficult medium to master and neither Sledge nor Wellings mention its use in their advertisements. Executed in the style of Lucas Bateman (1752-1790) or possibly John Hodges Benwell (1762-1785) who lived a few doors away from Sledge at 24 Henrietta Street, the pastel may arguably have been drawn by either man.

It's also worth noting Swiss émigré topographical artist and engraver Samuel Hieronymus Grimm (1733-1794) lodged with Mrs. Sledge from 1768 and several satirical prints drawn and engraved by Grimm were published by her. She appears as co-heir in his will, which was witnessed by William Wellings.

Sledge and Wellings also advertised theatrical portraits of actors "...finished in any character required...".  However, with the demolition of the Theatre Royal Drury Lane in 1791 and the Theatre Royal Covent Garden closed for rebuilding in 1792, there must have been a sizable drop in customer numbers.

The nationwide economic slump of 1793-1794, coupled with the theatre closures probably crippled Wellings' earning potential, though by then it's likely Mrs. Sledge had retired to the then village of Hammersmith, where she died in November 1794.

Revised 22 November 2022 (Brian Wellings with research assistance from Neil Jeffares)