Probably painted at Bath about 1772.
Most of Gainsborough's biographers have treated Thicknesse with but scant justice. No doubt he was a self-satisfied and overbearing man, who had the failing of wishing to manage the lives of those who came into contact with him, and who was equally prompt to take offence, and to offend in retaliation those who would not be led by his dictatorial advice. But in the case of Gainsborough, he certainly rendered him the most inappreciable services, and in the quarrel that followed the artist was probably almost as much to blame as the patron. Be that as it may, it was on Thicknesse's initiative, and on his initiative alone, that Gainsborough removed from Ipswich to Bath in the year 1758. The importance of this move cannot be overrated, and posterity, no less than the painter himself, owes to Philip Thicknesse a considerable debt of gratitude for having been instrumental in bringing it to pass. The horizon at Ipswich was strictly limited; and although no doubt Gainsborough's genius was inborn, he would probably, had he remained in Suffolk, never have developed into the superb painter who must ever be one of the most dazzling stars of the artistic universe. We shall have occasion later to return to this change of scene and to its influence on Gainsborough's life-work.
It was Thicknesse then who persuaded Gainsborough to leave Ipswich and to settle at Bath. Much to the terror of frugal Mrs. Gainsborough, the painter, still acting on his patron's guidance, took a house in the Circus at the annual rental of £50. Thicknesse had many friends at Bath, and to them he warmly recommended his protégé. Whether it was through the influence of Thicknesse, or by the sole force of the artist's own genius, success was soon forthcoming and sitters flocked to his studio. His previous charge of five guineas for a half-length portrait was almost immediately raised to eight, and before very long his patrons became so numerous that he was able to demand no less than forty guineas for a half-length, and one hundred guineas for a full-length, very high prices for those days.
During his stay at Bath Gainsborough devoted much of his time and energy to music; he acquired many musical instruments of various kinds, and tried his hand at all of them. The viol da gamba was apparently his favourite, and in one of his letters to his friend Jackson of Exeter he mentions that he possesses five of these instruments. He heard Giardini, the then unrivalled violinist, and had no rest till he purchased the very instrument that the Italian played on, "but," says Jackson, "seemed much surprised that the music remained with Giardini." In the same way he acquired Abel's viol da gamba; having heard Fischer, he bought a hautboy, then suddenly developed enthusiasm for the harp, and thus passing from instrument to instrument he never had the perseverance to play any one of them with any degree of perfection. In this connection Jackson relates an amusing anecdote of one of his most extravagant acquisitions: "Upon seeing a theorbo in a picture of Van Dyck's he concluded (perhaps because it was finely painted) that the theorbo must be a fine instrument. He recollected to have heard of a German professor, and ascending per varios gradus to his garret, found him there at dinner upon a roasted apple, and smoking a pipe.
'I am come,' says he, 'to buy your lute. Come, name your price, and here is your money.'
'I cannot shell my lude!'