The Ashmolean Museum Marble Bust and The Bust at West Wycombe Park.
The Ashmolean Bust on loan from a Private Collection.
More Missing Rysbrack Busts.
Samuel Butler pre 1732 (Vertue).
https://georgiangroup.org.uk/wp-content/uploads/2020/10/GGJ_2009_02_WILSON.pdf
Mr and Mrs Booth (Vertue) pre 1732.
Mr Milner.
Mr Morett.
William Cheselden by Jonathan Richardson the Elder.
Drawing with London Dealers Lowell Libson and Jonny Yarker.
Summer Exhibition 2025.
https://www.libson-yarker.com/exhibitions/summer-exhibition/william-chiselden
Graphite on vellum.
5 ¾ × 4 ⅞ inches · 146 × 124 mm
Signed with initials.
Inscribed and dated ‘Wm Chiselden Esqr Feb. 13. 1735-6’,
also inscribed on the verso ‘Wm Chiseldon Esq. Surgn 12. Feb. 1735/6’
Jonathan Richardson snr. collector’s mark: bottom left
[Lugt. 2184]
Jonathan Richardson jnr. collector’s mark bottom right
[Lugt. 2170]
Portrait of William Cheselden.
Jonathan Richardson the Elder
The doctor, at the age of forty-seven; wearing a wig.
Pen and brown ink, over graphite.
British Museum
https://www.britishmuseum.org/collection/object/P_1866-0714-17
William Cheselden.
by Jonathan Richardson.
1720's or 1730's.
140 x 118 mm.
This portrait is of the anatomist and eminent surgeon
William Cheselden, who was one of the closest friends of the artist, Jonathan
Richardson. It is one of a series of small chalk and graphite drawings of
friends and acquaintances that Richardson made in his retirement. Some of these
images were drawn from memory and together, they represent a sustained project
in recording friendships across Richardson's whole life. Drawing was the
perfect medium for this project as it allowed Richardson to produce a large
number of images quickly and was closely associated with friendship and
intimacy.
Text and image © National Portrait Gallery, London.
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Cheselden.
by Jonathan Richardson.
British Museum.
Image courtesy Wellcome Collection.
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The Bust of Cheselden in the Royal College of Surgeons paired with the bust of Belchier.
Photograph from a tweet by Eleanor Crook Sculpt
@CrookEleanor
William Cheselden (1688 - 1752).
It has sustained some damage to the drapery.
On 3 June 1871, Dr Leonard W. Sedgwick, wrote to the Governors of St Thomas', offering, on behalf of 'old Students of the Medical School of this Hospital', marble busts of William Cheselden and Sir Richard Mead, both by Henry Weekes RA.
The offer was formally accepted by the Grand
Committee at its meeting of 6 June 1871.
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Of tangential relevance to this post.
A Medallion by William Wyon c. 1827/8
in the BM.
The Profile Adapted from the Roubiliac Bust.
https://www.britishmuseum.org/collection/object/C_M-8617
This statue has been copied by the Bulbeck Foundry.
https://www.bulbeckfoundry.co.uk/page/statues-river-god/
https://www.bulbeckfoundry.co.uk/page/statues-large/
The lead original from Parham Park in Sussex. The figure was
brought to Parham by Robert Curzon from Hagley Hall in Staffordshire in the
second half of the nineteenth century.
A terracotta was sold by Sotheby's late 80's early 90's if memory serves.
Prior to it appearing in sotheby's, I had seen this statue in a garden in Marlborough.
https://drawingmatter.org/the-temple-of-flora-stourhead-a-paradise-revisited/
This is an extract from Stourhead, Henry Hoares Paradise Revisied by Dudley Dodd pub 2021 Head Zeus.
Maybe not the last word on the architecture and sculpture in the garden at Stourhead but the best work on the subject to date - highly recommended!
The Temple of Flora, Stourhead, Wiltshire, designed by Henry Flitcroft (1697–1769).
1753
Drawing by by C. W. Bampfylde (1720–1791).
Pen and colour wash, 280 × 470 mm.
© The Trustees of the British Museum.
Henry Hoare Ledger 1734-49, 28 January 1743/44, ‘Thos Manning for a River God &c’ £15-15s. Anonymous 1764 (Stourton Gardens 1749), p. 102,
‘For
yonder silver god they sigh, they burn, | And pour their tears incessant thro’
his urn; | But cold as lead, and deaf when they complain, | Supine he lies, and
they but weep in vain. | See from beneath him (tinctur’d by the sun | With
colours radiant) sheets of water run’.
WSA, 383/907(1), Henry Flitcroft to Henry Hoare, 25 August 1744, ‘My Next shall bring you… the Temple of Ceres with the Rocky Arch in which I propose to place the River God, & a Sketch how I conceive the head of ye lake’;
Henry Flitcroft to HH, 7 September 1744, ‘I have inclosd to you the Plan & Elevation of ye Temple of Ceres with a Sketch of ye Entablature showing how the Tryglyphs & Metops should be proportioned with the Skuls &c introduced therein… I have also sent a plan & Section for the Manner of Laying the Foundations… a Section of ye inside of this Building shall be soon sent, with particular drawing of ye Doorcase & pedestal Mouldings’.
Payments to William Privett which may relate to the Temple of Flora: HH Ledger
1734-49; 27 September 1745, ‘on accot of ye Temple’ £40; 3 November 1746, ‘in
full of all Demands’ £28-8s-1d; 30 March 1747, ‘on accot of Buildg’ £30. C.
Hoare & Co., HB/5/A/6, Partners’ Ledger 1742-51, HH account, 5 October
1745, ‘His Bill to Willm Privet (Mason)’ £40; 30 December 1745, ‘Willm Privet
of Chillmark’s Bill’ £30.
Henry Flitcroft (1697–1769), elevation, Rocky Arch (the Cascade below the Temple of Flora), Stourhead, c.1744. Pen and colour wash, 178 × 315 mm. DMC 1233.
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Thomas Manning (d. 1747).
He was related to the Manning family of masons, but was a notable statuary in lead and artificial stone.
'Thomas Manning' who is described in John Nost I's will of 1710 as 'my manservant,' and was left a suit of apparel (LMA AM/FW 1710/89).
It is likely that he learned his craft with Nost.
His earliest recorded works date from 1720 and were sent, at a cost of £l 17s, by 'Waggon and car' to Gough Park (7).
In 1729 Manning moved into a property in Portugal Row next door to Catherine Nost and, from 1734, to Thomas Carter I. His premises were initially rated at £8, but his business must have expanded by 1737, when he had two properties in the street, rated at £IO and £12. He appears to have taken over the second premises from Andrew Carpenter, who died
that year. By 1744 he had taken over another property, with
tenants, in the street, renamed White Horse Street in 1737.
In 1735 Manning supplied a statue of Britannia to an insurance company in Westminster, one of the earliest recorded works in artificial stone produced in this country (5). Manning stood as a character witness in the trial of Mary Johnson, otherwise Sudley, otherwise Barker, on 5 December 1746, who was accused of the theft of a gold ring from a William Archer. Manning described himself as a 'Master Statuary of Hide-Park and testified that the defendant had 'lived in two houses of mine for these two years'. The properties were in 'White-horse street, just as you go down the hill' (POB 1674—1834, ref t17461205-24).
Manning died in 1747. An obituary describes him as 'an
ingenious statuary near Hyde Park Corner' (GM 1747, 545).
In his will, proved on 19 November, he left his stock in trade, utensils, chattels, books, plate and his house on the corner of White Horse Street to his wife Mary. Another 'little house' in White Horse Street was left jointly to his wife and his mother, Elizabeth, together with the lease of three houses and a stable in the same road. He mentions two brothers, Edward and Arnold, and his nephews, Thomas and John Manning (PROB 11/758/6).
There are only two versions of this statue that I am aware of - the one below in the colour photographs and the one illustrated below in black and white at West Wycombe Park.
A Lead Statue of a Reclining Bacchante or Nymph.
In her left hand she has a bunch of grapes.
Private Collection.
A Plaster bust of presumably a Classical Lady - possibly an Ideal
Head.
Equally one has to be careful as the hairstyle could be described as unisex. The Apollo Belvedere sports a similar topknot but without the long tresses over the shoulders.
The Roman marble seated Apollo with Lyre in Museo Nazionale Romano di Palazzo Altemps has distinct similarities in the hair as does the Apollo in the Sala della Biga in the Vatican.
There are distinct echoes of the Farnese Dionysus.
I have contacted Saltram and hope to learn more in due course.
........................
The Statue of Apollo Citharoedus in the Capitoline Museum.
................................
The Young Marcus Aurelius (type A) or Commodus at Seaton Delaval
Hall, Northumberland.
An 18th Century Plaster bust which uses the Roubiliac type socle.
In the posthumous Roubiliac sale of 13 May 1762 under the heading of Antique busts etc in plaister - Lot 46, Marcus Aurelius.
This bust was previously at Melton Constable Hall, Norfolk.
Images courtesy National Trust website.
https://www.nationaltrustcollections.org.uk/object/1276622
...............................
The Young Marcus Aurelius (or Commodus).
Bartolemeo Cavaceppi (attributed!).
Image below and info from -
The marble below is carved after a bust in the Capitoline Museums
(inv. no. 454) which was discovered in the so-called Villa of Antoninus Pius,
Lanuvium (Lanuvio), in 1701, and was subsequently in the collection of Cardinal
Alessandro Albani.
The Tomasso Brothers Commodus.
The marble is carved after a bust in the Capitoline Museums (inv. no. 454) which was discovered in the so-called Villa of Antoninus Pius, Lanuvium (Lanuvio), in 1701, and was subsequently in the collection of Cardinal Alessandro Albani.
Another Anonymous Marble described as Commodus is at Chiswick House.
H. 71 x W 59.5 x D 26.5 cm
It again utilises the Cavaceppi type socle.
https://artuk.org/discover/artworks/commodus-161-ad192-ad-278008
.............................
Another also previously with the Tomasso Brothers.
Again attributed to Cavaceppi.
Lot 56 Christie's 10 June 2022.
https://www.christies.com/en/lot/lot-6377696
.......................
Another plaster bust of Commodus or the young Marcus Aurelius at Burton Constable.
This one has the typical socle used by John Cheere. with the slightly convex, recessed panelled front.
720 mm x 485 mm x 330 mm,
