Tuesday 2 August 2016

Unrecorded Lead Bust of George I.

A Unique and Unrecorded Lead Bust of George I
Reigned 1714 - 27.

Perhaps cast by John van Nost II.

Conceivably the bust from the Royal Exchange by Edward Stanton

Perhaps after an original by Edward Stanton by John van Nost II

Circa 1715.
Height 26 inches.

Private Collection.
 Provenance - sale Suffolk Auction Rooms.

Chiswick Auction Rooms.
A close comparison with the ad vivum ivory bust by David le Marchand (see below) and with the portrait by Kneller would suggest that the sculptor had also taken this portrait from life at about the same time.
The restorer Rupert Harris has suggested that the yellow paint is possibly the ground for gilding.
I am grateful for his input.
For comparison with the bronze Equestrian portrait by John Nost at the Barber Institute (see below).
A bust of George I by Edward Stanton (1681 - 1734) was displayed at the Royal Exchange until the fire in 1738.
see New Light on Michael Rysbrack: Burlington Magazine CXX. J.D.Steward 1978 pp. 216 - 217.

Information from The Lustrous Trade Essay, Edited by Cinzia Sicca  and Alison Yarrington, 2,000. Leicester University Press - essay Recasting George I by Barbera Arciszewska.
For a somewhat dated but very useful illustrated article on the Stanton family by Mrs Esdaile see -
A statue of George I in Imperial Garb? by Laurent Delvaux was set up in the New Court of Rolls in about 1724.
 A statue of George I in Roman dress, by John Ricketts the Elder, (1691 - 1734), of Gloucester,
was put up in Westgate Street in Gloucester in 1720 and was moved to Eastgate Street near the Barley Market house in 1766; its later history has not been traced.
see -








Medallion of George I by Jean Dassier.
Obv: Bust of George I    GEORGIUS. I. D. G. MAG. BR. FR. ET. HIB. REX.
Rev: Tomb, on one side of which is Justice, holding her sword in her right hand and resting her left arm on a book. At right is Peace holding an oak cluster.  NAT. 18. MAI. 1660. CORONAT. 21. OCT. 1714. M. 12 IUN. 1727
Signed:  I.D. 
Ref: M.I. ii, 475/94; Eimer 77/508; Eisler I, 264/33; Thompson 34/32

Image used with the kind permission of Benjamin Weiss.
Ivory bust of George I.

by David le Marchand (1674 - 1726).

inscribed ad vivum.
Victoria and Albert Museum.
Bought from Alfred Spero for £175, 12A Regent Street, London, in 1931. Previously sold Waring and Gillow, 26 October 1920, lot 1075 ('a unique contemporary carved bust of Louis XVI...on ebonised pedestal').
Height of bust alone 25cms.
The V and A suggest a date of 1714 or after.
All these images from the Victoria and Albert Museum.
see -
Ivory Relief of George I.

David le Marchand.

British Museum.
Portrait medallion of George I (1660-1727) by David le Marchand (1674-1726); carved in ivory; signature; oval plaque on back.
For the Michael Rysbrack portrait sculpture of George I see my blog entry see -
The Barber Institute Bronze Equestrian Statue of George I.
Workshop of John van Nost II.

 For more on this statue see my blog entry -
Another version in lead was  set up at Stow in 1723 see my blog entry  -
and for another version in lead at Hackwood Park set up in 1722.

Portrait of George I, King of England, almost half-length, head turned to the left, with long wig, armour, sash and cloak, in oval with below a lettered cartouche and regalia at right Etching and engraving

 George I.

After Godfrey Kneller.

dated October 1714.

Engraving by Francois Chereau (1680 -1729).

399 x 283 mm plate size.
© National Portrait Gallery, London.
Engraving of George I.

Simon Francois Ravenet (1706 - 74).

From Smollet's A Complete History of England (Volume 10 - 1758 - 60).

Platemark 10 x 9.8 cms.
Isaac Gosset.



This ivory coloured wax head and shoulder profile portrait depicts George I in profile, facing right. He is shown wearing a full-bottomed wig, armour and a shaped robe. It is set on an oval shaped black-backed ground and with an ebonised moulded oval wooden frame with glazed front. Vertue described the skill of the ‘Ingenious Isaac Gosset’ as ‘so universally approved on for likeness’ that he dedicated a section in his notebooks to wax carving, which he considered a growing industry. Gosset was from a Huguenot family which had fled to Jersey after the Revocation of the Edict of Nantes. The family later moved to London and Isaac learned wax modelling and frame carving from his uncle Matthew. His wax production was prolific and covered both classical and contemporary figures. Gosset’s renown lay in the fact that, unlike most contemporary wax modellers, he worked from life, and at speed, apparently producing a portrait in under an hour. Gosset also created a secret recipe for tinting his wax to appear like old ivory. His waxes were highly fashionable and were sold at four guineas a piece for an original portrait or one guinea for a copy. Vertue noted that Gosset ‘had the honour of the King sitting to him’ as well as ‘great numbers of persons of Quality and persons of distinction – Learned and others’. Queen Caroline is known to have commissioned various works from Gosset, and may even have granted him a pension. The Picture Closet at Kensington displayed numerous waxes, framed both singly and in groups of up to 16 figures. Some Vertue catalogued as historic and contemporary princes but most remained unidentified. Text adapted from The First Georgians; Art and Monarchy 1714 - 1760, London, 2014.

Possibly from the collection of George III.

Text and image from - Royal Collection.
Here Attributed to Isaac Gosset.


Victoria and Albert Museum.
A Medallion of George I
Made to Celebrate his entry into London
The reverse showing London presenting the key of the city in front of the Royal Exchange.
By J Croker
48 mm diam.
A young George I as Prince of Hanover.
c. 1680
Mezzotint after Kneller
Low resolution of Mezzotint of George I when Elector of Hanover.
After Johann Leonard Hirshmann
George I
Engraving after Kneller.
George Vertue
The Line of Kings - Tower Armouries - Tower of London
The figures of George I and George II were placed in the line in 1750 and 1768 respectively. The inclusion of George I, somewhat belatedly, had already been approved in 1730 but the order was not completed. Suitable armour to represent George I was finally identified in 1750 at Windsor Castle. The most curious feature to emerge during this period however is the casting of a metal head by the sculptor, John Cheere. This was apparently the only occasion that metal was considered as a sculptured element in the display. However, although the head was not used he was still paid £8 8s 0d for his efforts in 1751.
George I
Georg Wilhelm Lafontaine (1680–1745).
Royal Collection.
John Vanderbank (1694 - 1739).
316 x 240 cms.
Entered the collection 1932
Royal Collection.


No comments:

Post a Comment