Post under construction.
The photographs here kindly provided by Dino Tomasso.
This form of socle is unique to Roubiliac with the possible exception of a similar socle on the marble bust of Lord Chesterfield by Joseph Wilton in the British Museum and a plaster of Oliver Cromwell in the Royal Academy Stores (see below).
Two busts, one of plaster and the other in marble of Laocoon
were included in the Roubiliac posthumous sale.
A marble bust of Laocoon by Joseph Wilton signed and dated
1758 which uses the oval socle typical of Wilton’s busts is in the Victoria and
Albert Museum. Wilton was a great friend of Roubiliac – he was in Rome from
1751 – 55 where he made casts and copies of Antique works – it is tempting to
suggest that Wilton provided the original cast of this bust.
Roubiliac, uses the same socle on 14 different busts known
to be from his workshop, as those socles on the four unsigned busts of Laocoon, Milo of Croton, the Anima Dannata (the Damned Soul) after Bernini and a man depicted as the Good Roman Emperor Trajan at Goodwood House illustrated here.
I would suggest that this type of socle first appears on the portrait busts of English stone and marble merchants with workshops and wharfs at Millbank Westminster Edward Chapman Bird (1715 - 92) and his son Christopher Chapman Bird (1739 - 1810) carved by Giovanni Antonio Cybei (1706 - 1784) of Carrara.
In July 1752, Roubiliac travelled with the portrait painters Thomas Hudson and Arthur Pond for a very brief visit to Rome.
As they were travelling to Italy they met Joshua Reynolds at Mont Cenis who was returning from Rome - they met up with him again in Paris on their return journey and they returned to London together Reynolds arrived back in London on 16 October.
George Vertue states ' their tour of Italy very quick and their stay very little' that they were in Rome 'only long enough to say that they have seen Rome'. Vertue 3. 162. but the dates suggest that they were in Ital from July until early October -
Roubiliac is later said to have exclaimed to Reynolds that the sculpture of Bernini made his own look ‘meagre and starved, as if made of nothing but tobacco pipes’.
Certainly the busts of the Anima Dannata and Milo of Croton (if one accepts the attribution to him!) illustrated here show his admiration for Bernini, Puget and the Baroque.
................
There is plaster bust of Laocoon at West Wycombe Park.
sizes - 590 x 300 x 320 mm.
Of indeterminate age the sweep back of the base might suggest a Roubiliac cast but a closer look would indicate that the back at the base has been added to stabilise the bust on its plinth..
Dreadful image from the Nat Trust website
I feel a return visit to West Wycombe is necessary!
.................................
Milo of Croton. (Milo Crotoniensis).
The Marble Bust at Blenheim Palace.
Here tentatively ascribed to Roubiliac given the evidence of the form of the socle.
The Roubiliac 4 Day Sale Catalogue of May 1762 Lists - Milo.
Day 1, under plaster busts, Lot 6 and Lot 17.
Third Day May 14 under busts and heads in plaster Lot and
Lot 11, lot 40.
Fourth Day May 15, Lot 1 and Lot 18.
A bust of Milo appears in the Catalogue of Charles Harris of
the Strand in 1777.
I am very grateful to
Carmen Alvarez -Archivist at Blenheim Palace
who provided the images below.
........................
The Anima Dannata after Bernini.
Here again suggested as by Roubiliac on the evidence of the form of the socle.
The socle is of Nero Portero Marble which matches that on the bust of a gentleman depicted as Trajan (below).
Roubiliac sale under the heading Busts, Heads etc. Plaister,
Lot 18, Day 1, 14 May 1762, A Despairing Soul.
Anima Dannata (Damned soul in hell), both of which are in
the Spanish Embassy to the Holy See, Palazzo di Spagna in Rome.
Bernini
considered the models to be among his earliest sculptures and may later have
been responsible for inscribing them: D'anni 12 ('aged 12'). The early history
of the busts is unclear, but Andrea Bacchi has concluded that they are likely
to have been made circa 1619 and were possibly acquired by Fernando Botinete y
Acevedo (1565-1632). Despite an early inventory reference listing them as 'a
nymph' and 'a satyr'.
This bust of Anima Dannata was sold for £176,400 at Christie's, London 7 December 2023 - I don't usually publish the price achieved at auction but in this case I will make an exception -
https://www.christies.com/en/lot/lot-6458288
The catalogue entry makes the case for it having been carved by Joseph Wilton on the basis of the socle being similar to that on Wilton's bust of Lord Chesterfield in the British Museum - the evidence I provide here would suggest that only one bust definitely by Wilton uses this form of socle - on the other hand there are a number of busts by or fairly firmly attributed to Roubiliac which use this same form.
If we include the four busts suggested here as by Roubiliac, the Laocoon, Milo of Croton, The Goodwood Trajan type bust and the Anima Dannata - it brings the total to 18.
The catalogue entry suggests that "a final element supporting an attribution to Wilton is that
the treatment of the reverse, namely the patterns left by the tooling, is
comparable to the bust of Philip Stanhope and other known works including his
portrait of Dr. Antonio Cocchi (V&A, London, inv. no. A.9-1966) and ‘Bust
of a Man (After the Antique)’ (Getty Museum, Los Angeles, 87.SA.110)".
Whilst this statement is true, they are certainly not the only busts of the period with the backs finished similarly with a claw chisel.
The Terracotta Bust of Anima Dannata (the Damned Soul), after Bernini.
in the Cloisters at Wilton House.
This pair of busts appear in A Description of the Antiquities and Curiosities in Wilton-House by James Kennedy of 1769. page 101 - Two bustos one representing TORMENT the other CONTENTMENT.
This catalogue is available online see -
https://babel.hathitrust.org/cgi/ptid=gri.ark:/13960/t07w7bk29&seq=205&q1=torment
..................................
Bust of a Gentleman depicted in the Guise of the Good Emperor Trajan.
at Goodwood House.
Here given the evidence of the socle suggested as by Louis Francois Roubiliac.
Lot 78, on the 4th Day of the Roubiliac sale under the heading Marble Busts etc is A Caeser
This bust again uses the Roubiliac Type socle and as the marble Anima Dannata illustrated above the socle is carved from Nero Portero Marble.
.................................
The Folger Library bust of Shakespeare.
Louis Francois Roubiliac.
Provenance: Acquired by AR Fordham's grandfather in 1859,
Sold Sotheby's, Lot 54, on 15 November 1929.
Perhaps Lot 74, sold on the fourth day of the Roubiliac Sale
on Saturday 15th May 1762.
I am extremely grateful to Georgianna Ziegler, Assoc.
Librarian and Head of Reference at the Folger Shakespeare Library for providing
me with these photographs.
https://bathartandarchitecture.blogspot.com/2016/01/the-folger-library-marble-bust-of.html
https://digitalcollections.folger.edu/bib244412-309653
...........................
The Harris Museum, Preston Drawings of the Roubiliac Busts,
by Joseph Nollekens.
It has been suggested that they had been drawn at the studio
of Roubiliac in St Martin's Lane by Nollekens sometime around the time of the sale on 12 May
1762 and the following three days.
This would have been just before Nollekens departed for Italy. On
21 May he had received the last and greatest of his 5 prizes from the Society
of Arts and having won in all £123 18shillings Hayward noted his arrival
in Rome with Jiacomo Freys son on 11
August - a droll account of his journey survives in a copy of a letter written
to sculptor Thomas Banks (1735 - 1805), see Whitley 1821 - 37
For an in depth look at these drawings see
.......................
Oliver Cromwell.
.................................
Sir Isaac Newton.
.................................
Thomas Coke, Lord Leicester (not Lord Lister).
A Plaster bust of Lord Leicester was in the 3rd Day 14 May 1762. Lot 21 of the posthumous Roubiliac Sale.
The Busts and figures of Lord Leicester at the the Roubiliac Sale.
Day 1. Lot 87. Bust unfinish'd of Marble.
Day 2. Lot 21. Plaster Bust, Lot 27. Plaster Bust.
Day 3. Lot 90. A whole length of the Earl of Leicester in his robes
plaster.
Day 4. Lot. 55. Mould in plaister, The Earl of Leicester in modern
dress. Lot 56. Ditto Mould, Earl of Leicester in Roman dress. Lot 57. A small figure ditto.
.............................
Charles I.
This is a drawing of the terracotta bust now in the British Museum.
There are two bust of Charles I by Roubiliac. The first is that purchased by Dr Matthew Maty at the posthumous Roubiliac sale and presented to the British Museum.
The second terracotta is that at the Courtauld Gallery on a marble socle
The terracotta bust of Charles I was lot 79 on the 2nd day of the Roubiliac Sale Thursday 13th May 1762.
Another terracotta was in the posthumous sale under the heading Busts terracotta lot 74 Third day 14 May 1762.
.........................
The Marble bust of Charles I.
by Roubiliac.
Height 71 cm.
Wallace Collection.
Provenance - George
Selwyn; Maria Fagnani; Francis Charles Seymour-Conway, 3rd Marquess of Hertford
..................
The Terracotta Bust of Charles I. (mark II).
Roubiliac.
Courtauld Gallery.
This bust not only utilises the socle but also uses same drapery as that used by Roubiliac on his marble and
terracotta busts of Viscount Ligonier and the Fordham Marble bust of
Shakespeare at the Folger Library, Washington DC.
.
...................................
The Bamber Monument the bust of Dr John Bamber (1667 - 1753).
c.1754.
On the monument in the North Aisle in St Margaret of Antioch Church, Barking, Essex.
The monument is perhaps by Henry Cheere typically showing
his use of coloured marbles but the bust has all the hallmarks of the mature
Roubiliac and his mastery of depicting old men naturistic fashion.
The bust possibly made for Dr Bamber and later placed on his monument.
https://bathartandarchitecture.blogspot.com/2019_04_05_archive.html
.........................
The Marble Bust of Sir Peter Warren (1703 - 52).
Louis Francois Roubiliac.
Height 83.8cms.
Huntington Library. San Marino. California.
This is a version of the bust of Warren on his monument by Roubiliac in Westminster Abbey.
https://emuseum.huntington.org/objects/3122/sir-peter-warren-naval-officer?ctx=501ef96c-0c19-4357-adeb-a20bb14c85d4&idx=3
https://bathartandarchitecture.blogspot.com/2019/02/bust-of-sir-peter-warren-roubiliac.html
........................
The Marble Busts of Lord Leicester and his wife on the Monument at Tittleshall.
This pair of busts by Roubiliac are on the Monument at
Tittleshall Church, Norfolk. The busts were made originally for Holkham Hall,
Norfolk and later placed on the monument.
A plaster bust of the bust of Coke remains in the Hall at Holkham, which uses the
same socle. The Nollekens drawing of another bust of the Earl by Roubiliac but
without a wig is in the Harris Museum Preston showing the use of this socle.
This bust is shown in an early 19th century engraving.
Lady Margaret Tufton, The Countess of Leicester (1700 -75)
by Roubiliac utilises the same form of Socle. When Thomas Coke died in 1759,
Lady Margaret completed the work to the house to his exact specification, and
continued to live at Holkham until her death in 1775.
........................
The Plaster Bust of Lord Leicester, Thomas Coke at Holkham Hall, Norfolk.
The Monument to Francis Hooper.
Trinity College Cambridge
The bust by Roubiliac the monument completed by his assistant and former apprentice Nicholas Read.
.............................
Mary Okeover.
Marble Bust Height 58.4 cms.
c. 1745.
I have contacted Okeover but the busts of the Okeovers have disappeared.
Perhaps by the Danish
Sculptor Charles Stanley but I now consider that it is much more likely to have
come from the workshop of Roubiliac. My argument again rests on the use of a form of socle unique to
Roubiliac and the repetition of the drapery - which appears on the bust of - at Little Easton Essex..
The socle on an unsigned marble bust of the young Marcus
Aurelius at Seaton Delaval previously at Melton Constable Hall, Norfolk follows
the same pattern.
The pointer to the Roubiliac authorship is the use of
the same drapery on another bust on the Maynard Monument at Little Easton see below. - Another
feature that appears only on Roubiliac's busts.
The Bust of the Right Honourable Elizabeth Lady Maynard.
on the Maynard Monument at St Mary the Virgin Church at Little Easton, Essex
..........................
Leake Okeover (1701 - 65).
The Marble Bust by Joseph Wilton.
Still in the house in 1964 (Country Life).
Along with the bust of Mary Okeover it seems to have disappeared from Okeover Hall.
I have contacted the house but they can find no trace of them.
.......................
Of Tangential Interest.
At Okeover Thomas Carter acted as a supplier of sculpture from
another neighbour in Piccadilly, John Cheere. The accounts show that £8, with
18s for casing, was paid for ‘work done by order of Mr Carter per John Cheere.
To making a statue of a black’ (Oswald 1964, 175).
This must refer to a sundial base.
In addition to the
Blackamoor, which arrived in 1741, it is possible that ‘two spinx’, supplied by
Carter in 1740, also came from Cheere’s workshop.
The most prestigious name
associated with the Carter workshop is Louis Francois Roubiliac, who, according
to the painter James Northcote, was ‘working as a journeyman for a person of
the name of Carter’ in or around 1752 (Northcote 1813, 29).
Roubiliac had long practised as an
independent sculptor by this date, but may have assisted Carter or worked as a sub-contractor and vice versa.
Roubiliac later owned a bust of ‘Mr Carter, Statuary,’ although
this could be by Benjamin rather than Thomas I. (sold in the Roubiliac posthumous sale March 1762).
.........................
An Bust of Sir Francis Dashwood attributed until now to an Anonymous Sculptor
at West Wycombe Park.
Here suggested as Lois Francois Roubiliac.
Photographed by the Author.
............................
A Plaster Bust possibly of Apollo - an Ideal Head.
Perhaps Aphrodite.
Life Size.
at Saltram House.
Photographed by the Author.
The loose hair on the shoulders is similar to that of the Cesi Venus or the Venus d'Arles but the topknot is quite different and resembles that on to Capitoline Venus, in Rome.
...................................
The Bodleian Library Plaster Cast of the Stone bust of Sir Thomas Bodley.
This is one of three busts at Oxford of Sir Thomas Bodley.
The original polychrome stone bust of 1605 is in the Bodleian Library.
Another polychrome plaster is also at the Bodleian and third plaster painted black is at Merton College.
This bust has in the past been attributed to Nicholas Stone - it is my considered opinion that that the stone bust could not have been carved
by Nicholas Stone - currently I believe that a more likely candidate would be Isaac
James ( fl. 1600 - 1624/5).
Stone would have been aged about 19. A comparison with the
bust on the monument to Bodley carved by the Stone workshop and put up in the
Chapel at Christ Church College, which to my eye is fairly wooden, would
suggest that a much more competent and perhaps more mature sculptor was responsible.
It shows the influence of the Amsterdam sculptor and
architect Hendryk de Keyser (1565 - 1621).
de Keyser was in England in 1606 - Nicholas Stone a pupil of
Isaac James went to Amsterdam with de Keyser married his daughter and returned
to England in 1613.
see - The Biographical Dictionary of London Tomb Sculptors 1560 -
1660. by Adam White, Walpole Society Journal, 1999.
see my post -
http://english18thcenturyportraitsculpture.blogspot.co.uk/2017/09/hendrick-de-keyser-and-his.html
https://english18thcenturyportraitsculpture.blogspot.com/2017/11/stone-bust-of-sir-thomas-bodley-in.html
The Bodleian Polychrome Plaster of Thomas Bodley.
It is more than temping to suggest that the Bodleian and Merton College plasters with the extended trunks were adapted and cast from the stone original in the Bodleian Library by Louis Francois Roubiliac.
There are several other busts by Roubiliac at Oxford including the two busts of Richard Frewen one at Christchurch and the other in the Bodleian.
https://bathartandarchitecture.blogspot.com/2018/07/the-busts-of-richard-frewin-by.html
and the Roubiliac bust of Archbishop Chichele and Nicholas Hawksmore at All Souls.
The three busts of Thomas Bodley compared.
of tangential interest -
The terracotta busts anonymousof Sir Nicholas Bacon and Lady Anne Bacon at Gorhambury, Herts
The two busts included here as further examples of realistic polychromed bust busts.
Perhaps related to the bust of Thomas Bodley here suggested as by Isaac James.
https://historicengland.org.uk/images-books/photos/item/DP084661
Bust of Lady Anne Bacon at Gorhambury.
.....................
Joseph Wilton and his use of the Roubiliac Type Socle.
Apart from the bust of Leake Okeover (now missing) I can only find two further examples of Wilton's busts that use socles similar to the Roubiliac type.
The Marble Bust of Lord Chesterfield.
British Museum.
..........................
A Plaster Bust of Oliver Cromwell in the Royal Academy Store.
Joseph Wilton.
Here compared with the marble version at the V and A.
I was unable to make any serious forensic investigation into
this bust - I will put down my first thoughts here. It appears to have
sustained some damage in the past and this has been disguised by the bronze
paint - in the past it has not been particularly well treated and appears to
have much water staining on the surface.
There are what appears to be piece mould marks, visible
particularly on the face, and the bust has probably been broken and restored at some
point and it is difficult to make out whether the lines on the face and hair
are piece mould marks or breaks that have been restored or a mixture of the
two.
The areas outlined in red show the obvious differences with the marble.
If these are piece mould marks marks this would suggest that this is probably not an 18th Century production but a much later cast - probably 19th century.
I am extremely grateful to Daniel Bowmar, Collections
Manager of the Royal Academy for allowing me access to the Royal Academy
Collection store in East London and for facilitating the photography.
https://english18thcenturyportraitsculpture.blogspot.com/2019/06/the-busts-of-oliver-cromwell-part-23.html
http://english18thcenturyportraitsculpture.blogspot.com/2019/02/oliver-cromwell-marble-bust-by-joseph.html
........................
Another Joseph Wilton bust here using the squatter Roubiliac type socle.
The Ceramic Bust of William Pitt the Elder. c. 1769.
William Pitt, 1st Earl of Chatham (1708-1778), Prime
Minister.
Harvard Art Museum.
https://harvardartmuseums.org/collections/object/304510?q=wilton
It has been suggested that the bust is of Coade Stone - if this is the case then it is one of the earliest documented pieces of Coade stone. The Coade business commenced at Narrow Wall, Lambeth in 1769.
https://harvardartmuseums.org/article/a-layered-history
The website states -
"Materials such as crushed glass and quartz (sand) grains are
also evident in the clay" .-
This certainly suggests Coade or perhaps Daniel Pincot whose business was taken over by Eleanor Coade in 1769. Coades products have been subject to analysis and the mixture which was variable certainly included powdered glass.
"Though the bust’s composition doesn’t fit perfectly with
that of Coade stone, it does seem likely to have been a (now obscure)
precursor"
This statement is not entirely correct - the composition of Coade stone was variable but used the same basic materials.
It seems to have been widely known throughout the terracotta trade in
the19th century. In 1850, ten years after the closure of the
Coade factory, Charles Fowler noted the generally used formula for the manufacture
of artificial stone:
"white potter's clay forming about one-half; pulverised
stone ware from one third to one-fifth; ditto glass, from one-fourth to
one-ninth; and some add ed for finer purposes, for
finer purposes, a small portion of Riegate sand and powdered flint about one tenth part of each.
The (Harvard) team noted that Wilton’s father was a successful architectural
ornament manufacturer. Furthermore, when the Harvard bust’s dimensions are
compared with an identical marble bust of Pitt in the collection of the
Fitzwilliam Museum in Cambridge, England, Harvard’s bust is an average of 5
percent smaller. Because Coade stone’s reported shrinkage upon firing is also
approximately 5 percent, Sigel posited that Harvard’s bust was probably formed
in a mold made from the Fitzwilliam bust".
Joseph
Wilton commemorated Pitt in no less than three full-length statues and seven
busts—including this example, which Benjamin Franklin gifted to Harvard in
1769.
This donation—the bust of a British politician who advocated
for peaceful relations with the colonies—harbored an obvious political charge
in pre-Revolutionary Boston.
The Harvard Corporation acknowledged this
significance in a note thanking the statesman and scientist “for his very
acceptable present of a fine bust of that great assertor of American
liberties.”
The research team behind the Harvard exhibition located the bust
slathered in radiator paint in a Harvard office.
See photos from its cleaning
in the Straus Center for Conservation and Technical Studies at the Harvard Art
Museums below
https://harvardartmuseums.org/tour/486/slide/9559
.............................
The NPG Marble bust of Pitt by Wilton.
Here using the more typical Wilton oval plan socle.
https://www.npg.org.uk/collections/search/portrait/mw07194/William-Pitt-1st-Earl-of-Chatham
Purchased by the NPG in 1990
.........................
A version of this bust in the Fitzwilliam Museum, Cambridge.
Government Art Collection.
National Portrait Gallery Scotland
Wedgwood produced a version of this bust (1770 - 80) see -
https://www.artsbma.org/collection/william-pitt-the-elder-1st-earl-of-chatham-westminster-london-1708-hayes-bromley-1778-british-statesman-and-prime-minister/
.................
A Statue of Pitt by Joseph Wilton was sent to Charleston.
......................
Another Wilton Statue Pitt of 1770. Marble now a truncated fragment 71 x 29 x 29 in. Gift of Simon M. Mackie,
New-York Historical Society, 1864.5. New-York Historical Society.
........................
Coade and the use of the Later Roubiliac Type Socle.
Milton.
Indented Coade and Sealey
Caracalla dated 1792.
......................
The Afterlife of the Roubiliac Type Socle -
William Shakespeare.
Wedgwood - Black Basalt.
Height: 24.4cm Width: 16.5cm Depth: 11cm.
Victoria and Albert Museum
To my eye the socle is much too big for the bust.
Unfortunately the V and A website does not go into any great detail - there is no reference to any marks and it does not make clear how old this particular bust is!
The Bust of Shakespeare - made at the factory of Josiah Wedgwood, Etruria,
Staffordshire, was first produced in around 1775.
Made after a cast bought from the London plaster shop of
John Cheere and invoiced by him in February 1774.
Cheere supplied
Wedgwood with busts of Shakespeare, Plato, Homer and Aristotle at half a guinea
each, see - Robin Reilly, Wedgwood, London,1989, Vol I, p. 450
2477-1901 Jermyn Street Collection.
https://collections.vam.ac.uk/item/O149120/bust-josiah-wedgwood-and/?carousel-image=2010EH9800
The style of the dress in particular the embroidery on the waistcoat is certainly in the style of Cheere but this bust appears to be derived from the Scheemakers version.
The bust of Shakespeare in the Long Room of the Library at Trinity College Dublin is probably the origin of the design of the Wedgwood/ Cheere bust.
A related plaster bust acquired by Soane from a Mr Gianelli (there are several Gianellis who worked in London fl 1777 - 1840's) is in the Soane museum but it lacks the embroidery.
I have written a great deal on the subject already of the replication of the busts of Shakespeare in all materials - it is a very complicated matter - I need to return to the subject in the light of recent findings.
https://english18thcenturyportraitsculpture.blogspot.com/2015/11/busts-of-shakespeare-by-scheemakers-and.html
........................
A much larger bust - height 48.2 cms was made by Wedgwood but from a different original.
..............................
Of tangential interest.
A Later Iteration of the Roubiliac Type Socle.
Enoch Wood (1759 - 1840).
Painted Biscuit ware? Described as a Polychromed ceramic Bust.
Sotheby's London, Lot
72, 12 July 2017.
Titled and dated: The
Bust / of / Enoch Wood / of / Burslem aged / 62, AD 1821.
62cm., 24 3/8 in.
...............................
The Bonhams Bustof Enoch Wood.
Fine British Pottery and Porcelain Sale, Lot 24. 8 September 2010,
There are two examples of this bust in the Potteries Museum
and another in the British Museum which is inscribed 'Enoch Wood Sculpsit 1821
in the 62 year of his age'
Another version of this bust is in the British Museum
My Father Aaron Wood Died May 12th 1785 aged 68. Buried at
Burslem 1785. He made the/ Models for all the Potters during the time the salt
glaze was in general use/ Enoch Wood was Born Jan 31th [sic] 1759/ Ann Wife of
Enoch Wood was Born June 1th [sic] 1758 Married/ at Newcastle/ Dec.r 16 1780/
They had Issue/ Ann Born October 19 1782 Married to John Brettell/ Hester Born
April 21 1784 Married to Bob Wilson/ Edna Born June 11 1786/ Eliza Born May 19
1788 Married to Andrew Blake/ May Born April 19 1790. Married to Tho.s J. B.
Hostage /Sarah Born October 13 1791./ Enoch Born Feb.y 12 1793 Married to
Elizabeth Widdowson / Emma Born Feb.y 17 1794. / Joseph Born Feb.y 17 1795. /
Edward Born April 9 1796. / Susan Born May 21 1797./ Thomas Horatio Born
October 28 1804/ Witness my Hand/ Enoch Wood/ April 28 1821. and Memorandum/ In
the above named Millers day/ the Inhabitants of Burslem and/ the Potteries were
few. their Bread was chiefly made of Oat Meal. / In the year 1709 the whole
Expences of/ one Week was £0-16-10½ as follows. Burslem/ Liberty 10-6 Sneyd
Hamlet 1/6 Hulton Lordship 4.10½. In the last year 1820 Enoch Wood & Sons
were assessed & Paid/ six levies of £60-1-6 each or £360-6-6 within/ the
year for the use of the Poor only & to Church, King, Roads &. &.
&. numerous additional sums of money. EW1821.
Another version of this bust is in the Potteries Museum at Burslem.
Images here from Art UK website.
https://artuk.org/discover/artworks/search/actor:wood-enoch-17591840
This website reveals further use of this type of socle by Wood.
Another version of this portrait, dated 1821 but was recast by James Macintyre
and Co., Burslem, Stoke-on-Trent, 1899. is in Hampshire Cultural Trust Headquarters, Winchester (Hampshire
County Council’s Fine Art Collection).
Inscription description
Copied from the original / signed by Enoch Wood / in the
possession of / Mr Henry Watkin / Mar 12 1889 / Data / from original /
manuscript / signed by Enoch Wood / Thomas Wood Bishop of Lichfield 1671-1690 /
Ralph Wood born…died 1690 / Ralph Wood born 1677 died 1753 / Aaron Wood
born...died 1785 / Aaron Wood born 17-9 died 1816 / Josiah Wood born 1786 died
1868 / Josiah Wood born 1827 died 1887 / Francis John Wood born 1856
see - https://artuk.org/discover/artworks/enoch-wood-17591840-273698/search/actor:wood-enoch-17591840/page/1/view_as/grid
.....................................
The Biscuitware Bust of Enoch Wood Jnr. (1759–1840).
Dated 1814.
No size given.
The Potteries Museum & Art Gallery.
ENOCH WOOD, JUNR / Ætat 21, February 12, 1814 / ENOCH WOOD,
SENR, SCULPT. / A Birthday present. / Joy to my Brother! may the years / That
Time on rapid pinions bear / Be blest with life’s last setting sun, / As those
which mark’d thee twenty-one....
https://artuk.org/discover/artworks/enoch-wood-junior-268884/search/actor:wood-enoch-17591840/page/1/view_as/grid
...............................
Alexander I (1777–1825) was Tsar of Russia between 1801 and
1825.
Presumably 1814.
H 51 x W 70 cm.
https://artuk.org/discover/artworks/alexander-i-17771825-268875/search/actor:wood-enoch-17591840/page/1/view_as/grid
Another version of this bust is at Meron College Oxford
Height 71 x 46 cms.
https://artuk.org/discover/artworks/alexander-i-of-russia-17771825-244920/search/actor:wood-enoch-17591840/page/1/view_as/grid
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William IV (1765–1837).
Enoch Wood (1759–1840).
Biscuit H 53 x W 24 x D 74 cm
The Potteries Museum & Art Gallery.
dated - June 1 1831.
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An Antique 19th Century Portrait Bust of Henry Gwyther, Vicar
of Yardley, signed by Staffordshire Potter, Enoch Wood.
Biscuit pottery, which was probably originally painted and
inscribed by Enoch Wood;
Henry Gwyther M.A.
Trinity college Cambridge. Vicar of Yardley Worcestershire.
Born in Bristol May 19th 1794.
Presented by Enoch Wood Sen Of Burslem. To his much esteemed friend Oct 21.1825
https://decorativeantiquesuk.com/products/antique-19th-century-portrait-bust-signed-by-enoch-wood
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The further use of the Roubiliac Socle by Enoch Wood - a illustrated list.
By no means definative.
These busts are not particularly rare - early mass production but they were decorated by hand and come in many variations.
https://www.christies.com/en/lot/lot-4437606
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George Whitfield.
Lead-glazed earthenware c1790.
Dimensions: Height: 12 1/2 in. (31.8 cm).
https://www.metmuseum.org/art/collection/search/198683
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John Wesley.
George Washington.
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