Ivory Relief .
Victoria and Albert Museum.
Back of the Ivory relief.
Gaspar van der Hagen.
Victoria and Albert Museum.
Self Portrait of Hamlet Winstanley.
354 mm x 254 mm plate size.
© National Portrait Gallery, London.
Winstanley was born in Warrington, John Finch, rector of Winwick and brother of the Earl of Nottingham helped him and he studied at Godfrey Kneller's Academy which was founded in Great Queen Street, London in 1711. In 1721Winstanley returned to Warrington with a commission to paint the portrait of Sir Edward Stanley. He was in Rome from 1723 - 25.
Hamlet Winstanley was another portrait painter who frequently used van Aken as a drapery painter along with Alan Ramsay and Thomas Hudson.
Vertue and William Whitely on Hamlet Winstanley
Hamlet Winstanley, the pupil of Kneller at the Academy and the first teacher of that fine painter George Stubbs, had a considerable practice in portraiture in Lancashire and other northern counties, but he could do nothing beyond the faces of his sitters. The figures and draperies were beyond the powers of his brush and the painting of a group or composition out of the question. He was obliged, therefore, to invent a method “quite new and extraordinary.”
“Winstanley travelled about and drew pictures from the life in oil colours—often on small pieces of cloth, only the face; pasted them when sent to London on larger cloths; one, two three or more whole family pieces he did in this manner; only did the faces, sent them to town to Mr. Vanaken an excellent painter of drapery. He stuck the, on large strained cloths as he pleased an made postures and draperies, and so made them complete pictures. This sort of trade Winstanley pursued.”
He spent his later years at Warrington, where he built Stanley Street, and named it after his patrons at Knowsley. He died at Warrington on 18 May 1756. His collections of copper-plates and prints are stated by Horace Walpole to have been sold by auction at Essex House on 18 March 1762.
________________________________________________
Mrs Winstanley
Mezzotint by John Faber
British Museum.
____________________________________________
Gaspar van der Hagen
Ivory Relief .
Gaspar van der Hagen
Ivory Relief
12.3 x 9.5 x 2.2 cm
This pair of plaques was presumably made to commemorate the wedding of Princess Anne and William of Orange in 1734. The source is an engraved double oval portrait of the royal couple after Philippe Mercier (1689 -1760), which was widely circulated in a number of printed impressions in both Paris and London or the two mezzotints of 1734(see below).
Royal Collection.
see - https://www.royalcollection.org.uk/collection/70166/pair-of-portrait-reliefs-of-william-iv-of-orange-and-anne-princess-royal
Ann Princess of Orange and William Prince of Orange
Daughter of King George II, wife of William Charles Henry Friso, Prince of Orange.
After Philippe Mercier
Engraving 1734.
John Faber Jr.
Mezzotint 1734
352 mm x 248 mm
© National Portrait Gallery, London
John Faber Jr.
Mezzotint
1734
260 x 180 mm.
© National Portrait Gallery, London
_____________
Here attributed to Gaspar van der Hagen
Oliver Cromwell, Inigo Jones, John Milton and William Shakespeare
Four Ivory Reliefs.
Each 11.5cms high.
Sold Christies, London.
Lot 68 8th July 2010.
Three of the reliefs are after busts by Rysbrack while the fourth - of Shakespeare - is derived from the full-length marble executed by Rysbrack's contemporary, Peter Scheemakers, for the playwright's monument in Westminster Abbey.
Another set of four oval ivory reliefs - portraits of Milton, King Alfred, Queen Elizabeth and Cromwell were sold at Sotheby's London, 8 December 1988, lots 398-401.
____________________________
John Milton
Tentatively attributed to Gaspar van der Hagen
Ivory relief
10.3 cms
British Museum.
The quality of the portrait below would suggest this portrait was carved by a less gifted sculptor.
John Milton by van der Hagen
signed VDHN
Christie's South Kensington.
Lot 205; 1st Dec 2015
Height12 cms.
This relief based on the Rysbrack bust of Milton.
_____________________________
George II after Michael Rysbrack by Gaspar van der Hagen (1683 - 1773)
16.5 x 14.0 x 8.9 cm
The Thomson Collection © Art Gallery of Ontario.
William, Duke of Cumberland.
Gaspar van der Hagen.
An ivory bust of William Augustus, Duke of Cumberland, made by Gaspar van der Hagen in ca. 1767. It is almost certainly the ivory bust exhibited by the sculptor at the Free Society of Artist in 1767. The entry in the Catalogue reads '271. Mr Vander Hagen, at Mr Rysbrack's in Vere Street, Oxford Road. A bust of his Royal Highness the late Duke of Cumberland, in Ivory.
Height: 14.8 cm ivory alone, Height: 21.5 cm whole
Purchased in London from Mr A. Spero for £50 in 1937.
Victoria and Albert Museum.
William Duke of Cumberland
Here Attributed to Gaspar van der Hagen
Ivory relief
10.5 cms
British Museum.
______________________
Inigo Jones
Gaspar van der Hagen
After an original bust by Michael Rysbrack
Ivory relief.
Height: 9.5 cm, Width: 2.75 in.
Isaac Newton
by Gaspar van der Hagen
Ivory relief
Height: 12.3 cm, Width: 10 cm
There is a virtually identical relief in Walters Arts Gallery, Baltimore, attributed to 'Alexander' van der Hagen - (see below). Another version is in the Royal Society, and another is in Kings College Library (Keynes Collection), Cambridge. This ivory portrait is probably derived from the so-called Conduit marble bust of Newton by John Michael Rysbrack (1694-1770), and his terracotta bust in the Wren library, Trinity College (info from V and A).
Bought for £30 through Messrs. Spero and Kerin, 9 Clifford Street, New Bond Street, London, who purchased it at auction on behalf of the Museum in 1929. Previously the property of A.D. Doughty Esq., sold at Sotheby's, London, 20 June 1929, lot 100, there said to have been 'in the possession of the present owner's [Mr Doughty's] family for many years'.
Notes and photograph courtesy Victoria and Albert Museum.
Isaac Newton
by Gaspar van der Hagen
Ivory relief.
Walters Arts Gallery, Baltimore.
________________________
Isaac Newton
Gaspar van der Hagen
Ivory Relief
Height: 9.2 cm, Width: 6.5 cm.
Victoria and Albert Museum.
_____________
Oliver Cromwell (1599-1658),
Gaspar van der Hagen
Monogramed G.VR.
Victoria and Albert Museum
After the original Terracotta Bust of Oliver Cromwell by Michael Rysbrack c. 1758. ex Teddesley Hall.
A marble by Rysbrack is in the Huntington Library, California
Another similar Marble bust was offered for sale at Sotheby's New York, lot 356 26 Jan. 2012 - attributed to the workshop of Michael Rysbrack
National Maritime Museum Greenwich.
Height: 10.3 cm
Elizabeth I
Gaspar van der Hagen
Ivory Relief
Height: 10,5 cm
Queen Elizabeth I is shown in bust form, crowned and wearing a ruff, with a pendant at her neck. The image is very closely related to the lifesize terracotta bust of the monarch by Michael Rysbrack in the Royal Collection.
Victoria and Albert Museum.
_______________________
John Roe
Gaspar van der Hagen.
monogrammed GVDR
Ivory relief.
size 14 x 10 cms
The identity of John Roe is uncertain,
although he may be the John Roe of Henley (1649-1728).
If he is indeed the subject this is almost certainly a posthumous portrait.
Purchased through Alfred Spero at Sotheby's November 19, 1937, lot 179 for £32. Formerly on loan to the Museum (until 1929) from Mr W. Saunders Fiske, a solicitor (d. 1932), 35A Hyde Park Gate, London S.W.
Victoria and Albert Museum.
________________________
George II
Gaspar van der Hagen
Height: 9.3 cm, Width: 6.5 cm
Victoria and Albert Museum.
___________________
George I.
Poss. Gaspar van der Hagen
unsigned
Ivory relief.
9.5cms
Bonham's Auctioneers, lot 560,11 Dec 2007.
_____________________
Gaspar van der Hagen
Ivory Relief
9.6 cms
Monogrammed G.VDR
It is inscribed on the back HR Wooten
British Museum.
Alexander Pope
Possibly Gaspar van der Hagen
Ivory Relief
Height: 13 cm, Width: 10 cm
After the original bust by Roubiliac
Victoria and Albert Museum
Alexander Pope
Perhaps Gaspar van der Hagen
It lacks the quality and subtlety of the relief above
Walters Art Museum Baltimore.
________________________________________________
Sacrifice to Hercules.
Gaspar van der Hagen.
Subject adapted from the arch of Constantine Rome.
61 × 73.5 cm.
Yale Centre for British Art.
Another relief plaque with a relief of Hercules is currently with dealer Danny Katz.
______________________________
James Francis Verkovis
and the ivory statuettes on the Walpole Cabinet.
Given the date of manufacture of the Walpole cabinet of 1743 it can be safely assumed that Verscovis had access or perhaps worked in the studio of Michael Rysbrack. The two figures of Rubens and Inigo Jones are based on earlier statues by Rysbrack, the du Quesnoy repeats the pose of the statuette by Rysbrack but he is depicted leaning on a column rather than on the antique Belvedere Torso, as depicted on the Rysbrack terracotta and plaster statuette of du Quesnoy of 1743.
Walpole had written to Horace Mann 'There is a Fleming here who carves exquisitely in ivory, one Verkovis: he has done much for me and where I have recommended him' 26 June 1747.
Walpole mentions - Cabinet heads of eagles by Verskovis - in his Anecdotes of Painting.
The Walpole Cabinet from Strawberry Hill
now in the Victoria and Albert Museum.
Height: 152.4 cm, Width: 91.5 cm, Depth: 21.6 cm
Horace Walpole, born 1717 - died 1797 (designer).
William Kent (probably,
designer).
William Hallett, born 1702 - died 1781 (probably, maker).
Verskovis, James Francis (ivories, carver).
Pozzo, Giovanni Battista,
born 1670 - died 1752 (ivories, carver).
'1743, made for Horace Walpole; 1842, Strawberry Hill Sale, day 15, lot 66, bought by [Richards for] Mr Charles Redfern of Warwick, £126.0.0; Mr Harry Quilter; Sir George Donaldson, Private Museum in Sussex; 1925, July 9. Donaldson Sale at Hove, Sussex, lot 482, bought Sutton; 1925, The Victoria and Albert Museum, Purchased with the assistance of the Murray Bequest.'
The cabinet was described by Walpole in 1743 as a "new
cabinet for my
enamels and miniatures,"
Walpole commissioned this cabinet to store part of his fine collection of
portrait miniatures. It was originally made for his house in Arlington Street,
London but later became the main piece of furniture in the Tribune at Strawberry
Hill.
For more detail on this and the Brand Cabinet see
Francois du Quesnoy
Ivory Statuette
James Francis Verskovis
Peter Paul Rubens
Ivory Statuette
James Francis Verskovis
1743
On the left-hand figure of the cabinet is the statuette of Rubens. The figure adds a
bearded head to a body that repeats the pose and dress of Rysbrack's Palladio
at Chiswick House by c.1730.
Inigo Jones
James Francis Verskovis
1743
Ivory Statuette which repeats the pose and dress of Rysbrack's Palladio at Chiswick House by Michael Rysbrack c.1730.
______________
The Tribune at Strawberry Hill by Edward Edwards.
Another view of the Tribune Strawberry Hill by Edward Edwards.
________________________
Literature - The van der Hagen Reliefs.
Victoria and Albert Museum, Review of the Principal Acquisitions During the Year 1929. London, pp. 9-10. (Newton)
Randell, R. H. ed. Masterpieces of ivory from the Walters Art Gallery, Baltimore, 1985, p. 318, cat. no. 484 (Newton)
Graves, Algernon. The Society of Artists of Great Britain, 1760-1791, London, 1907.
Esdaile, K. A. The life and works of Louis François Roubiliac. London, 1928, p. 20
Walpole, Horace. Anecdotes of painters, who have resided or been born in England, with critical remarks on their productions. 1771, IV. p. 98.
Trusted, Marjorie, Baroque & Later Ivories, Victoria & Albert Museum, London, 2013, cat. no. 127
_____________________
Another van der Hagen (of Shrewsbury) d. circa 1790.
Nothing is known of this Van der Hagen’s early life except that, according to his own advertisements, he trained at ‘European Academies’ (inf. James Lawson). He is unlikely to have been a direct descendant of Gaspar Van Der Hagen who was described as ‘a bachelor’ in the administration letter of his will, but he may have been connected in some way to another Van der Hagen, who received a Royal Academy pension from 1769 until 1775, when the payments were transferred to his widow. He had certainly settled in Shrewsbury by 1765, where he was employed as a carver by Thomas Farnolls Pritchard and established his own business as a monumental mason.
An album of Pritchard’s designs in the American Institute of Architects in Washingon DC (reproduced in full by Ionides 1999) includes information on the craftsmen responsible for their execution. It shows that Van der Hagen frequently worked in collaboration with John Nelson and Swift and occasionally with Danders and Halley, carving chimneypieces, frames and other decorative features in various styles for Pritchard.
Van der Hagen, Nelson and Swift were all employed on Pritchard’s monument to Richard Ward Offley at Pontesbury (2) and it seems likely that the same team was responsible for carving the large wall-monument, designed by Pritchard, to Richard Lyster at Alberbury, which Gunnis thought ‘exactly like, and very nearly equal to, the work of Sir Henry Cheere’ (Gunnis 1968, 406). Their involvement in the Lyster cannot be confirmed, though Van der Hagen’s signature appears on the small, simple tablet to the memory of Lyster’s wife which was added at the base of the monument at a later date.
Van der Hagen’s most important independent works are the monuments commemorating Maria Lloyd, 1780, at Corwen, Merioneth, and William Vaughan, 1786, at Llanddwywe in the same county, both of which have medallion portraits (8, 15). He appears to have died about 1790 for the following year John Carline I and his partner John Tilley announced that they had purchased Van der Hagen’s stock in trade and intended to carry on his business in monuments and chimneypieces (Shrewsbury Chronicle 1791, inf. James Lawson).
Literary References: Gunnis 1968, 406; Rococo 1984, 207; RG/JP, 8, 1495; Ionides 1999, passim.
This info lifted entirely from -
