Senesino - Roubiliac

Bust of Francesco Bernardi called Senesino (1686 - 1756).

Terracotta.

c 1735.

Louis Francois Roubiliac.

Metropolitan Museum, New York.
Purchased 2016.

and the Lead Bust on the London Art Market in 2012 formerly (and wrongly) identified by me as Senesino.

Some time ago I wrote a blog entry regarding a lead portrait bust which I believed might be that of the castrato Opera singer Francesco Bernardi called Senesino.

See my blog post 24 January 2014 - http://bathartandarchitecture.blogspot.co.uk/search?q=Senesino

Whilst recently searching for something else I came across the photographs of the bust of Senesino now in the Metropolitan Museum, New York see below.

This bust had been purchased from the sculpture dealer Patricia Wengraf of London with a provenance of Maria Avanzati (Florence).

When researching the lead bust (illustrated below) I approached by e mail Elizabetta Avanzati in Siena who had contributed 'The Unpublished Senesino' in the Exhibition catalogue of March to October 2006 - 'Handel and the Castrati' about the Italian opera singers in London in the 18th Century, for the Handel House Museum in London.

Elizabetta Avanzati was a descendant of the Bernardi family and kept the family home in Sienna.

She responded that the bust could not have been of Senesino but not giving any reasons and so I consequently let the matter drop. She has since died.

The mysterious lead bust has been sold and as far as I know is now in a private collection.

Elizabetta Avanzati also made a tantalizing reference in The Unpublished Senesino' to a pocket or account book still with the family in Siena, which was kept by the singer, noting amongst other things his expenses incurred in London before he left London in 1736 and his sitting to Roubiliac for his bust.

The contents of this pocket book should prove fascinating both to shed more light on Senesino and Artistic lives in the 1730's. I very much look forward to hearing more.

All being well the contents of this pocket book will be published when the Metropolitan Museum gets around to putting their researches into the public realm in 2018.

Senesino left directions in his will that a marble bust should be used on his funerary monument in the crypt of a local church - the Chiesa dell'Osservanza, in Siena which was destroyed during World War II.

The house that Senesino retired to and kept an Anglophile household
Palazzo Bernardi Avanzati
Via Montanini
Sienna.

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The Lead Bust formerly wrongly identified by myself as Senesino.

The lead bust on display in London in 2012, formerlyidentified by me as possibly that of Senesino and currently tentatively identified here as Farinelli, now in a private collection.

Doubt still remains - this bust lacks the prominent mole on his right hand (proper) cheek seen in most of his portraits.

This is a very fine and rare mid 18th Century lead portrait bust - one of a very small group of this type of bust. See the very fine busts of Dr Salmon and his wife and another male bust in the Victoria and Albert Museum

In the past these busts have been attributed to John Cheere (1709 - 1787) younger brother of (Sir) Henry Cheere but so far to my knowledge very little evidence to their authorship has come to light.

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Dimensions 61.6 x 54.8 x 22.7cms. Bust only.

Marble Socle - a replacement.

Photographs courtesy Metropolitan Museum New York

see - http://www.metmuseum.org/art/collection/search/697974

I am informed by Patricia Wengraf that this bust is not yet on public display but is due to be mounted when the Met opens its new English Gallery in 2018. I believe they will publish their researches into the bust illustrated above at that time.

Francesco Bernardi called Senesino

with a book open of the music Giulio Cesare

After Thomas Hudson

Mezzotint
Engraved by Alexander van Haeken

355 x 251 mm.

1735

British Museum

(The painting by Hudson has disappeared - last mentioned in Hudson’s sale at Christies of 26 Feb 1785, the pair to this print of Farinelli, by van Haeken after Lucy was engraved at the same time (see illustration below).

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Francesco Bernardi called Senesino.

by Elisha Kirkall.

after Joseph Goupy.

Mezzotint.

277 x 219 mm. (trimmed).

1727.

British Museum.

They say - The print is surely the one advertised in the Daily Post, 19 May 1727: 'This Day is publish'd, A curious Metzotinto print of Seigneur Senesino, the famous Italian Singer. Done from the Original Picture by Mr. Jos. Goupy. 

Sold by Mr. Regnier, Printseller in Newport-street the End of Long Acre.'

Note - Nicole Celeste Regnier was the third wife of Louis Francois Roubiliac 
Married 1758 - 9.

Francesco Bernardi called Senesino c. 1720.

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Photograph of the Portrait of Senesino as Bertarido dressed as an Hungerian Hussar in Handel's Rodelinda act I Scene VI, first performed on 13 February 1725 in the Kings Theater London.

Portrait by John Vanderbank


Photographed by the author with grateful thanks to James Carleton Harris, the Seventh Earl of Malmsbury, Greywill House, near Basingstoke, Hampshire.

For Invaluable information on mid 18th Century Art Theatre and Music see
the Harris Family Papers.

For a very useful introduction to the subject see -

Music and Theatre in Handel's World, The Family Papers of James Harris 1732 - 1780 by Donald Burrows and Rosemary Dunhill published Oxford 2002.

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Carlo Broschi, called Farinelli (1705 - 82).

1735.

The engraving after Amiconi.

Farinelli.

Engraving by Wagner,

1735.

After Amiconi.

..............................................

Portrait of Farinelli with the Music of Artaxerxes.

Alexander van Haeken after Charles Lucy.

Mezzotint.

355 x 253 mm.

1735.

British Museum.

..........................................

Engraved by Grignion.
after Amiconi.

19 x 15.5 cms.

Victoria and Albert Museum.

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Miniature described by the V and A (I believe in error) as Carlo Broschi called Farenelli.

Christian Friederich Zinke.(1683/4 - 1767).

43 x 39 mm.

c. 1735.

Victoria and Albert Museum.

see - http://collections.vam.ac.uk/item/O1301277/portrait-miniature-of-carlo-broschi-miniature-zincke-christian-friedrich/

This attribution by the V and A is an obvious mistake - the miniature below is very different but bears a close relationship to other portraits of the castrati singer note particularly the mole on left hand side of his face which appears on nearly all depictions of Farinelli.

If not Farinelli could it be Senesino?

I have not yet been in contact with the museum with reference to this miniature.

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Farinelli (1705 - 82).

William Prewitt (various spellings) pupil of Zinke.
c. 1733 - 5.

Miniature Enamel.

51 x 42 mm

Fitzwilliam Museum, Cambridge.

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Farinelli.

Amiconi.

76 x 63.5 cms.

Lot 234 - 4 July 2013.

Portrait Courtesy Sotheby's.

see - http://www.sothebys.com/en/auctions/ecatalogue/2013/old-master-british-paintings-day-sale-l13034/lot.234.html

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Farinelli.

Bartolomeo Nazari.


Image Royal College of Music.

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Jacabo Amigoni.

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Farinelli.

British Museum


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Gioacchino Conti Gizziello (Italian Castrato Opera Singer)

Alexander van Haeken

after Charles Lucy

Mezzotint

354 x 258 mm.

1736

British Museum

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British Museum.

This engraving only tangentially relevant, appealed to my puerile sense of humour

BM says - "Satire on Nicola Porpora who was a rival to Handel in the 1730s. 

The composer, a gaunt man wearing a large brimmed hat from which hangs a sheet of music, is seated astride the back of a man kneeling on the floor; he plays a small organ that rests on the man's shoulders; an owl perched on the top of the organ sings, "Da - a - a - a - vido". 

The man supporting the organ is playing the pan pipes; his breeches have been pulled down and a youth provides the wind for his music with a pair of bellows inserted into his anus; he carries on his back a basket laden with further pairs of bellow. 

Three sheets of paper lying on the floor refer to Porpora's works, "Poly[fem]o", "A[rtaxer]xes" and "D[avi]d". 

Etching.

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Beggars Opera.

Image from Metropolitan Museum, New York.

.........................

Image - British Museum.

https://www.britishmuseum.org/collection/object/P_1868-0808-3526

Inscription content: Lettered within image, above with title followed by a dedication to "those Generous Encouragers of Foreigners, and Ruiners of England ...", below with verses beginning, "Brittains attend - view this harmonious Stage ...", and on either side with two scrolls listing "... the rich presents Signor Farinello ye Italian Singer Condiscended to accept ..."

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A statue of John Willet by Michael Rysbrack

A Marble Statue of John Willett (1745 - 1815). 

(John Willett Adye

by Michael Rysbrack.

Originally for Merley House, Dorset.

From a niche flanked by Doric Columns in the Entrance Hall

Inscribed on the base of the column

Michl. Rysbrack Sculpt. 1763.

Height 185.7 cms 

Musee Royaux des Beaux Arts de Belgique

Bought from Mr Bernheim Elder in 1878

.

for Ralph Willett see -

Legacies of British Slave Ownership

https://www.ucl.ac.uk/lbs/person/view/2146639903

Sir Andrew Fountaine by Roubiliac

Sir Andrew Fountaine

  

by Louis Francois Roubiliac

Terracotta

Norwich Castle Museum

see my blog entry - http://bathartandarchitecture.blogspot.co.uk/2015/10/jacques-antoine-dassier-16-medallions.html




Sir Andrew Fountaine (1676 - 1753).
Louis Francois Roubiliac.
Terracotta
54 x 49 cms
Acquired from Commander Andrew Fountaine of Narford Hall Norfolk 1992
Purchased with the aid of the National Arts Fund
Norwich Castle Museum.

Billy Waters by Robert Shout

Updated 23 August 2023 with further images.

Billy Waters, King of the Beggars (c.1788 - 1823).

"Black Billy"

by Robert Shout.

1821.

Inscribed Pbld. Mar 1821 by R Shout & Son Holborn, London.

Plaster Statuette 13 inches tall.

Current whereabouts unknown.

I was alerted to the existence of this quite remarkable plaster figure when visiting the exellent website of the estimable Mathew Crowther - (a must visit site for anyone interested in Engravings and Graphic Satire of the 18th and early 19th centuries), when putting together information on Benjamin and Robert Shout.

https://theprintshopwindow.com/2013/07/02/life-in-london-the-satirical-action-figures/

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For a look at the life of Black Billy see

https://pure.roehampton.ac.uk/ws/files/1307270/Billy_Waters_and_dangerous_theatricality.Accepted_Version_for_PURE_upload.pdf

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Image courtesy Wellcome Collection.

https://wellcomeimages.org/indexplus/image/V0007298.html

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From Hodgsons Cries of London. 1824.

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Published by C. Reynolds, after Thomas Lord Busby.

Lithograph, early 19th century.

241 mm x 169 mm paper size.

Image from NPG.

https://www.npg.org.uk/collections/search/portrait/mw85265/Billy-Waters?LinkID=mp71369&role=sit&rNo=0

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https://www.britishmuseum.org/collection/object/P_2006-0929-46

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From The True History of Tom & Jerry: or, Life in London. Pierce Egan.

https://www.gutenberg.org/files/43504/43504-h/43504-h.htm

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Billy Waters.

Unknown artist.

glazed earthenware, circa 1840

8 1/2 in. x 3 1/8 in. (216 mm x 80 mm) overall

NPG

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Staffordshire Pearlware figure of Billy Waters

attributed to Enoch Wood

Height 8"

Image Courtesey John Howard Antiques.

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Thos. Kelly, March 1822.

London (17 Paternoster Row) 

 Aquatint with watercolour,

 image 10.7 x 18.2 cm.

Doubly interesting Aquatint of 1822, showing Black Billy and a street seller of plaster casts.

Underneath the Bronze Equestrian Statue of Charles I by Hubert Le Seuer at Charing Cross.

https://wellcomecollection.org/works/bj7efpku

............................

Cruikshank - 1819.

Image - British Museum.


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Portrait of Billy Waters. 

Sir David Wilkie.

oil on panel.

274 x 212 mm.

National Maritime Museum.

A full-length portrait, slightly to the left, showing Waters wearing a red waistcoat (with a pipe? in the left pocket), white shirt, yellow neckerchief and dark trousers, with a leather belt about his waist. His left hand is on a walking stick, which supports him; a false leg is strapped to the stump of his right leg. The background is painted gold. Billy Waters (c.1778–1823) was born in America during the War of Independence. He was a sailor and lost his right leg as a result of falling from the topsail yard of the 'Ganymede'. Unable to serve at sea, he became a famous London street entertainer and was often to be seen busking with his fiddle to support his family. Waters featured in Pierce Egan’s 'Life in London' (1820–21) and was one of the characters illustrated by George Cruikshank. Indeed, Waters appeared in several Cruikshank cartoons, including 'The New Union Club' (NMM, ZBA2498). When Egan’s book was adapted into a play and performed at the Adelphi Theatre, Waters – who had been busking outside – was invited on stage to play himself. He repeated the performance at the Caledonian Theatre in Edinburgh. Waters ended his days in St Giles’s Workhouse, having fallen ill and been forced to pawn his fiddle. He was elected ‘king of the beggars’ shortly before his death.

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Lead Glazes Earthenware c 1825.

Victoria and Albert Museum.

http://collections.vam.ac.uk/item/O70193/billy-waters-figure-unknown/

Derby Figure of about 1862.

A version of this figure was first produced in about 1823.

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From the will of Billy Waters.

Thus poor Black Billy's made his Will,

His Property was small good lack,

For till the day death did him kill

His house he carried on his back.

The Adelphi now may say alas!

And to his memory raise a stone:

Their gold will be exchanged for brass,

Since poor Black Billy's dead and gone.

Two Mysterious Plaster Busts Probably Shout of Holborn - Probably not Alexander Pope. Sudbury and Hone Collection

Two Mysterious Early 19th Century Plaster Busts

Almost certainly by Shout of Holborn, London.

 - certainly not Alexander Pope,

 Some notes on the bust of Sir Joshua Reynolds

by Ceracchi.

Some notes and photographs regarding the plaster cast manufacturers Robt. Shout and Peter Sarti.

This Bust has a superficial resemblance to the Roubiliac Busts of Alexander Pope, the drapery on the bust is almost exactly the same as that on the majority of the Roubiliac type busts of Pope but the features are not even close to the Roubiliac busts of Pope.

I have so far discovered two versions of this bust - one in the collection of my great friend and fellow sculpture enthusiast Peter Hone and another at the National Trust house Sudbury Hall, Derbyshire.

Peter Hone has owned this bust for many years see the photographs below.

The two busts have obviously come from the same original? source but the socles are completely different. The socle and eared support on the Sudbury are very similar to that used very frequently by Joseph Nollekens based on an antique precedent., later used by Shout and Sarti.

The Sudbury bust is from one of a group of 5 similar busts at Sudbury Hall (see photographs below).

Some rather poor low resolution photographs from the National Trust website.

NB turned socle and Nollekens type support which appears on the busts depicted below - all at Sudbury, Derbyshire.

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Edmund Spenser.

Described on the National Trust website as by (Robert) Shout.

I presume this means that it is inscribed on the back. Given that all five busts share the same detail of the socle and support it follows that it would be safe to assume that these five busts all came from the same manufacturer - most likely Robert Shout.

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Sir Joshua Reynolds.

Plaster.

Sudbury Hall.

Joshua Reynolds.

Plaster Bust.

After Guiseppe Ceracchi.

This must have been cast from Ceracchi’s bust of Reynolds in terracotta, dated 1778, which had been presented to the Royal Academy in 1810. 

The terracotta bust had been sold in auction by Greenwood in 1792.

A marble was in the possession of

There is a version by P Sarti at the Atheneum London (see below) -

They say Sarti made new moulds of the bust, but was not allowed to keep them for his own use. "The tunic and cloak were added to the portrait by Sarti, to make the format similar to the others"?

Ceracchi’s terracotta was apparently destroyed (The Age of Neo-Classicism, Council of Europe Exhibition Catalogue, London 1972, no. 335).

The Royal Academy now possesses an undated marble version of the bust, signed Cirachi sculpsit Roma, which was presented by Lord Taunton in 1851. On the cast in the Octagon at the Burlington House (built 1868), the pinned cloak is different from the marble, which suggests that it too had been made from the lost terracotta.

Bust of Sir Joshua Reynolds.

by Giuseppe Ceracchi (1751 -1801).

c.1778 - 9.

Royal Academy

Much of this information from - http://www.victorianweb.org/sculpture/athenaeum/catalogue.html

Notes to the busts by the estimable John Kenworthy Brown.

Illustrated on this website are busts of Edmund Burke, David Garrick, William Harvey, Dr Samuel Johnson John Locke, Milton William Murray (Lord Mansfield). Isaac Newton, Sir Walter Scott, and William Shakespeare - all with the same support to the bust but with no socles.

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Plaster Bust of Sir Joshua Reynolds.

Athenaeum Club.

adapted by Pietro Sarti from the original by Ceracchi.

 

Bust of Sir Joshua Reynolds after Ceracci - 

Plaster

Athenaeum Club.

http://www.victorianweb.org/sculpture/athenaeum/catalogue.html

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Described on the National Trust website as Classical Man.

......................

Francis Bacon.

After the bust by John Cheere.

There is a version of this bust in bronzes Plaster at York Museums originally supplied to Kirkleatham Hall (see below) by John Cheere in 1749.

http://bathartandarchitecture.blogspot.co.uk/2016/12/bust-of-bacon-in-long-room-at-trinity.html

See also - 

see - http://bathartandarchitecture.blogspot.co.uk/2014/11/the-bronzed-plaster-busts-supplied-by.html

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A few notes on Benjamin and Robert Shout.

For a very useful biography of the Shouts by Jacob Simon see -

http://www.npg.org.uk/research/programmes/british-bronze-founders-and-plaster-figure-makers-1800-1980-1/british-bronze-founders-and-plaster-figure-makers-1800-1980-s

Robert Shout (described as Mason) insured 12 Eagle Street, Red Lyon Square with the Sun Insurance Company I February 1791

Benjamin and Robert Shout described as Masons and Statuaries are noted as occupying a property behind 13 Eagle Street, Red Lyon Square 31 March 1792 in the records of the Sun Fire Insurance Company (London Metropolitan Archives - 

Copy of the list of products available from Robert Shout

c.1801 - 1824.

Trade Card for Benjamin and Robert Shout

Printed sometime prior to the death of Ben. Shout in 1811.

Both cards above from the British Museum Collection.

After the death of Nollekens his assistant Alexander Goblet sold 42 moulds for busts including Jonson and Mansfield to the Plaster Cast manufacturer James Deville (1777 - 1846).

It would appear that Sarti obtained the moulds for some of his busts at some time from the Deville Studio.

The fashion for library busts lasted over two centuries. The busts of various literary, scientific and political characters had a long life. It appears that some of these busts originally cast by John Cheere in the 1740's were then produced by Messrs Harris and Parker in the Strand in the later 18th century. The moulds or masters were then passed to Messrs Shout of Holborn before ending up with Mr Sarti.

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Group of busts sold at Christie's New York.

sold lot 161, 7 May 2008.

from the Gladstone Collection at Fasque.

Described as A SET OF TWELVE ENGLISH PAINTED PLASTER BUSTS CAST BY B. & R. SHOUT, FIRST QUARTER 19TH CENTURY. 

King Alfred after Rysbrack, John Milton, after original cast by Cheere), William Pitt, Charles James Fox, William Shakespeare ( Poss cast from an original by John Cheere - another at the Wren Library Trinity College Cambridge), Alexander Pope (after Roubiliac Milton/Fitzwilliam), John Dryden, Alfred the Great, Edmund Burke, Sir Isaac Newton (after Cheere), John Locke (after Cheere), Samuel Johnson, Milton and Voltaire; each on circular socle topped by a name tablet. 

variously marked 'made by R. Shout/Holborn' and variously dated '1800[?]' and '1820'

The highest 24 in. (61 cm.) (12)

NB the turned socles and details of the supports 

NB also the bust of Pope - this is either a version of the Milton / Fitzwilliam bust of Pope or the later copy by Nollekens. This certainly lends credence to the fact that the Sudbury and Hone busts illustrated above are not poorly sculpted variants of the Roubiliac Pope busts.

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Another pair of busts by Shout. 

Sold Christies New York lot 162, 7 May 2008.

Described in the

Catalogue as -

A PAIR OF ENGLISH PAINTED PLASTER BUSTS OF HOMER AND VIRGIL.

AFTER THE ANTIQUE, CAST BY B. & R. SHOUT, FIRST QUARTER 19TH CENTURY
Each depicted facing frontally on circular socle topped by a name tablet, Virgil indistinctly marked 'Holborn' to the reverse
22½ in. (57 cm.) high (2).

Again note the detail of socles and supports.

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Bust of George Washington after Houdon inscribed Shout, Holborn.

Peter Hone Collection.

Sold at Christies South Kensington.

.......................

Sarah Siddons (1775 - 1831).

Actress.

Plaster bust. 

Robert Shout.

Victoria and Albert Museum.

see - http://collections.vam.ac.uk/item/O310763/self-portrait-sarah-siddons-bust-siddons-sarah/

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The Peter Hone bust.

with Paper Label from Sandal Hall, Wakefield.

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Just to avoid any confusion and for comparison with the bust above - below are photographs of the Roubiliac Terracotta and the Marble bust of Pope and the Nollekens Marble bust of Pope now in the Met. The similarity of the drapery on the above bust to the Roubiliac busts should be noted.

This suggests to me that the bust above is taken from another bust from Roubiliac's Studio - Roubiliac sometimes reused the drapery of busts he had created on other busts - the Marble bust of Plato in the Library at Trinity College Dublin by Roubiliac uses this same drapery. See my Trinity College Blog entry. - 

http://bathartandarchitecture.blogspot.co.uk/2016/12/bust-of-plato-in-long-room-trinity.html

Marble bust of Plato.

Workshop of Roubiliac.

Library Trinity College, Dublin.

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The Terracotta Bust of Alexander Pope by Roubiliac now in the Barber Institute. Birmingham.

....................................

The Milton Fitzwilliam bust of Pope by Roubiliac.

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The Metropolitan Museum of the Nollekens bust of Pope.

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Pietro Sarti (1793 - 1868).

For a very useful potted biographies of Pietro (Peter) Sarti (1793 - 1868) and the various members of the Sarti family of plaster cast manufacturers compiled by Jacob Simon of the National Portrait Gallery  see

http://www.npg.org.uk/research/programmes/british-bronze-founders-and-plaster-figure-makers-1800-1980-1/british-bronze-founders-and-plaster-figure-makers-1800-1980-s

Peter Sarti, resident in London by 1816, 

6 Upper King St, Bloomsbury 1822-1826, 

59 Greek St, Soho by 1825-1833, 92 Dean St, Soho 1833-1838, 

Southampton St 1836. Plaster cast figure maker and moulder.

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A few Notes on Sarti and the Athenaeum Club Busts.

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Bill from Sarti to the Athenaeum early 1830

Bought of P.Sarti

	£ s d
Jany 26th Figure of Diana Dressing	8. 8. 0
Ditto Venus Victorious	8. 8. 0
Feby 2 Moving repairing & painting to grecion archer	1. 4. 0 4
Bust of Sir Isac Newton	1. 10. 0
Ditto Shakespere	1. 10. 0
Ditto Milton	1. 10. 0
Ditto Lock	1. 10. 0
Ditto Dr Johnson	1. 1. 0
Ditto Dr Harvey	1. 10. 0
Ditto Lord Mansfield	1. 10. 0
Ditto Pope	1. 10. 0 [inserted]
Ditto Bacon	1. 10. 0
Moulding & casting Sir J. Reynolds	3. 3. 0
Adding drapery to ditto	1. 0. 0
Putting pedestal to the Bust of Burke	7. 0
Repairing & painting the Bust of Sir C Wren	12. 0
Painting the Names in the above Busts	19. 6
For taken down & putting twice the Apollo and altering four times the leaf	3. 10. 0
Bust of Garrick	1. 10. 0

All the Articles in this Bill

are correct. C Daly £42. 2. 6

Certified to be correct

Decimus Burton

24 April 1830

[Endorsed:] 1830

Casts Ordered for payment

Sarti Building Committee

26 April

Received 30 April of the Trustees of the

Athenæum the sum of Forty two pounds two

shillings and sixpence being the amount of

my Bill for Casts supplied to the New

Building to this time – £42. 2. 6 P. Sarti

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Further busts by Sarti using the shout type socle and support.

In the Collection of the National Trust, Wimpole Hall, Cambridgeshire. 

The National Trust owns full-size plaster busts of Locke (white plaster), Milton and Dryden (both ‘bronzed’), and Pope (‘bronzed’, but a different model from that at the Wren Library). All four have the impressed signature ‘P. Sarti, Dean Street, Soho’. They may originally have been at Wimpole, but are more likely to have been acquired as a job lot after 1936 by Captain George and Elsie Bambridge, who owned and refurnished the house.

Alexander Pope.

Roubiliac Type

Height 62 cms.

................................

Milton

Height 71 cms

............................

Dryden.

Height 71 cms.

John Locke

Height 74 cms.

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William Pitt the Younger.

after Nollekens.

Height 70 cms.

For a very useful essay by Jacob Simon of The National Portrait Gallery see -

http://www.npg.org.uk/research/programmes/plaster-figure-makers-history.php

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I am reposting a page from the Charles Harris Catalogue.

which lists the busts available from his shop in the strand in 1777.