The Grimsthorpe Terracotta bust of Handel.

Updated 9 September 2024 with the image from the Grimsthorpe website.

The Grimsthorpe Castle, Lincolnshire, Terracotta Bust of Handel. 

by Louis Francois Roubiliac.

Circa 1738.


28 inches (71.1 cm) tall with the socle, 23 inches (58.4 cm) without.

The related plaster bust at Gloucester Cathedral is pictured below.

For much more on the various Roubiliac busts of Handel see my posts -

1739.  George Frederick Handel, Marble Bust, Windsor Castle, RCIN 35255.

https://www.rct.uk/collection/35255/george-frederick-handel-1685-1759

http://bathartandarchitecture.blogspot.com/2015/06/the-1739-marble-bust-of-handel-1685-1759.html

http://bathartandarchitecture.blogspot.com/2015/06/the-royal-collection-handel-bust.html

For the terracotta relief portrait of Handel at the Victoria and Albert Museum see -

http://bathartandarchitecture.blogspot.com/2015/07/the-roubiliac-terracotta-relief-of.html

Image above courtesy the Grimsthorpe website.

https://grimsthorpe.co.uk/portfolio_page/bust-of-george-frederick-handel/

Photographed in the Tapestry Room at Grimsthorpe Castle, 5 May 2015.

Grimsthorpe Castle, Ancestral seat of the Dukes of Ancaster.

Photographs at the bottom of the page are of the Gloucester Cathedral Plaster bust of Handel.

Photographing this bust at Grimsthorpe was an almost impossible task and I apologise for the poor quality. At some time in its past this bust, particularly the head and the right shoulder, had been smashed into several pieces and then reconstructed, as is obvious from these photographs. 

It has also been painted and stripped of paint at least twice, leaving evidence on the surface of the terracotta of layers of yellow and pinkish paint.

It is currently in a room where the shutters are permanently closed in order to protect the important tapestries from damage by light. Given the fragility of the terracotta and the fact that the bust has been attached to a heavy black marble socle with a large iron pin, it would have been impossible to move into the light without risk of further damage.

Consequently these photographs were taken without flash but with the aid of a portable fluorescent lead light. Not ideal circumstances but enough to give me the opportunity to show close up details of the surface and to make comparisons with the other busts of Handel by Roubiliac.

Contrary to reports from Malcolm Baker that it showed evidence that it had been cast in a piece mould I could find no evidence for this. The photographs here show clearly the joins where the terracotta pieces were glued back together, particularly high on the proper left cheek and at the top of the right arm. In a previous post I suggested that these might be firing cracks but I now firmly believe that this bust had been damaged in an accident.

Unfortunately there are no records of when this bust entered the collection at Grimsthorpe. 

It was only identified by John Mallet and Malcolm Baker in 1985.

It should be noted that there is no mole or wart on the left hand proper cheek clearly visible on the Foundling Hospital terracotta.

The hole at the back of the collar suggests that it had been made for a particular position, being tied back to a structure using this hole.

I am very grateful to Ray Biggs, Estate Manager of Grimsthorpe for allowing me to photograph this wonderful bust and to Peter Hone for acting as my assistant.

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Newspaper clipping from Morning Post and Advertiser 22 June 1786.

"Three remarkably fine busts of Milton, Shakespeare and Handel exquisitely modelled by Roubiliac"

From the sale of the collection of John Stanley.

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The catalogue for a sale by Christie's on 29 March 1805 'of ... Vases, Marbles, etc collected by a Man of Fashion during a recent visit to Rome and Naples', also included 'original models in Terra Cotta, by the celebrated Roubiliac, &c, &c.'

Lot, 117, was described as 'Tarquin and Lucretia, a singularly fine model in terra cotta, by the celebrated Roubiliac, undoubtedly, with a glass shade'. 

Lot 118 was described as An original model of the bust of Handel, by Roubiliac, in terra cotta', and it was sold for three Guineas. 

This probably refers to the Grimsthorpe terracotta.

Lot 119 was described as an original model of the bust of Alexander Pope by Roubiliac.  All were consigned by someone named 'Belcher', Possibly a misspelling of Belchier, the consignor therefore possibly? being a relative of the deceased Dr John Belchier (d 1785), who moved in artistic circles, apparently having an acquaintance with both Pope and Handel, and whose own bust Roubiliac had modelled (model or cast, Royal College of Surgeons).  

This must refer to the Barber Institute Terracotta of Alexander Pope.

The annotations to the right of the lot descriptions, where the auctioneer has recorded the result of the auction, are incomplete, and do not disclose the name of the purchaser of the bust of Handel,  lot 119 (the terracotta bust of Pope) was acquired by one 'Rogers' for five Guineas, (the Poet Samuel Rogers).

Dr John Bust of Belcher.

Louis Francois Roubiliac.

Terracotta.

Royal College of Surgeons.

I am grateful to Bruce Simpson Curator at the RCS for providing this photograph.

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The Grimsthorpe, the Sotheby's marble bust , above and Halle Haus, and Gloucester Cathedral busts for comparison.

In 2008 a plaster bust of Handel which is similar to the bust at Grimsthorpe Castle, but almost exactly the same as the Gloucester Cathedral plaster bust of Handel appeared on the website of the Stiftung Handel-Haus in Halle, Germany, which restated the attribution of the model to Roubiliac. 

It was made for Handel-Haus in 1997 by the gipsformerei (plaster workshop) of the Stiftung Preutgischer Kulturbesitz in Berlin, and that plaster was cast after an identical plaster bust in their collection bearing the signature of the German sculptor, Aurelio (Mark Aurelius) Micheli (1834-1908, fl 1860-70), who specialised in portraits of notable Germans, many of them composers, and whose works appear to have been issued in multiples produced by the plaster workshop of the Micheli Brothers in Berlin.

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The Gloucester Cathedral Plaster Bust of Handel.

Suggested as workshop of Roubiliac.

Photographed by the author at Gloucester Cathedral.

The fine detail which has not been obscured by overpainting suggests that it is an early cast from the Roubiliac workshop at St Martin's Lane.

In 1739 he provided a plaster bust of  Alexander Pope for Hugh Hume Campbell, 3rd Earl of  Marchmont. The payment was made January 1738/9 (Nat Arts Lib ref - MSL/1939/1578.

This perhaps a version of the Milton Fitzwilliam Marble dated 1740 - other plasters of this bust are known such as the Felbrig and Disraeli plasters.

In 1741 he supplied three busts of Handel to the composer's patron James Harris (1709 - 1780) and was hoping to interest him in other subjects - "you know I have Mr Pope's busto which I have likewise made after life. I have also Milton and Newtons so in case any of your friends should want them you will be pleased to recommend them" see Harris Correspondence Music and Theatre by Burrows Dunhill

Roubiliac had been producing plaster multiples of his busts by 1738 when he was still living at Peters Court. It has always been assumed that he had his workshop at Peters Court sharing the building with the St Martin's Lane Academy - this would seem an unlikely arrangement unless the rooms were separate.

Rysbrack stated that he expected the moulds to last for about 25 casts before they needed renewing.

The Gloucester Cathedral Plaster Bust of Handel by Roubiliac.

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The Royal Collection Marble Bust of Handel and its Varients - The one with the Hat. The Houbraken Engraved Portrait of Handel -1738.

The 1739 Marble Bust of Handel (1685 - 1759).

by Louis Francois Roubiliac (1702 - 62).

Royal Collection, Windsor Castle,

in the Queens Presence Chamber.

Photograph scanned from Early Georgian Portraits, Kerslake, NPG. 1977.

Size -71.0 x 60.0 x 36.0 cm. - 28 ins x 14.25 ins.

The mole on his left proper cheek is just visible.

It seems very likely that this bust was commissioned from Roubiliac by Handel himself. It was given by Handel to John Christopher Smith Senior (Johann Christoph Schmidt) (1683-1763); thence to his son, also John Christopher Smith (1712-1795); by whom given to George III, c.1772-4.

JC Smith had come to England from Anspach in Germany in 1716 after Handel's visit to Halle in order to work with him. From shortly after his arrival he lived at Dean Street, Soho, by 1720 he had a music shop at the Sign of the Hand and Book in Coventry Street (Daily Courant 2nd Nov. 1720) from 1723 until 1750 his address was at Meard's Court, Wardour Street, Soho. He specialised in Handel's music. He acted as amanuensis and treasurer to Handel until they fell out in late 1756. He was in Bath with Handel in the Summer of 1751.

A portrait of Handel by Denner was bequeathed by John Christopher Smith Jnr. to William Coxe. Smith had retired to Bath and was living at Upper Church Street by the Royal Crescent when he died.

http://www.royalcollection.org.uk/collection/35255/george-frederick-handel-1685-1759

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72.4cms tall.

Provenance - according to Brownlow it belonged to Barrett the proprietor of Vauxhall gardens(perhaps George Rogers Barrett who died in 1818, and then to the Bass singer James Bartleman (1769 - 1821 although it was not included in the Bartleman sale at White's on the 20 Feb 1822. 

It was offered for sale by H. Rodd of 9 Great Newport Street, London and subsequently acquire by Sir Frederick Pollock, 1st Bart (1783 - 1870) and given by him to the Foundling Hospital in 1844.

These photographs were taken on the 8th April 2015 using only the available light without a flash.

The mole or wart on his left cheek is clearly visible.

Although not obvious this terracotta has undergone extensive restoration and conservation at the Victoria and Albert Museum in 1966, prior to which it appeared with extensive cracks and damages, and it was subject again to further conservation in 1995.

Given the position of the bust at the Foundling Hospital Museum the results are reasonably good. 

The bust was tight up against a wall. Getting a shot of the proper right hand profile was particularly difficult and impossible to get a shot of the back. 

I am very grateful to Katherine Hogg and everyone at the Foundling Hospital Museum for allowing me to take these photographs.

The Foundling Hospital Terracotta Bust of Handel.

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The Foundling Hospital Plaster Bust of Handel by Roubiliac.

The Foundling Hospital, Plaster bust of Handel wearing a Soft Hat.

This bust appears to have been taken from a piece mould taken from the terracotta (above). It seems to be leaning slightly further forward but this is probably because it was manufactured to be set in a high position such as on a library bookcase. This forward lean is easily altered during or after the manufacture of these busts.

These photographs taken on 8th April 2015. This bust was very difficult to photograph - what available natural light was mostly from a skylight above and so unfortunately the resolution is very poor.

The mole or wart on his left cheek is just visible in the first and fourth photographs.

 The Foundling Terracotta bust of Handel -The mole on his cheek is just visible.

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The Huntington Library Plaster Bust of Handel by Roubiliac.

Formerly in the Gambier Parry collection at Highnam Court in Gloucestershire 

and sold by auctioneers Bruton Knowles in 1971, acquired by the Huntington in 1972. 

Plaster Handel Huntington Library - No mole on left cheek.

Malcolm Baker suggests perhaps on the basis of the socle that this is a late 18th century cast but this form of socle was commonly used from the mid 18th century.

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The 1762 Roubiliac Sale Handel Busts.

There were 5 Plaster busts, a terracotta and two moulds included in the sale .

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Further references to the busts of Handel in the 18th and 19th centuries.

John Blackwood. Feb 1788, lot 1326 Roubiliac Marble busto of Handel.

John Stanley, Christie's 24 June 1786, lot 89, a remarkable fine bust, exquisitely modelled, by Roubiliac.

Morning Post and Advertiser 22 June 1786. 

This is a fascinating snippet which also refers to busts of Milton, Shakespeare and Handel exquisitely modelled by Roubiliac. The wording suggests that these three busts were terracottas modelled by Roubiliac. This is all the more remarkable in that John Stanley (1712 -1786) master of the Kings music was blinded in accident at the age of two. Stanley began a partnership with John Christopher Smith Jnr the former amanuensis of Handel after the death of Handel in 1760.

The snippet above probably refers to the Grimsthorpe terracotta bust of Handel, the other terracotta bust having most likely (I have no evidence)  been passed down through the family from Jonathan Tyers, proprieter of Vauxhall Gardens and the commissioner of the Vauxhall Gardens full length marble of Handel. Tyers was also sculpted by Roubiliac (terracotta in the Vand A, a marble version in Birmingham Museum and Art Gallery although the marble is disputed as being by Roubiliac.

John Stanley.

An engraving by James Macardell, after an Unknown artist.

Mezzotint, mid 18th century.

14 in. x 10 3/4 in. (356 mm x 274 mm) NPG.

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By and published by Thomas Gainsborough, after Mary Ann Rigg (née Scott).

Stipple engraving.

published 9 April 1781.

13 1/8 in. x 9 3/4 in. (333 mm x 247 mm) paper size.

For a brief biog Stanley see - http://rslade.co.uk/18th-century-music/composers/john-stanley/

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Handel by Francis Kyte, 1742, (194 mm x 168 mm).

The NPG suggest that this is a copy.

Very little is known about Kyte and this small portrait was probably copied from the engraving below.

see - http://www.npg.org.uk/collections/explore/by-publication/kerslake/early-georgian-portraits-catalogue-handel.php/#90

 Height: 37.1 cm,  Width: 31.8 cm Print size,

Engraved portrait of Handel, 1738, engraved by Jacobus Houbraken (1698 - 1780), the frame by Hubert-Francois Bourguignon called Gravelot (1699 -1773). Gravelot was working in London (invited to help engraver Claude du Bosc) from 1732 - 45 and was a highly influential member of the St Martin's Lane Academy and the Old Slaughters coffee house set.

The mole on the cheek is just visible on the engraving, the oil portrait is a reversal of the engraving.

The National portrait Gallery website states "The engraving, hitherto associated with the 1769 edition of Judas Maccabeus, was advertised in The Country Journal, or The Craftsman for 22 April 1738: 'This Day is publish'd (And are ready to be deliver'd to the Subscribers for Alexander's Feast) A Print of Mr. Handel Engraved by the celebrated Mr Houbraken of Amsterdam. The Ornaments design'd by Mr Gravelot. Printed for John Walsh in Catherine-Street in the Strand.' This confirms conclusions reached on stylistic grounds, the squaring, in particular, indicating a copy. It also accords with the little we know of Kyte (fl.1710-45) and the improbability that Handel, by then so famous, would have sat to one so obscure".

The signed drawing for the cartouche by Gravelot is in the British Museum, unfortunately not dated but fascinating for the representation of the musician playing the lyre on a plinth which is very similar to the Vauxhall statue of Handel set up in 1738 but shows the musician in classical dress.

This might confirm the close links between the two Frenchmen and suggests that originally Roubiliac might have had other ideas for the Vauxhall statue of Handel.

The NPG goes on to suggest that the prototype was painted abroad, though a small enough portrait could have been taken to Amsterdam. Handel was in Aachen for the waters in September 1737, returning at the end of October or the beginning of November.

Houbraken collaborated with the historian Thomas Birch and artist and engraver George Vertue on the project entitled, Heads of Illustrious Persons of Great Britain, published in parts in London from 1735 to 1743. Number 1 dated 1735, Thomas Duke of Norfolk, in total 108 heads (Kerslake page 130)

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 It is signed Houbraken, Amsterdam.

perhaps suggesting that the portrait itself was separately engraved in Amsterdam.

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