Thursday, 4 November 2021

A Pair of Plaster Heads cast by Peter Vanina at Thirlstane Castle

 

Post under construction

A Pair of Plaster Heads cast by Peter Vanina 

1751

at Thirlstane Castle.

Lauder, Scottish Borders TD2 6RU Scotland.

Photographs below courtesy Art uk website










This bust is inscribed Puer? Vanina, 1751.

No size given.

Both busts described  on the website as acquisition method gift from Captain the Honourable Gerald Maitland-Carew.


https://artuk.org/discover/artworks/two-draped-female-heads-262563/search/venue:thirlestane-castle-7378/page/7


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In a letter from Michael Rysbrack to Sir Edward Littleton dated 21 January 1758, the sculptor wrote: According to Your Desire, I have Enquired of Mr. Vannini, the Caster in Plaster of Paris (whom I employ when I want) what the Expence will be, of a Mould off your Honour's Bust, and each Cast out of it: it will be a thing Entirely out of my way. For the Mould the Expence will be three Guineas, and each Cast, out of it, will be 16 Shillings. When I receive your Orders if you will Please have it Done or not, I will send them on the first Notice, all of them being Ready ...

 A month later, on 28 February 1758, Rysbrack again wrote to his patron providing us with further interesting information: I Received the Favour of Yours of the 14th Instant, this is to Satisfie Your Honour, that Mr. Vannini assures me that Making the Mould on Your Bust will not Detriment it, the Mould when made will be Good to Cast 15 or 20 Casts out of it. I have deferred sending the Other Busts till after next week, when the mould will be made, and when I will send them all together, the Mould will be 3 Weeks or a Month before it will be ready to Cast any out of it.. .







London Evening Post 19 December 1767


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Public Advertiser 27 March 1770


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Gazateer and New Daily Advertiser 17 March 1772.

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Collection of Charles Rogers purchased from Vanini – Bronze of Duke Lorenzo of Medici after Michaelangelo 26 September 1768 for £10 10 shillings – info from - An Exhibition of Old Master and English Drawings and European Bronzes: From the Collection of Charles Rogers (1711-1784) and the William Cotton Bequest on Loan from the City Museum and Art Gallery, Plymouth ... Held in [Sotheby's] New Gallery ... London ... 20th August to ... 31st August 1979 ... and Afterwards at Sotheby Bearne Rainbow, Torquay ... 5th September to ... 7th September 1979

 

 

 

 

 

 

 

On 4 and 5 April 1770, Christie had a further sale of 'the Valuable stock in Trade of the ingenious Mr. Peter Vanina of Dover-Street, Piccadilly (going Abroad)'. There were 90 lots. Competitors running plaster shops included: John Cheere who bought: First Day: Lot 69, The Virgin Mary visiting St. Elizabeth (plaister Basso Relievo, bronzed); 2nd Day: 3, Three (figures) of Hercules, a Ceres and a Venus, 15/-; 6. One figure of St. Jerome, and eight boys, &c. £1. 10. St. Elizabeth and St. John on her knee, 12/-; 28. Susannah (plaister), £1-10; 45. Ditto of Susannah, ditto; 56. Two barso relievos (plaister) £1. 10/-; 57. One ditto of boys and a dolphin £1. 10/-; 58. Two ditto £1. 10/-; Venus Celeste, from the Tuscan gallery, five feet four inches high £8-10/-.

[Richard Parker bought] Lot 13, two vases; Lot 14, A rhinoceros; Lot 18, Horace and Pope, with brackets (Plaister Bronzes); Lot 29, David and Goliah's [sic] head; 36, David and Goliah's head; 40, Two vases; 53, Duke of Cumberland (Plaister Bust); [59A ... bt £1-9-0, Parker].

 Oliver bought Lot 24, Homer (Plaister Figure); 25, Dryden (Plaister Figure); 46 Ditto of Venus de Medicis, ditto; 89, Antique Boxer, six feet high (Large Plaister Figures, from the original).

 

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The following two lists were downloaded and transcribed from the Getty Provenances website.

It is difficult to make complete sense of these two lists and

Some of the catalogue appears to be missing from the second transcription here – details of lots 48 to 69 are missing.

 

First List transcribed from the Getty Provenances website

 

 

Two lions and a greyhound réalisée par Mr. Peter Vanina, 0.5 gs. [45]

Three figures of Apollo, Venus, and Leda vendue au prix de 0.6 gs. [46]

Three ditto figures of Hercules, a Ceres and a Venus réalisée par Mr. Peter Vanina, 0.15 gs. [47]

Cicero and Pope réalisée par Mr. Peter Vanina, au prix de 0.7 gs. [48]

Ben Johnson réalisée par Mr. Peter Vanina, au prix de 0.6 gs. [49]

One figure of St. Jerome, and eight boys, &c. réalisée par Mr. Peter Vanina, au prix de 1 gs. [50]

One ditto figure of Dryden, and two vases réalisée par Mr. Peter Vanina, au prix de 0.15 gs. [51]

Two sphinx's réalisée par Mr. Peter Vanina [52]

Two lions réalisée par Mr. Peter Vanina, vendue par The ingenioius Mr. Peter Vanina, Of Dover-Street, (Going Abroad) au prix de 0.16 gs. [53]

St. Elizabeth and St. John on her knee réalisée par Mr. Peter Vanina, 0.12 gs. [54]

An anatomy and an Antinous réalisée par Mr. Peter Vanina, 0.10 gs. [55]

One, a Mercury réalisée par Mr. Peter Vanina, 0.13 gs. [56]

A rhinoceros réalisée par Mr. Peter Vanina, 0.8 gs. [57]

A couching Venus réalisée par Mr. Peter Vanina, 0.10 gs. [58]

A Venus with the shell réalisée par Mr. Peter Vanina, 0.13 gs. [59]

Two small heads, our Saviour and the Virgin Bronze réalisée par Mr. Peter Vanina, 1.16 gs. [60]

Two small figures, Ganemede and Bacchus, after Michael Angelo Bronze réalisée par Mr. Peter Vanina, 2.11 gs. [61]

A gladiator Bronze réalisée par Mr. Peter Vanina, 4.17 gs. [62]

Hercules and Anteus Bronze réalisée par Mr. Peter Vanina, 6.17 gs. [63]

A sacrifice Bronze réalisée par Mr. Peter Vanina, 2 gs. [64]

Ditto A sacrifice Bronze réalisée par Mr. Peter Vanina, 2.5 gs. [65]

Ditto A sacrifice Bronze réalisée par Mr. Peter Vanina, de 2.6 gs. [66]

The judgment of Hercules, by Mr. Rysbrack, a basso relievo Bronze réalisée par Mr. Rysbrack 5.2 gs. [67]

One Sampson A Model of a Figure, brought from Rome, after the Antique 3.3 gs. [68]

David and Goliah's head A Model of a Figure, brought from Rome, after the Antique réalisée par Antique, 3.2 gs. [69]

Apollo A Model of a Figure, brought from Rome, after the Antique réalisée par Antique, 3 gs. [70]

Antinous A Model of a Figure, brought from Rome, after the Antique 3.2 gs. [71]

comme Mars A Model of a Figure, brought from Rome, after the Antique réalisée par Antique 3.4 gs. [72]

A group of Castor and Pollux A Model of a Figure, brought from Rome, after the Antique) 4 gs. [73]

 

 

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Second transcription of the Christie’s Sale of Peter Vanina - 5 April 1770

from the Getty Provenance’s website –

https://piprod.getty.edu/starweb/pi/servlet.starweb?path=pi/pi.web

Lot 1. Two heads, a Madona, and a vestal.           (are these versions of the Thirlstane busts

Lot 1. Two lions and a greyhound            

Lot 2. Ditto [Two heads] of Prior and Congreve                                 

Lot 2. Three figures of Apollo, Venus, and Leda

Lot 3. ditto [Two heads] of Shakespear and Milton                                          

Lot 3. Three ditto [figures] of Hercules, a Ceres and a Venus        

Lot 4. Ditto [heads] of Apollo, Julius Caesar, and Antinous                                                            

Lot 4. Cicero and Pope                                 

Lot 5. Ditto [heads] of Sir Walter Raleigh and Ben Johnson                           

Lot 5. Sir Isaac Newton and Ben Johnson                                             

Lot 6. One head of Seneca                                         

Lot 6. One figure of St. Jerome, and eight boys, &c.          

 [One head] of Demosthenes     

Lot 7. One ditto [figure] of Dryden, and two vases            

Lot 8. Two sphinx's                         

Lot 9. Two lions,               

Lot 10. Elizabeth and St. John on her knee           

Lot 11. An anatomy and an Antinous      

Lot 12 One, a Mercury  

Lot 14    A rhinoceros     

Lot 15 A couching Venus              

Lot 16    A Venus with the shell   

Lot 19 of Flora                  

Lot 20    Ditto [One] of Hercules  ,

Lot 21    Ditto [One] of Susannah

Lot 22 Ditto [One] of Venus                        

Lot 23 Ditto [One] of Sampson                  

Lot 24Ditto [One] of a young Mars           

Lot 25    Ditto [One] of David with Goliah's head 

Lot 26 Ditto [One] of an anatomy             

Lot 27Ditto [One] of Saint Andrew                                          

Lot 28Ditto [One] of Venus de Medicis                   

Lot 29 Ditto [One] of Germanicus            

Lot 30 Two fauns, with the goat, and Bacchus and Silenus             

Lot 31 Ditto [One] of Shakespear, and a bracket

Lot 32 Ditto [One] of Spencer, and ditto [a bracket],        

Lot 33 A Venus and craw-fish, and a piping faun                                

Lot 34 heads of Boys                                      

Lot 35    Ditto [Two heads] of the Niobe's              

Lot 36   Ditto [Two heads] of Shakespear and Pope,           

Lot 37   One of Caracalla [bust] 

Lot 38  [One] of Antinous [bust],

Lot 39    of Demosthenes and the Aegyptian priestess [busts],

Lot 40 One of a faun, and a bracket [bust]

Lot 41 The young Senator and his mother [group]                            

Lot 42    and Psyche [group] (companion to lot 43)

Lot 43  Its companion (companion to lot 42, "Cupid and Psyche"  

Lot 44   Sampson and the lion [group]

Lot 45  Castor and Pollux [group]               

Lot 46  Hercules and Atlas [group]                            

Lot 47 Laocoon and his sons [group]

_______             

Lot 70 Two hands, by Mr. Rysbrack [model]                                       

Lot 71    Three ditto [hands], by ditto [Mr. Rysbrack] [model] 

Lot 72    Two ditto [hands], by ditto [Mr. Rysbrack] [model]

Lot 73    One bust of Virgil, by ditto [Mr. Rysbrack] [model]               

Lot 77    The judgment of Hercules, by Mr. Rysbrack, a basso relievo [Bronze],

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Lot 70   Small heads, our Saviour and the Virgin [Bronze]  ,              

Lot 71    Two small figures, Ganemede and Bacchus, after Michael Angelo [Bronze]            

Lot 72    A gladiator [Bronze]         

Lot 73    Hercules and Anteus [Bronze]                     

Lot 74    A sacrifice [Bronze]

Lot 75    Ditto [A sacrifice] [Bronze]          

Lot 76    Ditto [A sacrifice] [Bronze]                            

One Sampson [A Model of a Figure, brought from Rome, after the Antique]         

Lot 79    David and Goliah's head [A Model of a Figure, brought from Rome, after the Antique]     

Lot 80    Apollo [A Model of a Figure, brought from Rome, after the Antique]         

Lot 81    Antinous [A Model of a Figure, brought from Rome, after the Antique]   

Lot 82    Mars [A Model of a Figure, brought from Rome, after the Antique]           

Lot 83    A group of Castor and Pollux [A Model of a Figure, brought from Rome, after the Antique]


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Peter Vanina owned a pair of the statuettes of Rubens and van Dyck which were disposed of from his house in Dover Street in his 2nd sale of 3 July 1770 on the occasion of 'his going abroad',

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The Statuettes of William Shakespeare and Peter Vanina


I have touched on the statuettes of Shakespeare previously 

see - http://bathartandarchitecture.blogspot.com/2016/01/the-rysbrack-statuettes-of-rubens-van_6.html



If Peter Vanina supplied the plaster cast of Shakespeare used by Enoch Wood then he had probably cast his from an original by John Cheere - perhaps prated would be a good description

William Shakespeare 
Wood or Wood and Caldwell
Burslem, Staffordshire
Late 18th / early 19thCentury
Height 46.4 cms
Marked on the back of the pedestal PV
Possibly from a cast made by Peter Vanina
Fitzwilliam Museum, Cambridge













After the monument in Westminster Abbey, designed by William Kent (1684-1748), and executed by Peter Scheemakers (1691-1761) in 1740. 

They say reduced-scale plaster casts were produced by Scheemakers from his terracotta model, now lost, and by other London sculptors, notably John Cheere. 

The initials 'PV' moulded into the back of the pedestal of this and some other figures for example, in the Schreiber Collection at the Victoria & Albert Museum (Schrebier Catalogue II, 311), may indicate that its moulds were produced from a plaster supplied by Peter Vanina,

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Another statuette of Shakespeare 

Victoria and Albert Museum

Marked on the back incised PV

No size given - they say exceptionally large!

presumably the same size as the Fitzwilliam version



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William Shakespeare

Height 18"

Previously with dealer Andrew Dando

Incised PV



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Winterthur 

Probably Wood and Caldwell

Winterthur

Incised mark PV

No size given  - 


http://museumcollection.winterthur.org/print-record.php?srchfld=irn&name=128670&port=40138&output=HTML&version=100


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William Shakespeare

Plaster Statuette

Very fine First Generation Plaster by John Cheere supplied to Kirkleatham


by John Cheere Supplied to Kirkleatham in 1749.

Height 19.5 inches.

 

Image Supplied Courtesy York Museums Trust.

York Museum


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Ham House

Lacking the Scheemakers incised signature mark on the base of the column.

Possibly Cheere but equally could have come from his moulds and a later version made by Harris of the Strand, or Shout of Holborn 



Wednesday, 26 May 2021

Addison or someone else


This post still under construction.

Updated 2 November 2021


The Lead bust described as Joseph Addison (1672 - 1719) and attributed by Sotheby's to Henry Cheere.


Sotheby's Lot 213 - 8 June 2021.

The catalogue entry -

SIR HENRY CHEERE (LONDON 1703-1781 LONDON), CIRCA 1740.

Joseph Addison

lead bust; on a later ebonised wood square socle

22 7/8 in. (58.1 cm.) high; 27 ¾ in. (70.5 cm.) high, overall

Provenance:

 Anonymous Sale; Christie's, London, 2 July 1996, lot 189.

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Sotheby's "essay"  in its catalogue states - here in its entirity -


" The identity of the sitter and the authorship of this bust are both confirmed by the existence of a bronzed plaster on a smaller scale in the York Castle Museum, Kirkleatham (Friedman and Clifford, loc. cit.). Joseph Addison (1672-1719) was one of the great figures of 18th century London, an essayist and librettist, who contributed to The Tatler. 

He is best remembered as the founder and co-author (with Richard Steele) of The Spectator".


The highlighted text is obvious nonsense - it is very clearly not  a version of the Kirkleatham Cheere bust of Addison in York - the comparison of the two busts can easily checked using Google images (or see the images illustrated below).


I fail to see how this was confirmed by Sotheby's - see the York Museum photographs reproduced from Art UK website and other busts of Addison see below.


This bust bears only a slight resemblance to known busts of Addison by John Cheere but I have very definite doubts that it is either Joseph Addison or a sculpture by Henry Cheere himself - it is most likely to be a cast by his brother John Cheere of Hyde Park Corner.


It would seem to follow that as the Sotheby bust is the only version of this bust so far to appear,  that the busts of Addison by John Cheere, which were much reproduced first by Cheere, and then in three different sizes by Harris of the Strand and subsequently in basalt by  Wedgwood and again in the early 19th century by Shout of Holborn are the standard three dimensional portrait of  Addison.

see -http://english18thcenturyportraitsculpture.blogspot.com/2016/01/charles-harris-catalogue.html


I have been wrong before but until more information appears I stand by this opinion.


This lead bust is much closer to a group of marble and lead busts which have been attributed to Henry Cheere but I believe were most likely sub contracted by Cheere to a very capable but so far unidentified sculptor, perhaps Louis Francois Roubiliac - we can be fairly sure Roubiliac arrived in England in 1730, but there is no record of his works before the mention of the bust of the castrato opera singer Senesino in the press in 1736.

These busts illustrated below are - an anonymous marble bust in the Louvre, the bust of George Pitt in the V and A and the bust of  Orlando Humfreys on his monument in St Margaret of Antioch parish church Barking.

The neck tie is telling and suggests to me that these busts were all perhaps made by the same author.

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The Louvre Paris bust of an anonymous gentleman.

Suggested as workshop of Henry Cheere,

 Carved by an extremely competant sculptor - perhaps Roubiliac.










Formerly attributed to Louis-François de Roubiliac (1702 -1762), as Sir Edward Walpole (1706-1784).

 

Acquired by the Louvre with an hypothetical attribution to Henry Cheere.

 

Attributed in 1992 by Malcom Baker to John Van Nost III? and dated circa 1750.

 

I am very doubtful about this attribution and believe the sculptor of this bust needs to be reassessed.

 

My feeling is that it is slightly earlier than 1750 perhaps circa 1730 - 1740, see the bust on the monument to Orlando Humfreys at Barking Parish Church (below).

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Orlando Humphreys

St Margaret of Antioch Parish Church

Barking

see my blog post for much more on this bust

http://bathartandarchitecture.blogspot.com/2016_10_16_archive.html

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George Pitt

74 cms

V and A

Sold at the Stowe Sale in 1848 as a bust of Prior by Roubiliac

Photograph by the Author

Here suggested as from the workshop of Henry Cheere but by a very skilled sculptor - perhaps Roubiliac.

The V and A say -

"This is a finer version of the portrait on the monument to George Pitt at Stinsford in Dorset, and was probably executed for Encombe House where Pitt's widow and son (John) lived. Between August 1738 and April 1741 Pitt's widow made three payments, amounting to £146.8.0, to Henry Cheere....."

 

"Historical significance: This is among the earliest of English Rococo busts, the decorative effect of the shirt front and the fluttering tie are particularly notable. A similar drapery style may be seen in Cheere's figure of Sir Thomas Hardy at Westminster Abbey (ca. 1740) and the bust of Sir Orlando Humphreys (died 1736) at Barking"

 

Another version of this bust is on the monument to George Pitt at Stinsford, Dorset (see photograph below), and the marble shown here was probably carved at the same date for the family's house. The bust was said to have been 'executed from a model made after his death from recollections by his son John Pitt', a distinguished amateur architect, and shows George Pitt in the informal dress that was being used frequently by this date for both painted and sculptural portraits.

 

see - http://collections.vam.ac.uk/item/O8860/george-pitt-bust-cheere-henry-sir/

See my blog posts - https://bathartandarchitecture.blogspot.com/2014/01/a-very-good-and-extremely-rare-mid-18th.html


 http://bathartandarchitecture.blogspot.com/2016/10/unknown-man-attributed-to-john-van-nost_16.html


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Lead busts of the mid 18th century are few and far between but this lead bust has obvious similarities with the few other lead busts of the period such as the bust perhaps of Farinelli probably by Roubiliac, formerly suggested by me as possibly Senesino (Francesco Bernardi  b. October 31, 1686–November 27, 1758) before the appearance of the terracotta bust of Senesino now in the Metropolitan Museum, New York.


A bust of Senesino was completed by Roubiliac by 1736. I understand that there is a pocketbook belonging to Elizabetta Avanzatti (an Italian historian and distant relative of Senesino and who resides in the Palazzo Bernard Avanzatti in Sienna) which was kept by Senesino and which mentions his sitting for Roubiliac in 1735. I would dearly like to know more about this pocket book!

For Senesino see The Unpublished Senesino by Elisabetta Avanzatti in Catalogue Handel and the Castrati -2006. Handel House, London

It seems that Senesino owned a marble bust of himself and requested in his will that it be used as his funeral monument at Sienna.  It has since disappeared, presumed destroyed in the Napoleonic Wars.

There is a short poem by Lockman on Roubiliac and his bust of Senesino in the London Daily Post and General Advertiser of 4 June 1736. I believe this is probably the first mention of Roubiliac in the English press.

 

 

To Mr ROUBILIAC on seeing a bust made by him of SENESINO by Mr LOCKMAN

When Senesino breathes in Vocal strains

We think Apollo’s left the aetherial plains

When we the Warbler view, by thee exprest

He seems as by the hand of nature drest

Thy art so happily eludes the eye

His voice such sweetness boasts, and swells so high,

That which best imitates, twill doubtful be

Thou Senesino or Apollo be

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Senesino left England for Italy in 1736 never to return.

Farinelli (Carlo Broschi born Jan. 24, 1705, Naples, died July 15, 1782, Bologna ), the castrato opera singer left England for Spain 11 June 1737.



Lead bust, possibly of Farinelli by Roubiliac

c.1735/6

London Art Market 2010



see - http://bathartandarchitecture.blogspot.com/2014/01/a-very-good-and-extremely-rare-mid-18th.html


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 The lead busts of Dr Salmon and his wife at the V and A.











Purchased together with A.19-1921 from the Rev. J.D.C. Wickham, 8 Landsdown Place East, Bath in 1921 for £170.

Image courtesy V and A


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Another excellent unidentified lead bust  






Including pedestal height: 75.5cm

Width: 47.1cm

Note the typical socle used by John Cheere

Image courtesy V and A


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The Lead bust of Matthew Prior now in the Louvre.























Matthew Prior

John Cheere

Lead bust

Approximately three quarters life size

Height given on website 43 x width 33 cms

It is unclear whether this includes the socle

Louvre. Paris.

see - https://collections.louvre.fr/en/ark:/53355/cl010367317

Sold in 2012 as a bust of Hyacinth Rigaud

see my blog post

http://bathartandarchitecture.blogspot.com/2018/01/lead-bust-of-matthew-prior-by-john.html


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I would suggest that all these busts emanated from the same workshop.

Almost certainly that of  John or Henry Cheere


The  lead busts by John Cheere, illustrated here are all distinguished by the distinct style of the treatment of the embroidery work on their waistcoats.

The excellent workmanship suggests a top rank sculptor  and Roubiliac falls neatly into that slot.

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The Sotheby's Lead Bust

described as Addison
























Low resolution images courtesy Sotheby's

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Joseph Addison by John Cheere.

A Lead bust of Addison by John Cheere




 

The Lead Bust of Addison, almost certainly by John Cheere from a photograph taken in 1917 of Heywood House, Ballinakill, co. Laois, Ireland. 

The garden was redesigned and furnished from about 1909 by Sir Edwin Lutyens for Lt. Col. Sir William Hutchinson Poe. 

This bust was one of four - the others were Cicero, Shakespeare and Handel. 

The size is difficult to determine probably three quarter life size. The house was destroyed by fire in 1950. They have disappeared - see my blog entry for - 21 January 2014.

 

Photograph courtesy Country Life Photo Archive


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The Kirkleatham plaster bust of Addison - 

Supplied by John Cheere in 1748 - York Museums


































Joseph Addison by John Cheere

Height 16.5 ins

Photographs here courtesy Art UK website


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Another plaster bust of Addison by Cheere is at Stourhead





Size 55.5 x 38 cms

Low res Photograph from the National Trust website


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Another small bust of Addison sold from The Peter Hone Collection by Christie's Sth. Ken. 26 Oct 2016







No size given approx. 15 inches tall
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The life size bust of Addison by John Cheere in the Wren Library at Trinity College, Cambridge.











Plaster bust of Joseph Addison.

The Wren Library, Trinity College, Cambridge, 

 

Almost certainly supplied by John Cheere.

 

Life Size  - Height approx 60 cms. without the socle.

 

This bust is one of  the set of 26 plaster busts supplied and now consisting of 12 ancient and 11 modern authors all placed on top of the bookcases in the Wren Library.

 

These busts were gifted to the Library by Dr Francis Hooper (1694 - 1763).

 

The Wren Library plasters were probably supplied by John Cheere some time after 1753 - they are noted in a guide of 1763. Unfortunately there is no record of their purchase

Photographs here taken by the author.

I would like to thank Dr Nicolas Bell of the Wren Library, for his assistance and for making it possible to obtain these photographs.


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The bust was reproduced by Wedgwood and Bentley





Addison

Wedgwood and Bentley

Late 18th century

Image courtesy Birmingham Museums 


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Another version of  a bust was available from Wedgwood with Addison wearing a turban or soft hat




14.5 inches tall


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The Portraits of Addison

It is dangerous to make comparisons but to my eye these earlier painted portraits of  Addison of c 1712, 1714 and 1719 do not resemble the lead bust which was probably cast in the 1730's - 40's.

It should be noted that Addison died in 1719, and that none of the portraits of him show him with a bare head.


For a list of the portraiture of Addison see

https://www.npg.org.uk/collections/search/personExtended/mp00035/joseph-addison?tab=iconography


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Joseph Addison

by Sir Godfrey Kneller, Bt

circa 1712

36 in. x 28 in. (914 mm x 711 mm)

NPG 3193


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Joseph Addison

by Michael Dahl

oil on canvas, 1719.

40 1/2 in. x 31 1/4 in. (1029 mm x 794 mm)

Purchased, 1884

Image courtesy National Portrait Gallery  - NPG 714

https://www.npg.org.uk/collections/search/portrait/mw00042/Joseph-Addison


The slight double cleft chin shown in the Dahl portrait is missing in the lead bust.



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Charles Jervas

Signed and dated 1714

1245 x 991 mm 

National Trust 

Knole, Kent.


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Colchester Museum

Art UK

https://artuk.org/discover/artworks/joseph-addison-12258/relationship.work_people.target_reference.keyword/joseph-addison-23238/page/1/view_as/grid

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Addison

Detail from a Miniature in the National Gallery of Ireland

Anon.

16 x 13.7 cms

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Addison

Christian Frederick Zinke (1683 - 1767).

enamel

sight size 3.6 x 2.9 cms

Royal Collection

https://www.rct.uk/collection/421424/joseph-addison-1672-1719

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Addison

Zinke

Usher Gallery Lincoln




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Some Engravings of Addison



Joseph Addison

After Kneller

Proof Engraving by George Vertue

1720

British Museum

https://www.britishmuseum.org/collection/object/P_1868-0822-7283

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Joseph Addison after Kneller

Mezzotint with etching 

1733

British Museum

https://www.britishmuseum.org/collection/object/P_1902-1011-1660


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Joseph Addison

John Simon

After Dahl

National Gallery of Scotland


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van der Gught (d.1725)

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Parr

Nat Gall Scotland


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https://collections.vam.ac.uk/item/O1254254/joseph-addison-print-unknown/


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Joseph Addison

Engraving after Kneller 

Houbraken 

1748

Image courtesey

National Galleries of Scotland


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Some further Mid 18th Century Lead Busts

A pair of life size lead busts of Andrea Palladio and Inigo Jones, were included in Christie’s sale of the collection of Professor Sir Albert Richardson PRA (1880-1964)  in London on September 18 and 19. from the collection of the celebrated architect and President of the Royal Academy (1954-1956).

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see - https://bathartandarchitecture.blogspot.com/2014/01/some-more-eighteenth-century-busts.html


http://bathartandarchitecture.blogspot.com/2018/01/lead-bust-of-matthew-prior-by-john.html


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Whilst we are on the subject of Busts of Addison:



My personal opinion is that I don't believe the wonderful little ivory bust below is either a bust of Addison or by David le Marchand!






Ivory bust

Supposedly Addison by Le Marchand.

I think probably not. If the socle is original then it it more likely to be continental.

It has a passing resemblance to the French Architect Robert de Cotte (1656 - 1735)

Height 10.5 inches

Image Detroit Institute of Art

https://www.dia.org/art/collection/object/bust-gentleman-possibly-joseph-addison-94067


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This fabulous little bust above is more likely to be French or German and should be compared with the ivory bust  of an anonymous man by C. Lacroix in the Metropolitan Museum (below).





Dimensions: Height (bust only): 5 5/8 in. (14.3 cm)


The Met website states

"The virtuoso Baroque carver, here signing C Lacroix fecit (under the man's left arm), was a Franco-Flemish native whose principal activity was in Genoa; he was possibly the same Lacroix, given name unrecorded, who was in Rome producing sculptures for the gardens at Versailles in 1680. 

Our subject here has not been ascertained, but his identity may someday be unravelled through his distinctive pockmarked face and pugnacious profile. 

The two-ribbon tie was worn both in Genoa and at the court of Louis XIV. Lacroix established these details, as well as the pseudobrocade, with punctilio, but what really excited him was capturing the arrested flowing movement of wig and lace.

Provenance:



M. Fau , Paris (by 1865) ; Emma Lazarus Budge ; [ her sale, Paul Graupe, Berlin October 4–6, 1937, lot 85; sold to Otto Dettmers ] ; Otto Dettmers (1937–d. 1986; to his son) ; [ by descent to Boyke Dettmers , Bremen, 1986–2005; sold to MMA ]


Another Ivory bust perhaps by the same hand is in the V and A


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Another anonymous bust of a young man (below) in the V and A.

This huge ivory seems more likely to my eye, to be by Le Marchand




Height: 37.8cm

Width: 27.3cm

Ivory alone height: 34cm

Weight: 8.9kg

I have touched on the ivory carvings of Le Marchand, van der Hagen and Lucke previously

if interested use the search box on the top left hand corner of this blog.