Saturday, 16 May 2026

Plaster Brackets cast by John Cheere.

 



The Male Figure is based loosely on Francois Girardon's  (1628 - 1715) Apollo at Versailles of c.1666 -1675.

The group was sculpted in colaboration with Thomas Regnaudin (1622 - 1706).

The statue of Apollo was originally was accompanied by 7 nymphs. Initially placed in the middle of the Grotto of Thetis, it was later installed in the grotto designed by Hubert Robert in the 18th century.

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

The Engraving by Edelinck of 1678.

Images courtesy British Museum.













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The Thomas and Betty Cobbe Brackets at  Newbridge House, County Dublin, Ireland.


Newbridge House was built by Archbishop Cobbe between 1747 and 1752 to the design of architect James Gibbs.



The Wall bracket with  the figure of Apollo, attributed to John Cheere, plaster, 1758, with a replica of its pair moulded from the version at Felbrigg Hall, Cobbe (see below - photo by Alexey Moskvin).


In 1758, during a sojourn in London, the couple had bought quantities of porcelain, both Chinese and English Bow and Derby. Exceptionally large Chinese pots decorated in rouge de fer, have Thomas’s initials fired into the inside of the lids, so were probably a special commission. On their journeys to Bath they stopped over in Worcester, visiting the newly established porcelain works and commissioning one of the largest Worcester dessert and dinner services on record, complete with matching porcelain handles fitted to Irish cutlery. Some of the many rococo carved gilt looking glasses they had made, were fitted with little platforms to display porcelain. China figures and vases were also placed on gilt wall brackets, one incorporating a figure of Apollo and a swan (doubly appropriate since the Cobbe heraldic devices are swans). This must have originally had a pair with the figure of winged Victory, since an original pair survive at Felbrigg; they are attributed to the London sculptor John Cheere, and therefore the Cobbes probably bought theirs during the 1758 visit to the capital.








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The Peter Hone Apollo Bracket.

Sold at Christie's South Ken. October 2016.

Height 55 cms.



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The Felbrigg Brackets.

Another off day in the photography department of the National Trust.









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The Christopher Gibbs Brackets.



Christie's state in their catalogue -

"The poetic pattern for this pair of 'Brackets for Bustos' is likely to have been invented for the 'Cabinet Room' at Felbrigg, Norfolk, which was designed for William Windham in the 1750s by the architect James Paine (d. 1789), whose 'Picturesque' decoration of the Mansion House, Doncaster was celebrated by his Plans, Elevations, Sections and other ornaments of the Mansion House of Doncaster, 1751, (Rococo: Art and Design in Hogarth's England, Victoria & Albert Museum, Exhibition Catalogue, 1984, nos. S30, S31 and S55)".













 'The Plaster Shops of the Rococo and Neo-Classical Era in Britain', T. Clifford, Journal of the History of Collections, 4, No. 1 (1992) p. 41, fig. 2.

Available on line - dated but an useful introduction.

The bracket of Apollo paired with a figure of Fame, was sold from the collection of Callaly Castle, Alnwick, Northumberland, Christie's, 22-24 September 1986, lot 114, and then subsequently from The Collection of Christopher Gibbs, The Manor House, Clifton Hampden, Christie's, 25-26 September 2000, lot 365.













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Another pair of plaster brackets at Felbrigg.

Perhaps from the workshop of John Cheere.

Photographed by the author.

















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Pair of 18th Century Plaster Wall Brackets with London Dealer McWhirter - May 2026.

Height: 44 cm / 17.5 inches

 Width: 39 cm / 15.5 inches

 Depth: 18 cm / 7 inches











Thursday, 26 March 2026

Henry Cheere - Property in Westminster



First Draft.


This post was prompted by the discovery of a reference to a property of Henry Cheere in Westminster which I wasn't aware of until recently.

It is not yet clear to me whether this property was part of his portfolio of investment properties or was a workshop.

I have written at some length on the Marble and Stonemasons and Marble and Stone importers in Westminster in the 18th Century. The Chapman Birds, the Del Medicos and

https://bathartandarchitecture.blogspot.com/2025/07/edward-chapman-bird-1715-92-marble.html


                                                           

 The Paragraphs below from -

https://www.british-history.ac.uk/survey-london/vol10/pt1/pp7-14#:~:text=In%201750%20Westminster%20Bridge%20was,in%20front%20of%20George%20Yard.



The limits were: "In a line beginning at the south-east end of Bow Street, otherwise Thieving Lane … and going northwards along the west side of King Street to the southeast angle of Brown's Alley, and then going westward to the south-west angle of the said alley, including the whole thereof; from thence proceeding northward along the west side of the party wall dividing the freehold estate of John Wiseman, Esquire, from certain other premises belonging to the Provost and Fellows of Eton College and Humphreys Ram, now in the tenure of Joseph Waring, to Gardener's Lane; and then proceeding westward along the south side of the said lane to the north-west corner thereof next to Duke Street; then proceeding southward along the east side of Duke Street and the east and south-east sides of Delahaye Street, as far as the party wall dividing two houses situate at the north end of Long Ditch; one whereof is now in the occupation of Richard Turner, apothecary, and the other in the occupation of John Snow, bricklayer, not taking in the said house now occupied by the said John Snow, or any part thereof; then proceeding eastward 140 feet along the north side of the wall which parts the garden of the said Richard Turner from the yard and garden of the said John Snow, and from thence returning southward 50 feet to a break dividing the ground of … Duvall from other land in the tenure or occupation of Henry Cheere Esquire; and then going from the said break eastward 100 feet to the west side of Rose Alley, situate on the north side of Bow Street, otherwise Thieving Lane, aforesaid; then beginning at the south-west angle of Rose Alley aforesaid, and going eastward along the north side of Bow Street … as far as the south-east angle thereof next King Street; secondly, beginning at the south-east corner of Prince's Court … and going northward along the east side of St. James's Park wall 140 feet in length, then going eastward to Delahaye Street, along the south side of the party wall of the house now in the tenure of … Streach Esquire, but not including the same, then going southward along the west side of Delahaye Street, as far as and unto the south-east corner of Prince's Court aforesaid."

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In 1750 Westminster Bridge was completed and Bridge Street, its new western approach, opened out into Parliament Street and King Street directly in front of George Yard. The continuation of Bridge Street westwards seemed a quite obvious improvement, but it was left to a private individual to carry it out as a speculation. In 1752–3 James Mallors (the builder of Nos. 43 and 44 Parliament Street) obtained an Act of Parliament (fn. n36) authorising him "to open a street from the west side of King Street "… to the back part of the houses, gardens and yards on the west side of Delahaye Street." The preamble states that the making of such a large, spacious and publick new street … would be not only extremely conducive to the benefit of the said parishes of Saint Margaret and St. John the Evangelist, but highly advantageous and convenient to the publick in general, as well as a great ornament to the antient City of Westminster, more especially if such houses only as are fit for the habitation of persons of fortune and distinction, were erected and built on each side of the said street."

 

Mallors, therefore, was empowered to acquire ground and houses on a site bounded roughly by King Street, Gardener's Lane (western portion), St. James's Park and Bow Street (Thieving Lane) (fn. n37) (see Plate 13) and was [Page 013] authorised to carry out exchanges of property with the Dean and Chapter of Westminster, who owned portions of the site. Provision was made for the new street to have a width of 60 feet at the least, and for "good and substantial houses" to be built on each side of the street, each with a frontage of not less than 25 feet. 

In place of the old Delahay Street it was enacted that "a free and open street or passage, of the breadth of 26 feet 6 inches at the least, shall be laid out, made, preserved and kept open at all times for the use of the publick, and extending from that part of the north end of a street called Long Ditch, which is opposite or near to Princes Court, as far as and unto the south end of Duke Street."

 

On obtaining his parliamentary powers Mallors promptly mortgaged them to Samuel Cox of the New Temple. (fn. n38) Subsequent financial arrangements are too complicated to be detailed.


                                                      The Plan of Westminster From Roque - 1746.




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The Plan of Westminster from Stow's Survey published in 1755.

This plan was completely out of date when this edition was published in 1755.

Stows Survey first publihed in 1598, then reprinted in 1603.

John Strype (1643-1737), the ecclesiastical historian and biographer, published a new, hugely expanded version of Stow’s Survey of London in 1720.

for the 1733 edition see -

https://babel.hathitrust.org/cgi/pt?id=nyp.33433004053397&seq=4


Before the building of Great George St descibed as- "houses only as are fit for the habitation of persons of fortune and distinction"

(subsequently partially demolished in 1806 and the north side demolished between 1898 and 1915).

The only surviving façade from Mellors' original structures is number 11 (built 1756 for George Amyand) which is now part of the Royal Institution of Chartered Surveyors headquarters.


The houses on the east side of Parliament Street form part of an eighteenth-century development initiated by the Westminster Bridge Commissioners. 

Between 1741 and 1750, the old buildings were cleared, and the street was laid out as part of the associated works for the new stone bridge which replaced the ferry across the Thames. The architect for nos 2 and 3 was probably Sir Robert Taylor built c.1756 and are the only buildings to survive from the Georgian terrace, and they retain many of their splendid original features.

https://www.parliament.uk/about/living-heritage/building/northern-estate/normanshaw-parliament-st21/

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A few notes on Great Geoege St and Parliament Street.

No. 29 Great George Street: (Demolished). Middlesex Memorials, 1756, II., 304.

https://www.british-history.ac.uk/survey-london/vol10/pt1/pp46-48

A lease of 4th November, 1755 deals with "a parcell of ground and messuage and other buildings . . . thereon situate on the north side of … Great George Street … being the eleventh house on the north side … reckoning from King Street," and containing in front and rear 33 feet 1 inch and on each side 120 feet. The rear of the plot to the depth of 20 feet was reserved "as and for an open free and publick stable yard, way and passage" (Boar's Head Yard).

In letters from the 1790s, three men were living at No. 29 — Joshua Smith and his sons-in-law Charles, Lord Compton (of Castle Ashby in Northamptonshire) and William Chute (of The Vyne in Hampshire).

The names of the owners of this house up to 1840, according to the ratebooks, are as follows:—

1761–71. Lord Ferrers.

1774–1812. Joshua Smith.

1812 - 34. Alexander Copeland.

1835 - Dr. Stephen Lushington.


“No. 15, South side Great George St Newspaper ad of 1802

 To be Sold by Private Contract, by Mr. CHRISTIE,

 A Singularly elegant LEASEHOLD HOUSE, with two coach houses, roomy four-stall stable, &c. … with views from the balcony into St. James’s Park and Westminster-bridge, from which a most perfect free circulation of air rendering the premises chearful, airy, healthy, &c.  The premises have, on the parlour floor, a library, dressing room, and elegant dining parlour, spacious entrance hall, with folding doors, paved with marble; first floor, a suit [sic] of three spacious apartments, the two principal ones laid together occasionally by folding doors, the windows of the front room opening down to the floor into balconies; four spacious bedchambers and patent water closet on the second floor; five excellent bedchambers on the attics, principal staircase of easy ascent, and back staircase; basement story, butler’s pantry, housekeeper’s room, store room, and excellent wine cellars, servant’s hall, detached kitchen, wash house, and laundry, capital arched vault for pipes of wine. the premises have been recently put into the most elegant and complete repair, fit for the immediate reception of a large family. The locality of the premises to both Houses of Parliament, St. James’s Park, Westminster Bridge, and within one shilling fare of Court, Places of Amusement, &c renders the premises particularly eligible. — To be viewed with tickets, and further particulars known in Pall Mall.”



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This is an useful website for giving some idea of the appearence of London Streets -

London Street Views by John Tallis produced from 1838-1847.

https://londonstreetviews.wordpress.com/about/

https://londonstreetviews.wordpress.com/category/73-parliament-street-nos-1-55/






















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Ordnance Survey Map of the same area 1880's.






Friday, 20 March 2026

Bust of Henry Hatley (d. 1716).

 


An Aide Memoire.

Bust of Henry Hatley (died 1716).

Erected by his son George Hatley (d. 1742).

The bust here is very close to that of Alexander Pope by Peter Scheemakers of c. 1740. but without the waistcoat now at the Yale Centre for British Art. New Haven, Conn. USA.

Perhaps mid / late 1730's.

Over the South doorway of St Mary's Church Hunton, nr Maidstone, Kent.

Image courtesy John Vigor - facebook page historic churches.


https://www.facebook.com/photo/?fbid=10238417573916350&set=g.584528982020638

The bust of Henry Hatley is not mentioned in the Biographical Dictionary of British Sculptors.... pub. Yale, 2009.


Possibly by Peter Scheemakers??










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For Comparison

The Marble Bust of Alexander Pope.

Peter Scheemakers.

c.1740.

Ingrid Roscoe in Scheemakers - Walpole Society Journal, 1998 / 99, suggests this was the bust in the library in the collection of Dr Richard Meade, at 49 Great Ormond St. 

Sold Auction Sale - 11 March 1755, Lot 63, bought by General Campbell.

Scheemakers first known set of library busts was for Richard Mead, who ordered heads of Shakespeare, Milton and Pope for his home in Great Ormond Street, London around 1734.

with London dealer Cyril Humphris in 1972. Height 24".


Notes. A cast of a bust of Pope was sold in Scheemakers sale in 10 March 1756, Lot 21.

 A life size stone bust is in the Temple of English Worthies at Stowe - a part payment made to Scheemakers in Stowe Accounts 13 Dec. 1737 for an unspecified bust.




see also my previous post for further versions of the busts of Pope




















Saturday, 14 March 2026

The Coade Stone Bust of Caracalla, dated 1792. revisited, updated and improved.

 



The Coade Bust of Caracalla.

Inscribed 1792.

60 x 49 cm (23 ½ x 19 ¼ in.).


https://www.tomasso.art/artworkdetail/885959/20448/12-coade-caracalla

I was first made aware of this bust in early January this year.

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

Since my previous posts of January 26 and February 16 of this year I have discovered that the bust is currently with the dealers Tomasso Brothers of London and Leeds - here are the links - 

https://bathartandarchitecture.blogspot.com/2026/01/coadestone-bust-of-caracalla-indented.html

https://bathartandarchitecture.blogspot.com/2026/02/the-bust-of-caracalla-at-foundling.html




The intention of this post is to illustrate the history of the reproduction of the bust of Caracalla in England in the 18th and into the 19th Centuries.

The busts of Marcus Aurelius share a similar history.

From the importing of the Bartolemeo Cavaceppi copy of the ancient bust of Caracalla from Rome by Matthew Brettingham the younger - the reproduction of the bust by Roubiliac, and its further reproduction by Harris of the Strand and later 18th Century versions by Coade 1792 and the mid19th century terracotta by Blashfield.


The genesis of these posts was a conversation with Lars Tharp regarding the surprising lack of any works by Roubiliac at the Foundling Hospital given his links with the Foundling and the St Martin's Lane Academy.

This dovetailed neatly with researches into the use of variations of the socle used uniquely by Roubiliac in the mid 18th century until his death in 1762 which was inspired by conversations with Dino Tomasso which led to researches into a marble bust of Laocoon now firmly attributed to Roubiliac (see the illustration below).

This form of socle was continued by various manufacturers of porcelaine, terracotta, Coade Stone and glazed earthenware into the 19th century.


A squatter version of this type of socle also appears on the Coade stone busts of Nelson and Raleigh on the Orangery at Bicton, Devon and the bust of John Wesley ( Wesley Chapel, Broadmead, Bristol).


As yet nobody seems to have made the link between the plaster busts of Caracalla and Marcus Aurelius at the Foundling Hospital and the Roubiliac versions (as seen in the posthumous contents of the Roubiliac workshop Langford's 4 Day sale catalogue of May 1762) and the Holkham Busts.


I will take the liberty to publish the Tomasso brothers excellent photographs here.










































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The Bust of Thomas Coke, Earl of Leicester

Engraving by WC Edwards (1777 - 1855) after Roubiliac.

c. 1820.

The Engraving included here to illustrate the use of the squat version of the Roubiliac late type socle.

This Roubiliac plaster bust seems to have disappeared but the Francis Chantry copy of the bust is still at Holkham.


The BM say the bust pictured is by Francis Chantry after Roubiliac, but the socle suggests to me that this might be an engraving of the original Roubiliac bust from the Roubiliac Sale - Day 2. Lot 21. Plaster Bust and copied by Chantry.

The Marble bust of Lord Leicester (in Roman dress) at Holkham is a copy by Chantry which uses a turned socle.

Roubiliac was responsible for the busts of Lord Leicester (with wig) and his wife Ladfy Margaret Tufton on the monument in the church at Tiitlleshall, Norfolk.

https://bathartandarchitecture.blogspot.com/2025/05/the-tittleshall-monument-with-marble.html

W C Edwards was known as a silhouettist from an entry in Jackson’s ‘Dictionary’. This records him as the artist and engraver of a print silhouette depicting Sir Thomas William Coke of Holkham

Edwards was a line engraver by trade, he was based in Norfolk in the early 19th century. The silhouette print is inscribed “From a Drawing made at Holkham by W. C. Edwards, in 1824”



The Busts of Thomas Coke, Lord Leicester at the the Roubiliac Sale.

Day 1. Lot 87. Bust unfinish'd of Marble.

Day 2. Lot 21. Plaster Bust, Lot 27.

Day 3. Lot 90. A whole length of the Earl of Leicester in his robes plaster.(see image below)

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.






For good measure here depicted below is the drawing of the bust of Lord Leicester attributed to Joseph  Nollekens at the posthumous Roubiliac sale of May 1762 again nb the use of the late type socle.



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

of tangential interest.

The Plaster Bust of  Thomas Coke, Lord Leicester.

In the Marble Hall at Holkham, Norfolk.

Louis Francois Roubiliac.

Note the use of the late type Roubiliac Socle.

The marble version along with that of his wife by Roubiliac were put up on the Coke monument at Tittleshall Church, Norfolk.

Roubiliac uses the same form of the outer drapery on this bust as his busts of Charles I at the Courtauld Institute Gallery at Somerset House and the Fordham Marble bust of Shakespeare now in the Folger Library, Washington DC. USA. These three busts all use the same type of Roubiliac late type socle.

It is worth repeating here that the Roubiliac marble busts of Princess Amelia (with the late type socle), and of Elizabeth Fitzwilliam, Countess of Pembroke at Wilton house share the same dress.

https://bathartandarchitecture.blogspot.com/2017/11/the-marble-bust-of-princess-amelia.html

For more on the Roubiliac socles see - 

https://bathartandarchitecture.blogspot.com/2025/04/a-bust-of-unidentified-man-as-trajan-by.html







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The Busts of Caracalla and Marcus Aurelius at Holkham, Norfolk.



This bust of Caracalla and the Marcus Aurelius were almost certainly a product of the Cavaceppi workshop in Rome although they lack the eared support on the socle frequently used by him.

Caracalla was bought in Rome in 1749 by Matthew Brettingham and sold to Lord Leicester for £30.

 His account book notes carriage and custom house fees for a "modern coppye of ye" bust of Caracalla in November 1747.

 Brettingham, who kept an account book when he was in Rome, listing thirteen statues and twenty-one busts sent to Holkham.

 see - “Matthew Brettingham’s Rome Account Book 1747-1754,” Walpole Society 49 (1983):






The Marble bust of Marcus Aurelius also at Holkham.
there are two very close versions of this bust in the Capitoline Museum, Rome
Inv nos 279 and 450.





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A plaster bust of the young Marcus Arelius (Commodus) was also included in the recent attic sale from Holkham by Sworders.

It is not a version of the marble still at Holkham. It has different hair very noticable on the fringe and more voluminous dress with an undershirt.







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The Seaton Delaval plaster bust of Marcus Aurelius formerly at Melton Constable.

Workshop of Roubiliac.

Note the use of the late type Roubiliac socle

In the posthumous Roubiliac sale of  13 May 1762  under the heading of  Antique busts etc in plaister - Lot 46, Marcus Aurelius.

For an essay on the subject of this plaster bust at Seaton Delaval and another perhaps of Venus or Aphrodite at Saltram House, Devon see






Another plaster bust of Commodus or the young Marcus Aurelius is at Burton Constable which has slightly different hair, a fuller body and the typical socle used by John Cheere with the slightly convex, recessed panelled front.



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The Foundling Hospital Plaster Bust of Caracalla.

Here attributed to the workshop of Louis Francois Roubiliac (d. 1762) in St Martin's Lane.

For a fairly in depth look at these busts see my previous post-

 https://bathartandarchitecture.blogspot.com/2024/11/plaster-busts-at-foundling-hospital.html

The posthumous Roubiliac Sale May 1762

  Under the heading Antique busts etc in Plaster  -14 busts in all - lots 36 - 49.

  Lot 46 was Marcus Aurelius and Lot 49 was a bust of Caracalla.

 

Esdaile ... Roubiliac 1929 .... states that a number of Artists at a meeting at the Turks Head on 7 December 1760, had agreed to appear on the 5 November in the following year ...........among those signing the paper recording the promise were Joshua Reynolds, Wilson and Roubiliac.......

 

Esdaile goes on to say that the busts were presented on the same day and that they bore his signature? and the date 7 November 1760. She had contacted the secretary Mr RW Nichols who had had the busts taken down and inspected but stated that any inscription had been obscured by the repeated coats of paint - (not unusual given that it was easier to repaint this type of object rather than laboriously clean them - a fate of many plaster objects and their surroundings from the 18th century). (My Italics).

 

In the ambiguous footnote she says " I have most unfortunately omitted to give my authority - an 18th century one - for my note: Foundling Hospital. Plaster Busts of M Aurelius and Caracalla L.F.R. Dec 7th 1760".

She then states that "The historian of the Foundling Hospital however states that the busts were presented by Richard Dalton (Print seller / art dealer) - in 1754? but although this would exclude Roubiliac from the list of donors of works of art to the Hospital they may well have been his work. (this does not exclude John Cheere either) my italics! Certainly versions of these two busts appeared in his posthumous sale.


Mrs Esdailes work was the first in depth work on Roubiliac until Malcolm Baker's and David Bindmans recent works the only book on the works of Roubiliac.

Malcolm Baker and David Bindman published Roubiliac and the 18th Century Monument, pub.Yale 1995. but as the title suggests concentrates on his monuments. 

Edsaile is not entirely to be trusted and attributions etc need to be checked against modern researches.






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The Foundling Hospital Plaster Bust of Marcus Aurelius.

Just to confuse issues this bust is quite different from the Cavaceppi type bust. illustrated above
He is depicted looking to his left (proper) and has fringes on his tunic (left hand side proper) which do not appear on the other versions illustrated here.

The dress here is closest to an ancient marble bust of a young but bearded Marcus Aurelius in the Uffizi in Florence






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The Blashfield Terracotta Bust of Caracalla.

Mid 19th Century.

John Marriot Blashfield (1811 - 82).

Height: 70cm, 27 1/2″ - Width: 55cm, 21 2/3″.

The height of the bust without the socle is 51 cms.

It has been claimed in the past that Blashfield had obtained moulds from Coade but the dates of the disposal of the objects from the Coade manufactory in 1843 .

Blashfield appears to have commenced manufacture of terracotta with James George Bubb (1781 - 1861) as an assistant in 1839 at Canford in Dorset. Bubb had previously worked as a sculptor with Messrs Coade.

I will attempt to obtain better photographs and details of any marks in due course.

This terracotta bust is with the excellent dealers Jamb of the Pimlico Road, London in September 2025.

https://www.facebook.com/photo.php?fbid=1456802126448472&set=pb.100063560954873.-2207520000&type=3

https://www.jamb.co.uk/


For a reasonable overview of the history of Messrs Blashfield and terracotta see -

https://en.wikipedia.org/wiki/John_Marriott_Blashfield




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The Tomasso Brothers Marble Bust of Laocoon.

Attributed to Roubiliac.

Note the use of the less squat version of the form of the Roubiliac late type socle used here.




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The Final Disposal of the Contents of the Coade Manufactory at Lambeth in 1843.
by Rushworth and Jarvis.




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For Coade Blashfield etc. see Papers Read at the Royal Institute of British Architects - Page 262 - 1867.


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For more on the  history of Blashfield and his relationship with Mintons see -