Saturday, 8 August 2026

Coade - statues of Time (Chronos).

 


The Yale version of the Coade Catalogue of 1784.

The trade card title plate on the cover is engraved by P. Wray, after Charles Reuben Ryley.

The other engraved plates are not signed.





Time / Chronos from the Yale Catalogue.

The is no size or price list withtths catalogue.








The National Arts Library Descriptive Catalogue.

Lacks the Engravings but includes the sizes and prices.

Times is described as height 6 ft and cost - £31 10s.




The Bibliotheque Nationale has the most complete catalogue which can be viewd on line -

https://bibliotheque-numerique.inha.fr/viewer/35774/?offset=#page=5&viewer=picture&o=bookmark&n=0&q=

The BN engraving - the only difference with the Yale version of the Catalogue is that the statues are numbered.

Time is no. 20 and the Druid is no. 21.





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A figure of Time or Chronos by Coade and dated 1792 was sold Christie's at Wrotham Park, 21st June 1994, lot 199.

There are two variants on this theme by Coade are known to have been produced; the first type, with sickle to his right hand and an hour glass resting in the palm of his left hand. 

The second type as offered in the Wrotham Park sale has an hour glass in his left hand but his right arm is raised to support a sundial. 

The modelling perhaps relates to that of Coade's River God figure, noted in the catalogue of 1784, which can be safely attributed to the sculptor John Bacon (d.1799), with whom Mrs Eleanor Coade (d.1796) was in partnership (see A. Kelly, op cit p.62). 

The same Chronos figure is featured alongside the sarcophagus of Dame Anne Henniker (d.1793) in Rochester Cathedral (image below) and its design appears to have been mistakenly attributed to the sculptor Thomas Banks in the Gentleman's Magazine, 1794, part 1, p.410. (see A. Kelly, op cit p.250).

 

An engraving with Father Time is also featured as the frontispiece to the book of etchings of Coade's Gallery, which also includes this figure (see Kelly, p.66). 

Another sun-dial commissioned by the architect Sir John Soane (d.1837) is discussed by A. Kelly, Sir John Soane and Mrs Eleanor Coade, Apollo, 1989; while 

Another purchased by James Baxter for his Turnham Green house in July 1818 was described as "A statue of Time with scythe and hour-glass complete with rustic plinth. 18 pounds. (A. Kelly, op cit, 1990, p.144).

A six foot figure of Time is listed as item no.20 in A Descriptive Catalogue of Coade's Artificial Stone Manufactory of 1784.



The Yale Version - Type 1.






The Sandringham Version.

From Art uk website





















The Summers Place Auction version.

Lot 4 - 26 September 2023.


seated on a rock, holding an hour glass, stamped Coade, London 1792.

with bronze sundial engraved I. Coggs, London fecit


https://app.summersplaceauctions.com/en/auction/gs260923-home-garden-natural-history/4-a-rare-coadestone-figure-of-father-time



















































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Christies Lot 69 -20 June 2013. 















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Christie's Wrotham Park  - 21 June 1994.

A RARE COADE STONE SUNDIAL FIGURE OF CHRONOS, the winged, bearded god seated and supporting a platform disc on his head, on a naturalistic rocky base, signed COADE LONDON 1792 (damages and losses) 149cm overall.

Probably the Chronos with Messrs Seago in the 1990's.






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The Rochester Cathedral Henniker Monument.

One of the grandest monuments in the Cathedral is to Dame Ann Hennicker (d.1792), featuring two allegorical figures of Truth and Father Time produced from artificial Coade stone, developed by notable early British businesswoman Eleanor Coade.

 

Dame Ann Henniker passed away on the 18th July 1792, aged 65. Her husband Lord John Henniker was the son of a Russian Merchant dealing in Leather and Furs and Freeman of Rochester.  He erected a grand marble monument to his late wife in the south nave aisle. 


At the top of the monument, below the Hennicker family arms, records:

 

‘In a vault near this Monument is deposited all that was mortal of DAME ANN HENNIKER, late the Affectionate Wife of SIR JOHN HENNIKER of Newton Hall, and Stratford in the County of Essex Bart. He Represented Sudbury in the first Parliament of His Present Majesty, and in two successive Parliaments in the Town and Port of Dover in this County.’

 

The inscription on the marble sarcophagus below reads:

  

'‘She was the eldest Daughter of Sir JOHN MAJOR BART. of Worlingworth Hall in the County of Suffolk Member for Scarborough, and Coheiress with her surviving Sister ELIZABETH DOWR. DUTCHESS of  HENRY DUKE OF CHANDOS. Two sons JOHN late Member for New Romney, And BRYDGES TREGOTHICK Lieutt Coll of His Majestys 9th Regiment of Dragoons,  and one Daughter ANN ELIZABETH COUNTESS of Aldborough, are left with the Disconsolate & much Afflicted Husband, to mourn Her loss, who, after 45 Years of Conjugal Felicity, in the Practice of every Virtue resigned Her Soul to God, at Bristol Hotwells the 18 of July 1792 Aged 65. Her second Son Major Mercht. of London died the 3d. of Feby. 1789, and lies buried at Stretham: he left 5 Children, vizt. JOHN MINET, MARY ANN, MAJOR JACOB, ELIZABETH FALL, & BRYDGES JACKSON, ALL INFANTS, NOW LIVING.’

 

 















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The Artificial Stone Druid.

To my knowledge there are three almost complete Artificial Stone Druids - all appear to have eminated from the Coade Manufactory. There are other versions in the "Ruin" at Shugborough and the Vyne in Hampshire.

The Croome Court Version, marked Coade 1793.

This appears to be the best preserved version  - it is very close in form to the Priory Park, Chichester version and Erdigg version which are the same as the engraving in the Coade Cartalogue but the headress with oak leaf crown is entirely different.

This version was also restored by Cliveden Conservation.



















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The Erdigg Druid.

Inscribed Coade.

Some truly awful photographs are on the National Trust website.

https://www.nationaltrustcollections.org.uk/object/1151805









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The 1776 Priory Park Druid, Chichester.

https://www.flickr.com/photos/anthonyjc/39482233930/

The statue was originally placed above a water supply in South Street in 1776. 

The Council had decided that a new conduit should be built in South Street at the north end of the fish shambles or market. A pedestal would be built there with a cornice designed by the Mayor and with a pump placed above a tank four feet across and ten feet deep.

James Spershott's record of Chichester events states that 'the new conduit was then built in the South Street and a stone image of one of the ancient druids set upon it and a large reservoir made under ground'.

No reason has been found for the early dismantling of the conduit in South Street about 20 years later.

 Possibly its long medieval pipework failed. The homeless statue was lodged in a passage leading to the Council Chamber where, back in civic control. A decision for its sale,arranged by the Mayor, was made in October 1800. its new owner was William Guy, the surgeon who lived in West Street. When he died in 1825, he and the figure were interred together in the family vault in Chichester Cathedral. The statue remained at the tomb entrance below ground for some 45 years. Around 1870 the statue was removed from the entrance of the vault. Its fate during the next three years is unclear, but the right arm needed repair. In 1873 the West Sussex Gazette noted that the druid had at last found a proper resting-place: it was presented to the Priory Park Society by Dr W A Guy of King's College, London, grandson of the surgeon.



In 2019, Chichester District Council commissioned Cliveden Conservation to restore and repair their druid. The conservators were responsible for repairing the two druids at National Trust properties.

 

The druid’s right arm was separated at the shoulder and broken in several places. The right hand, which grasps an oak stave, was in poor condition. There was also some surface damage, and past repairs and previous painting had been carried out with unsuitable materials.


Image below from 

https://chichesterlocalhistory.org.uk/wp-content/uploads/2024/06/No.26-2010.pdf
















Thursday, 6 August 2026

Pitt the Elder (1708 - 1778) - bust in Arificial stone at Harvard University.



The original by Joseph Wilton, (1722 - 1803)


Dr. Benjamin Franklin, Philadelphia, gift; to Harvard University, 1769.

The Harvard Corporation thanked Franklin in 1769 for sending from London this “fine bust” .

At the time, Franklin was stationed in London as an agent of the Pennsylvania Assembly. (While there, he leveraged his connections and expertise to help procure a wide range of scientific instruments for Harvard, and ultimately played a vital role in building the college’s apparatus collection.) This donation—the bust of a British politician who advocated for peaceful relations with the colonies—harbored an obvious political charge in pre-Revolutionary Boston. 

The Harvard Corporation acknowledged this significance in a note f 12769 thanking the statesman and scientist “for his very acceptable present of a fine bust of that great assertor of American liberties.”


            Sizes -  68 x 42 x 19 cm (26 3/4 x 16 9/16 x 7 1/2 in.)

socle: 10.8 × 20.3 × 20.3 cm (4 1/4 × 8 × 8 in.)

Incised inscription on the back, Wm. Pitt / Earl of Chatham.




The Wilton ceramic or artificial stone bust here uses the squatter later Roubiliac type socle. This form of Socle appears on several other Coade or Coade Type busts including those of Caracalla, Milton and John Wesley.

It has been suggested that the bust is of Coade Stone - if this is the case then it is one of the earliest documented pieces of Coade stone but given the date that it was sent to Harvard I think this is unlikely - the Coade business commenced at Narrow Wall, Lambeth in 1769 having taken over the business of Daniel Pincot.

I suggest that it was probably cast by Pincot - he is known to have produced other pieces lter manufactured by Coade including the Borghese Vase and the Druid.

The Harvard website states -

"The team noted that Wilton’s father was a successful architectural ornament manufacturer. Furthermore, when the Harvard bust’s dimensions are compared with an identical marble bust of Pitt in the collection of the Fitzwilliam Museum in Cambridge, England, Harvard’s bust is an average of 5 percent smaller. Because Coade stone’s reported shrinkage upon firing is also approximately 5 percent, Sigel posited that Harvard’s bust was probably formed in a mold made from the Fitzwilliam bust".

Alternatively I would suggest possibly cast from the terracotta or a plaster original.


 

"Materials such as crushed glass and quartz (sand) grains are also evident in the clay" .-

 This certainly suggests Coade but it is more likely to be a product of Daniel Pincot whose business was taken over by the Coades in 1769. George Davy is another candidate for this bust

Coades products have been subject to analysis and the mixture which was variable certainly included powdered glass.

 "Though the bust’s composition doesn’t fit perfectly with that of Coade stone, it does seem likely to have been a (now obscure) precursor"

 This statement is not entirely correct - the composition of Coade stone was variable but used the same basic materials.

It seems to have been widely known throughout the terracotta trade in the19th century. 

In 1850, ten years after the closure of the Coade factory, Charles Fowler noted the generally used formula for the manufacture of artificial stone:

 "white potter's clay forming about one-half; pulverised stone ware from one third to one-fifth; ditto glass, from one-fourth to one-ninth; and some add ed for finer purposes, for finer purposes, a small portion of Riegate sand and powdered flint about one tenth part of each"

 This quote from Charles Fowler - Some remarks on Terracotta and Artificial Stone as connected with Architecture

 

Civil Engineering and Architectural Journal - 1850 vol 13 p. 215/216











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Image of the bust below whilst undergoing the removal of the paint.

from -






























Page 25 from the Coade List of 1799.


No 47. A Bust of the late  Earl of Chatham - as  large as life.





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George Davy, Daniel Pincot (d.1797), Mr Smith and Mr Bridges of Knightsbridge.

These business were all subsumed by Messrs Coade of Lambeth.

George Davy, an artificial stone manufacturer, took over the premises in Goulston Square, Whitechapel, London, formerly occupied by Daniel Pincot, some time between February and October 1767, when he advertised ‘a large Quantity of Goods of near 100 different Subjects, such as Figures, Busts, Tablets, Friezes, Medalions, Vases, Capitals of Different Orders of various Sizes’ for sale at his warehouse at 18 Long Acre, near Covent Garden. 


He claimed that these goods were ‘more durable and higher finished than natural stone’ and, furthermore, undertook to sell them at the same price or cheaper than any equivalent work available in plaster or wood (Daily Ad, 23 October 1767). 


At the end of December 1767 there was a sale of artificial stone produced at Goulston Square over the last year, at Christie’s, perhaps including work by both Davy and Pincot. The catalogue survives in the Christie archive and shows that prices were considerably lower than those of comparable items listed in the catalogue of the Coade Factory of Lambeth, published in 1783.

In March 1768 Davy announced that a large quantity of his artificial stone had been sold by John Moreing at the Great Sale Room in Maiden Lane, Covent Garden, adding ‘if due Encouragement is given to this Undertaking, the Proprietor intends to continue the Manufactory’ (Daily Ad, 23/24 March 1768). Further sales at Moreing’s auction house and then at Blyth’s sale room in Dean Street, Soho were advertised throughout 1768 and in 1770. The public response appears to have been less than enthusiastic for Davy commented, ‘the Proprietor has reason to think that many Gentlemen entertain a less opinion of Artificial Stone by the Reports of some whose Interest it may be to deprecate it’ (Daily Ad, 27 May 1768).

Davy’s last known advertisements appeared in April 1771 (Daily Ad, 29 April 1771) and by July 1773 he was financially ruined. 

He wrote to his patron, the 2nd Marquess of Rockingham requesting payment for four medallions of Alexander and Hercules explaining that they ‘were made by your particular Order and at the Sale I bought them for your Lordship but am now so poor that I cannot clare [sic] the lots therefore let me intreat your Lordship to be so kind as to advance me the money or else the goods will be resold and all the charges attending it will fall on me’. He also informed him that if he had any further orders he should approach a ‘Mr Smith at Nightsbridge’?? who had bought all his moulds (Rockingham Vouchers, Sheffield City Library, No 1, microfilm A314).

The Kedleston medallions (55cms) of Alfred and Ethelred were produced by the Coade Manufactory of Lambeth, London. They are derived from moulds produced by 'Bridges of Knightsbridge', an artificial stone manufacturer whose stock-in-trade was auctioned by Christies on 26 May 1775. Lots 8 and 9 of that sale were a pair of medallions of Alfred and Ethelred. (info National Trust - https://www.nationaltrustcollections.org.uk/object/109000.1)


The National Portrait Gallery, London, Marble Bust of William Pitt, 1st Earl of Chatham.

by Joseph Wilton.

They say circa 1766 or after.

28 3/4 in. x 20 7/8 in. (730 mm x 530 mm) overall.




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The Goverment Art Collection Bust Pitt the Elder






The Fitzwilliam Bust of Pitt the Elder.




Another in plaster is believed to be at Saltram.

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Another Marble is in the National Gallery of Scotland

https://www.nationalgalleries.org/art-and-artists/2116/william-pitt-1st-earl-chatham-1708-1778-

statesman