Busts for Open Pediments -
The Builders Companion and Workman's General Assistant.
William Paine.
1769.
Page 48.
image from:
https://archive.org/details/gri_33125001061668/page/n3/mode/2up?view=theater
Wednesday, 15 December 2021
Tuesday, 30 November 2021
18th Century Lead Bust of a Gentleman - Sotheby's 1st Dec 2021
An 18th Century Lead Bust of a Gentleman -
"In the Dress of a Roman Noble of the Augustan Era"
Offered for sale Sotheby's, London 1st Dec 2021.
Unsold by 14th December 2021.
Here Attributed to Louis Francois Roubiliac.
Probably cast by John Cheere at Hyde Park Corner.
Illustrated for comparison here with some similar busts of the 1720's 30's and 40's, sculpted by Michael Rysbrack, Peter Scheemakers and Thomas Ad(e)y.
Post in preparation.
For some reason many of the anonymous unsigned busts particularly marbles are given to Henry Cheere (older brother of John Cheere ) but a quick analysis of the list of the busts given to Henry Cheere in the Dictionary of Sculptors reveals that none of the busts in this list can be confirmed as actually by Henry Cheere.
It has long been my belief that virtually none of the sculpture given to Cheere were sculpted by him but were accomplished by a team within his workshops - that although trained as a sculptor his real gifts were organisational.
If the list of the Freemasons lodge members of 1730 is to be believed, then it appears that Roubiliac was in England by 1730, but little if anything of his career is known before 1736.
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.
It has been suggested but with little or no concrete evidence that Roubiliac worked with Henry Cheere prior to taking his workshop in St Martins Lane.
I will make a tentative suggestion that this might be a bust of Henry St John, 1st Viscount Bolingbroke (16 September 1678 – 12 December 1751) after an original by Roubiliac.
Dangerous territory I know!!
Plaster Busts of Pope and the Bolingbroke were ordered by the Earl of Marchmont from Roubiliac in 1738 / 39.
Both of these busts have disappeared. So far no other version of the bust of Bolingbroke by Roubiliac has appeared.
The early date of 1738 of the Marchmont plaster bust of Pope suggests to me that it is not one based on the terracotta at the Barber Institute and the later Yale marble bust but an earlier version. I have posted previously at some length on the Roubiliac (and Rysbrack) busts of Pope.
This lead bust follows a similar convention to a number of busts particularly those sculpted for the Temple of Friendship at Stowe House, Buckinghamshire.
see - http://bathartandarchitecture.blogspot.com/2019/04/anonymous-bust-at-lady-lever-art.html
Bust of a Gentleman
Attributed to John Cheere (1709–1787)
English, 18th
century
lead, on a marble base
bust: 60cm., 23⅝in. 72cm., 28¼in. overall
Photographs here courtesy Sotheby's website see -
To my eye this is an excellent bust - I particularly like the detailing of the hair and the fringing on the dress.
The Roubiliac relief from the Battersea Church monument compared with the lead bust
Whilst certainly not conclusive an interesting exercise. The details of the ear have similarities.
The Mallams Photographs.
Mallams, Abingdon Saleroom, Lot 686, 19 July 2021.
Not great but they give a fair indication of the condition of the bust before cleaning.
Stephen Tennant in the garden at Wilsford Manor, Wiltshire.
Photographs courtesy Mallam's Website.
This bust was sold recently through Mallams, Abingdon Saleroom, Lot 686 19 July 2021, when it was suggested that it was described as -
"John Cheere, bust of Edward Harley, 2nd Earl of Oxford and Earl Mortimer, lead, mounted on a marble plinth,
50 wide x 23.5 deep x 70cm high overall
Provenance: Formerly the property of the Hon. Stephen Tennant
Purchased from The Heim Gallery, London who had acquired it from Tennant estate
https://www.mallams.co.uk/sales/abingdon/mm190721/view-lot/686/
It has been given a gentle clean and has lost its description as Edward Harley - not surprising given its lack of resemblance to known portraits of Harley.
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To my eye this is an excellent bust - I particularly like the detailing of the hair and the fringing on the dress which has been incised and punched.
The suggestion that it was from the workshop of John Cheere seems safe and suggests to me a date of around 1738/40
The style is similar to those busts of the "Augustan Oligarchy" as described in an excellent article The British Augustan oligarchy in portraiture: Michael Rysbrack and his bust of the Earl of Orkney by David Wilson published The British Art Journal, Vol. 11, No. 2 (2010/11), pp. 43-61 which discusses the subject in some detail referring to the busts of Robert Walpole 1st Earl of Orford by Michael Rysbrack, Charles Spenser Earl of Sunderland by Michael Rysbrack, Daniel Finch 2nd Earl of Nottingham by Michael Rysbrack, Sir Richard Temple Ist Viscount Cobham by Peter Scheemakers, George Hamilton 1st Earl of Orkney by Michael Rysbrack
I have posted at some length on 18th century lead portrait busts eg:
For lead busts of Inigo Jones and Palladio after Rysbrack, Isaac Newton, Seneca, The Duke of Cumberland dated 1746 with a very similar marble socle to the bust illustrated above, and a bust of Alexander Pope
see - http://bathartandarchitecture.blogspot.com/2014/01/some-more-eighteenth-century-busts.html
For a lead bust of John Locke at the Bodleian Library see
- http://bathartandarchitecture.blogspot.com/2018/02/a-lead-bust-of-john-locke-in-bodleian.html
For a lead bust of Matthew Prior by John Cheere see -
http://bathartandarchitecture.blogspot.com/2018/01/lead-bust-of-matthew-prior-by-john.html
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A bust of Bolingbroke is reported along with a bust of Alexander Pope in inventory of Lord Marchmonts of c.1738
Henry St John, 1st Viscount Bolingbroke (16 September 1678 –
12 December 1751).
Detail of the monument by Roubiliac put up in Battersea Church in 1753.
____________________
Bolingbroke.
Plaster Relief
Size 6.7 cms max.
Dated 1889
Cast from a medallion dated 1740 in possession of W.G.
Patterson 1889.
Image and info from the NPG Scotland.
____________________________
Henry St John, 1st Viscount Bolingbroke.
(16 September 1678 – 12 December 1751).
Lydirad Tregoze House, Swindon.
Inscribed on the bracket support - aged 59 - 1737.
Michael Rysbrack.
Images here courtesy Art uk website.
Dallaway, in a note to his edition of Walpole’s Anecdotes (1828), mentions that when the furniture of Lydiard House was on a previous occasion dispersed by auction, the bust was hidden by this faithful servant in a vault under the church until it could safely be restored to light. The bust also survived the sale in 1843 as did the plaster busts by Cheere in the hall
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Henry St John, 1st Viscount Bolingbroke (16 September 1678 – 12 December 1751).
Michael Rysbrack.
Petworth House.
Marble.
Note the close cropped hair.
Images courtesy National Trust.
The usual poor quality National Trust images. Why are they so mean spirited??
________
Marble bust by J. M. Rysbrack all’antica. Petworth, probably given by the sitter to his close friend Sir William Wyndham.
A replica? is at Lydiard Tregoze House dated 1737 (illus. M. I. Webb, Michael Rysbrack, 1954, p 178), exhibited Michael Rysbrack, Bristol, 1982, no.50.
A plaster at Cirencester (M. I. Webb, Country Life, CXIX, 1956, pp 1131-32). See G. Vertue, Notebooks, Wal. Soc., XXII, 1934, p 56; J. Kenworthy-Browne in National Trust Studies 1980, p 71.
Info above from NPG website.
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Detail of the above.
indistinctly dated 1804/6.
Included here as it shows the relief without the closely cropped hair as in the Rysbrack busts.
Frontispiece from an unknown (as yet) publication.
Measurements:17.78 x 10.79 cm
Image and info from the NPG Scotland.
Whilst I am on the subject thank you very much NPG Scotland for supplying the Hi Res images a lesson that the NPG London could learn from.
If I am looking for an portrait engraving, mettzotint etc this is always my first port of call.
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I am including here two hi res images of portraits of Bolingbroke from Wikipedia
https://en.wikipedia.org/wiki/Henry_St_John,_1st_Viscount_Bolingbroke
It will be interesting to see if they disappear.
For an excellent article on copyright law and galleries see -
Henry St John, 1st Viscount Bolingbroke (16 September 1678 –
12 December 1751).
Jonathan Richardson.
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Henry St John, 1st Viscount Bolingbroke (16 September 1678 –
12 December 1751).
Attrib. Charles Jervas.
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For my post on the busts from the Temple of Friendship at Stowe see -
http://bathartandarchitecture.blogspot.com/2015/07/frederick-louis-of-wales-1707-51.html
Anonymous bust.
Lady Lever Art Gallery.
Suggested as Mr Richard Grenville Temple, later Earl Temple (1711 - 79).
by Peter Scheemakers.
The model for this bust was sold Lot 25 at the Scheemaker
sale 6 June 1775, along with the model of the missing bust of Bathurst.
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Robert Walpole, 1st Earl of Orford.
by John Michael Rysbrack.
Terracotta bust, 1738.
30 3/8 in. x 21 1/4 in. (770 mm x 540 mm) overall.
Purchased, 1926.
Photograph © National Portrait Gallery, London.
Image and text below courtesy National Portrait Gallery.
They say -
Robert Walpole, 1st Earl of Orford (1676-1745).
Sir Robert Walpole. Whig statesman; born at Houghton,
educated at Eton and King's College, Cambridge; MP, 1701-42; secretary at war,
1708-10; treasurer of the navy, 1710-11; expelled after the Whig downfall,
1712, from the House of Commons and committed to the Tower on spurious charges;
with the party's return to power, became prime minister and chancellor of the
exchequer, 1715-17 and 1721-42; KB,1725, the first commoner so honoured since
1660; KG, 1726; following the death of Queen Caroline, 1737, his policies and
person increasingly attacked; in 1739 reluctantly agreed to hostilities with
Spain; defeated in the House of Commons, resigned all his employments and
created Earl of Orford, 1742; rebuilt Houghton. Married (1) in 1700, Catherine
Shorter, daughter of a wealthy timber merchant, and (2) Maria, daughter of
Thomas Skerrett, 1738.
2126 By John Michael Rysbrack, 1738.
Terracotta bust, 26 in. (660 mm) high, including base; thick
eyebrows, pupils incised, protruding lower lip, double chin, own hair, short,
in the Roman manner; tunic, Garter star in folds of drapery held on his right
shoulder by a large brooch.
Incised and dated on the back: Mich: Rysbrack / 1738.
A bust by Rysbrack 'modeld from the life . . . a large head, broad face' with Garter and Star was noted by Vertue in 1726 [1] and the arrival of a marble, still in its original place over the chimney piece at Houghton, [2] was reported in the Norfolk Gazette of 19-24 December 1730: 'a few Days since a curious Busto of the Rt Hon. Sir Robert Walpole, done by Mr. Risbach, the famous Sculptor, was sent to Sir Robert's Seat at Houghton . . .'. [3] A retrospective list of ‘Models seen when done [of] many Nobleman Ladies & Learned men & others', recorded by Vertue in 1732, included 'Sr. Robt Walpole—Marble’ [4] and under the heading ‘Memorial 1738/9 of Persons Arts and living Artists' is 'a portrait Bust Model of Sr. Robert Walpole. done by Mr Rysbrake very much like him and approovd of—'. [5]
Since he refers to the Garter and since the marble at
Houghton also has it, what Vertue saw in 1726 is presumably the prototype. [6]
It might be thought that the use of the word 'Model' in 1738/9 implies a second
sitting, but this is not necessarily so, as NPG 2126, dated that year, is
identical with the Houghton marble. Indeed, it might even be the clay model of
1726 subsequently fired and dated, or a replica.
‘A Medal of Sr. Rob' Walpole profil . . . by L. Natter',
mentioned by Vertue in 1741, derives from the Rysbrack bust; the reverse shows
'the statue of Marc Tullius Cicero—standing in the habit of Senator. or Orator
. . .'. [7] Another has ‘Britannia trampling upon Envy'. [8] Rysbrack designed,
or possibly made, other medals and medallions of Sir Robert and Lady Walpole,
for his sale catalogue, Langford's, 24-25 January 1766, lists under models in
terracotta: 'Two [Medals] of the late Right Hon. Sir Robert Walpole, Earl of
Orford, and his Lady',lot 14; both are now missing. [9] A grisaille profile
ascribed to J. de Wit, perhaps taken from the Rysbrack, was at Sotheby's, 1
November 1961, lot 10.
Condition: a small circular hole (vent?) in the crown of the
head; a crack in the back of his left shoulder and firing cracks; some repairs
carried out, 1926; contemporary plaster infilling, the whole painted near
terracotta colour as was the sculptor's custom. In a letter to Sir Edward
Littleton, 6 May 1758, he explains: ‘Small Cracks unavoidably Caused by the
Burning, which Are obliged to be stopped with Plaster of Paris; which the paint
Strengthens and Makes the whole of one Colour', . . [the] Gloss . . . will Go
off in time'. [10]
Collections: bought, 1926, from H.W. Radford of Hounslow;
found by him (and identified by Mrs Esdaile) in the library of Norwood House,
Middlesex, which had been empty for thirty years before being pulled down
c.1926;earlier history not known.
___________________
Possibly Paul Joddrell of c.1740.
A marble bust attributed to Ady(e).
Joddrell was Solicitor General to Frederick, Prince of
Wales.
Victoria and Albert Museum.
Photograph by the author
The Style of the socle is peculiar to Ady(e).
Another bust that appears to have suffered from overzealous
restoration and re polishing.
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The Mellerstain Busts.
Hugh Hume Campbell (1708 - 94).
Thomas Adye active 1730 -53
The Bust at Mellerstain House
Earl of Marchmont.
1741.
Images courtesy Art uk website.
_______________________________
George Baillie (1664–1738), of Jerviswood.
Peter Scheemakers II (1691–1781) and Louis François
Roubiliac (1695/1702–1762)??
Plaster.
c.1740's
Mellerstain House
Image courtesy art uk website.
_______________________
George Hamilton Baillie.
Peter Scheemakers II (1691–1781).
Plaster.
Images courtesy Art uk website.
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For an interesting article by David Wilson on a bust of Lord Macclesfield see -
https://georgiangroup.org.uk/wp-content/uploads/2020/10/GGJ_2009_02_WILSON.pdf
Charles Spencer d.1722.
Third Earl of Sunderland.
Michael Rysbrack.
Marble dated 1722 (check this!).
The date makes this one of the earliest busts by Rysbrack after his arrival in England
Blenheim. Oxfordshire
Image lifted from the Georgian Group Journal.
available online.
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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.
_________________
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
____________________
Public Advertiser 27 March 1770.
_____________________
Gazeteer and New Daily Advertiser 17 March 1772.
__________________
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.
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).
For the 1777 stock list of Charles Harris formerly partner of Richard Parker see - http://english18thcenturyportraitsculpture.blogspot.com/2016/01/charles-harris-catalogue.html
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 – the details of lots 48 to 69 are missing.
This will probably change as more information appears.
First List
transcribed from the Getty Provenances website.
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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The 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 27 Ditto [One] of Saint Andrew
Lot 28 Ditto [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],
________________
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]
__________________
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',
__________________
The Statuettes of William Shakespeare and Peter Vanina
These statuettes are inscribed PV on the back of the pedestal.
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 pirated would be a better 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,
___________
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.
__________________
William Shakespeare.
Height 18".
Previously with Bath and Bradford on Avon dealer Andrew Dando.
Incised PV.
__________________________________
The Winterthur Shakespeare.
Probably Wood and Caldwell.
Winterthur.
Incised mark PV.
No size given -
The green finish is very similar to the pair of statuettes formerly with Stockspring Antiques.
see my previous post -
http://bathartandarchitecture.blogspot.com/2021/04/terracotta-statuettes-of-duquesnoy-and.html
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William Shakespeare.
Plaster Statuette.
Very fine, First Generation Plaster statuette 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.
Shakespeare.
Plaster statuette.
Height - about 18",
at Arniston House, Scotland.
For more photographs and details see my post on the statuettes and busts in the upper library at Arniston.
- http://bathartandarchitecture.blogspot.com/2016/01/
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