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


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.



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 -



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.



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


Henry St John, 1st Viscount Bolingbroke (16 September 1678 – 12 December 1751).

Michael Rysbrack.

Petworth House.


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.


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.


I am including here two hi res images of portraits of Bolingbroke from Wikipedia


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.


Henry St John, 1st Viscount Bolingbroke (16 September 1678 – 12 December 1751).

Attrib. Charles Jervas.


For my post on the busts from the Temple of Friendship at Stowe see -


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.


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.

 Note : V and A say - Acquired by Gerald Kerin, London, a dealer, from Commander Roger Coke, Norfolk. Bayfield Hall.

 It is recorded as the home of Henry Joddrell, the sitter's third son, and it is presumed that the bust remained at Bayfield Hall until its sale to Kerin.

 Purchased by the Museum from Kerin in 1956 for £300, using funds from the bequest of Francis Reubell Bryan.


The Mellerstain Busts.

Hugh Hume Campbell (1708 - 94).

Thomas Adye active 1730 -53

The Bust  at Mellerstain House

Earl of Marchmont.


 Measurements H 80 x W 53 x D 24 cm.

 inscribed on socle: H HUME E : OF MARCHMOUNT.

Images courtesy Art uk website.


George Baillie (1664–1738), of Jerviswood.

Peter Scheemakers II (1691–1781) and Louis François Roubiliac (1695/1702–1762)??



Mellerstain House

Image courtesy art uk website.



George Hamilton Baillie.

Peter Scheemakers II (1691–1781).


Images courtesy Art uk website.



For an interesting article by David Wilson on a bust of Lord Macclesfield see -


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.


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. 


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.




                                The Peter Vanina Sales.


 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).

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.


 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]






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

from the Getty Provenance’s website –


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.


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 -



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.


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.


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/