The Coade List of 1799.

 This post is to act as an aide memoire and give mre easy access to the list.

I will add comments as I proceed with my Coade posts.

Page 25.

47. Bust of the Earl of Chatham William Pitt the Elder.

Page 27.

62. A bust of Sarah Siddons - no examples are known

64. A bust of  Richard Meade - presumably after Roubiliac- Terracotta in the BM Marble at the Royal College of Physicians - disappeared.

Page 33.

98. Bust of  John Wesley - evidently the subscription was successful and several have survived.

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Page 34.

110. Bust of Pope - presumably after Roubiliac - as yet no example has appeared.

113. Statue of Paul Rubens - presumably after the originals by Rysbrack

114 Statue of van Dyke - Ditto.

The Coade Dying Gladiator and the Coade Catalogues of 1784

 

This post created for Caroline Stanford.

 No. 17 in the Coade Catalogue Pomona amended in ink to Dying Gladiator. 30gns.

Although no size is given the price suggests a substantial figure.

There are two artificial stone Dying Gladiators/Gauls survive one at Wentworth Woodhouse (by George Davy) and another at Castle Howard.

This page below is from the Bibliotheque Nationale copy of the Coade Catalogue of 1784.

which has several amendments written in ink.

The entry here has been amended from no. 17 Pomona to the Dying Gladiator.

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

Inscribed on the Title Page - John Tasker' Book, Baker St, Portman Sq. 

8 Baker St. Tasker died April 1816.

John Tasker was living at Mortimer Street, Cavendish Square at the time of his marriage in 1789.

He was born in London in 1738. He later worked on Mortimer Street, Cavendish Square, where he housed his own practice. 

He worked on Capeaton Hall - https://georgiangroup.org.uk/wp-content/uploads/2020/10/GGJ_2014_11_Pears.pdf

Picture Gallery at Oxburgh Hall.

Tasker was much employed by Thomas Weld of Lulworth Castle, Dorset. There Tasker was responsible for redecorating the interior (1780-2) and building a domed Roman Catholic chapel. In 1811, Tasker created the Greek revival facade of Spetchley Park, Worcestershire, as well as repairing 17 Portman Square.

 He was the architect who designed and built a number of properties in the Portman Square area from 1792

John Tasker, who designed and built several houses in St. Marylebone and was a regular exhibitor at the Royal Academy.

https://www.british-history.ac.uk/survey-london/vol37/pp58-76

"While the terraces which were being erected on the southern part of the (Phillimore ) estate were still uncompleted, a different kind of building enterprise was begun in the north. In 1808 John Tasker of St. Marylebone, an architect and buider, and Thomas Winter of St. Jame's, a tailor, entered into an agreement with William Phillimore to build on nineteen and a half acres of farmland between the northern boundary of the estate and a footpath which led from the town of Kensington to Holland House (now Duchess of Bedford's Walk)".

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

The Yale version of the Coade Catalogue has the engravings but does not includes the Price List (and sizes).

https://collections.britishart.yale.edu/catalog/alma:9932847843408651

I have not yet had sight of the Catalogues at the Soane Museum.

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

The unamended Catalogue in the National Arts Library. V and A Museum.

This Catalogue does not include any images of the Engravings.

as digitalised by Google Books.

https://archive.org/details/DescriptiveCatalogueOfCoadesArtificialStoneManufactory./page/n1/mode/2up

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

Extract from The Coade Catalogue in a Private Collection.

Here the Catalogue entry for no 17 has been amended from Pomona to Dying Gladiator 30gns

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

The Guildhall Library Catalogues -

Their refs. - A 3.5 NO 1  5485898554

SL 68:5  548589866X 

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

The Soane Museum Coade Catalogues - no illustrations available online.

https://collections.soane.org/b9139

https://collections.soane.org/b4445

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

The Royal Academy Coade Catalogue - no illustrations as yet available on line.

The title-plate verso of the set of plates with which this Descriptive Catalogue is bound carries the bookplate of John Yenn, and its title plate is inscribed in pencil, 'John Yenn RA'.

Yenn was born on 8 March 1750. He was a student at the Royal Academy from September 1769. He was elected an associate of the academy in 1774 and a full academician in 1791. He served as treasurer of the academy from 1796 to 1820.

 

He was a pupil of Sir William Chambers. In the late 1770s he succeeded Chambers as the Duke of Marlborough's architect at Blenheim Palace, where his works included, in 1789, the design of the small Corinthian "Temple of Health", built to celebrate the recovery of George III from illness.[3] Nearby, in 1783, he built a new aisle at Woodstock church. Chambers provided him with a number of other important positions: in 1780 he became the Clerk of the Works at Richmond Park, and he later held the same position at Kensington Palace, Buckingham House and at the Royal Mews.

Copy Note -

The text is annotated in ink, usually indicating alterations to the descriptions of the items or their prices. The last note reads, 'Since the publication of this Catalogue above 200 articles have been added to the Manufactory and are continually increasing from New Designs

https://www.royalacademy.org.uk/art-artists/book/a-descriptive-catalogue-of-coades-artificial-stone-manufactory-at-kings

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

George Davy and the Dying Gladiator / Gaul.

ino here from - https://gunnis.henry-moore.org/henrymoore/sculptor/browserecord.php?-action=browse&-recid=739

1768-1773.Tablets and medallions, some with reliefs of dancing nymphs -  untraced.

1771.  The dying gladiator  (Wentworth Woodhouse - info Caroline Stanford).

1768-1773. Grecian Venus Statue, untraced.                         

1768-1773Several busts from the antique, including Antoninus Pius untraced.                             

1768-1773 Druid   Statue               untraced

1768-1773Charity children   Architectural Sculpture                                      untraced

1773    Alexander and Hercules, four medallions   Architectural Sculpture                       untraced

1773 ‘4 pieces of Cornis’, patterae with lions heads, medallions with the head of the Duke of Northumberland. untraced.

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 (6), 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). In October 1773 Davy wrote a yet more desperate letter to the Duke of Northumberland asking him to settle a bill for £14 8s for various pieces of artificial stone (5),‘for I must Actually go to Prison in a City Action if I can’t raise fifteen pounds by the 15th or 16th of this month’ (Davy/Northumberland).

Rockingham bought reliefs, busts and statues after the antique from Davy, as well as a statue of a druid (2) and charity children (7), both subjects later produced by the Coade Factory. Some of Davy’s moulds may still have been in use at Lambeth more than 50 years later, for it seems likely that ‘Mr Smith at Nightsbridge’ was a predecessor or partner of Bridges of Knightsbridge whose factory was bought by Mrs Coade in 1775. 

This suggestion of a direct connection between Davy, Bridges and Coade is supported by the production of large-scale statues of druids by all three businesses (see Bridges, of Knightsbridge, 1 and Coade Factory, of Lambeth, 207).

EH

Literary References: Valpy 1986, 210-5, 220-1; Coade 1990, 33; Penny 1990, 879

Archival References: Rockingham Vouchers; Davy/Northumberland

Auction References: Pincot and Davy 1767; Davy 1768 (1); Davy 1768 (2); Davy 1768 (3); Davy 1768 (4); Davy 1770

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

George Davy at Wentworth Woodehouse.

https://www.landmarktrust.org.uk/explore-landmark/craft-restoration/the-south-tower-plaques/

Lady Mary 2nd Marchioness commissioned architect John Carr of York to manage the works on her private space in the Belvedere - the South Tower. A white and yellow marble chimneypiece, for example, enquiring of Carr the architect for the dimensions of the chimney breast to see if it would fit. A few years earlier, the Rockinghams had acquired sets of plaster wall plaques that she also commandeered for the walls, and that still survive in situ.

Surviving Steward’s Accounts indicate that the Rockinghams bought plaques from the sculptor Joseph Wilton (who supplied plaster casts as well as original pieces) and from the artificial stone manufacturer, George Davy. Davy supplied the four large lion rosettes and smaller, female faces that still dot the walls of the upper chamber in 1773.

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

"The Dying Gaul was first recorded in a 1623 inventory of the collections of the Ludovisi family. The 16th-century Ludovisi inventories do not mention the so-called Ludovisi barbarians, thus it is likely that the Ludovisi acquired them early in the 17th century, during excavations for the building of the Villa Ludovisi commissioned by Cardinal Ludovico Ludovisi on the site of the Roman Gardens of Sallust (Latin: Horti Sallustiani)" .

"In 1670, Giambattista Ludovisi considered selling the Dying Gladiator (Gladiatore morente), as it was known then, valuing it at 70,000 scudi, almost twice as much as the value of any other single figure in his collection. The sculpture was displayed in the Palazzo Grande of the Villa Ludovisi until it was seized in about 1688–1689 by Livio Odescalchi, the Duke of Bracciano, as payment of a debt, returned, and again seized by Odescalchi in 1695. It was finally returned to the last surviving Ludovisi, Ippolita Boncompagni, in 1715 or 1716".

"In the early 1730s Pope Clement XII (ruled 1730–1740) gave large sums of money to the Marquis Capponi to acquire ancient Roman sculpture and other antiquities, thereby establishing the Capitoline Museum. Capponi, its first director, soon began adding more objects to its collections. Upon the death of Ippolita Ludovisi in December 1733, he began negotiations with the legal representative of her heirs, Cardinal Troiano Acquaviva, for the acquisition of the Dying Gladiator. The sculptor Agostino Cornacchini set the starting price at 12,000 scudi, but this amount was subsequently reduced to 6,000 scudi"

Wikipaedia - https://en.wikipedia.org/wiki/Dying_Gaul

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

Scheemakers made a copy of  the Gladiator in Portland Stone in 1743 for the garden Rousham

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

Simon Vierpyl

Vierpyl, by working very hard, had reduc’d his block, into something of a human shape’ and on 20 September Howard heard from another source that the marble of the statues was flawless and ‘ye workmanship wont be disagreeable’. They were not completed until October 1753. When Russel wrote confirming their dispatch on 25 December he added ‘your statues have been extremely admired and prais'd by Gentlemen and Connoisseurs, from whence no small advantage has accru’d to Mr Vierpyle [who has] since had commissions to do the fighting & the dying Gladiator, the former for Lord Charlemont, and the latter for Lord Pembroke (Wilton House), as likewise several busts for Lord Bolingbroke & other Gentlemen’. 

Henceforth Vierpyl’s activities were largely confined to making copies from antiquities in the Capitoline Museum and the French Academy in Rome, where he gained access thanks to the powerful influence of Cardinal Albani.

 The First Engraving

 appears in François Perrier's 1638 folio of engravings of Rome's "finest sculptures", marking the first of innumerable times it has been reproduced.

The Coade Artificial Stone Group of Polyphemus and Acis and Galatea.

 The Coade Stone Polyphemus Group from the Grotto by the Lake at Fonthill.

a work in progress.

Originally displayed with a group of Acis and Galatea in 1799 at the Coade Gallery at the Manufactory in Narrow Wall, Lambeth. It appears to have been moved to the Coade Gallery at Westminster Bridge Road after 1801 and later in about 1727 moved to the Coade / Croggan Gallery in the New Road (Euston Road).

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

The Grottos at Fonthill.

Fonthill Grottoes is a 0.69 hectare biological Site of Special Scientific Interest, in woodland adjacent to Fonthill Lake in Wiltshire, notified in 1994. Its SSSI designation is due to its roosting bats: the site is the sixth largest hibernaculum in Britain.

The site consists of three subterranean grotto follies, constructed in the 18th century, split between two areas, one on the western side of the lake, at grid reference ST933316 and one on the eastern side at grid reference ST937315.

It has been assumed that the grottos were constructed circa 1790, perhaps by Josiah Lane of Tisbury, for William Beckford, but Caroline Dakers has found evidence that much of the construction was initiated by his father Alderman Beckford (d.1770).

Quotes below from Dakers - Fonthill recovered -

"Alderman Beckford’s contribution to Fonthill can now be established on firmer foundations, and works often attributed to his son returned to him with certitude. His Hermitage and subterraneous tunnel probably represent Joseph Lane’s first commission, one that would evolve into the creation – with his son, Josiah – of the highly elaborate and wondrous grottoes that still delight us today. The Alderman’s making of the ‘serpentine river’, his extensive planting, and the addition of various ornamental features also defined the eighteenth-century Fonthill Park".

The first description, made by Edward Knight junior (d. 1812), the eldest son of a leading Midlands ironmaster, dates to 3 or 4 July 1761:

 

"Fonthill – Beckford’s Rustic Gateway — New-House 140 by 650 __Coll.de 10 pairs of P.s join the house & offices. —— Ionic Port. 4 P.s 16 In Diamr__Int.n 4..6–5..9 –4..6 behind a room 14 by 28 – View of the Water, Bridge &c. Shrubry ab 3 Miles round — Subterraneous passage – Umbrella Seat – Rockwork — Church –— Doric Rottond 8 P.s 22 In. D.r Interc.n 5..3_3 mutules – view to the House, water, lawn &c __Boat_House & Rockwork".

Knight here describes the grounds to the west of the river (see 1880's OS Maps below), making an anticlockwise circuit: subterraneous clearly indicates a passage going below ground, rather than an arched passageway above; the ‘Umbrella Seat’ must have been nearby, perhaps on top of the rockwork that would correspond to the Hermitage.

The second description, written in the summer of 1766, possibly comes from the architect James Essex:

 

"M.r Beckford’s House was not finish’d, but appeared to be intended as magnificent as most in England … The Bed Chambers particularly grand. … You ascend a Flight of steps to the House, which bring you under an Ionic Colonnade – the Offices are united with the House by a Piazza of the Doric Order. __

 The Chimney Pieces in the the [sic] Work of Moore of London, cost 400£ each – Caryatides support the entablature.

 There are two very fine Rooms, one intended for Music, in which there is an Alcove for the Organ, the other for a Picture Gallery. … The Garden are [sic] pretty – there is a subterraneous Grot winding 30 yards. ___ The Hermitage adorn’d with Shells and Spars, is well imagined.

The lower grotto on the edge of the lake with a low entrance partly under water and several higher entrances from the bank; rocky structure with niches at different levels and tunnels between the entrances to large central chamber with former cascade to rear. 

A second group of grottoes higher up the bank have several entrances at different levels to rocky tunnels and central chamber with ovoid ashlar-lined bowl, probably originally to hold a reservoir to supply the cascade of the lower grotto. Josiah Lane of Tisbury was an important builder of grottoes for country estates in Wiltshire, also see the grotto at Wardour and at Stourhead.

 The three follies are named "The Dark Walks", "The Hermitage" and "The Quarry".

One of the best descriptions of Beckford’s early achievements comes in 1791 from a Dutch visitor, Baron Johan Frederik Willem van Spaen van Biljoen:

 

"The parkland matches the house both in beauty and elegance – nowhere have we seen finer lawns so well maintained and of such large expanse stretching over the hillsides, with the valley occupied by a large river which flows over a fine waterfall of some 25 to 30 ft; there are several grottoes cut in the living rock; to achieve this effect, very tasteful use has been made of the quarries which furnished the building materials for the house; the entrance to these grottoes is masked with creepers. There are also some artificial grottoes, a particularly fine one with a cold bath [Figure 14.9] and another where the water seeping from the top was forming stalactites. Men were occupied in levelling the irregularities of a hill so that the slope was swarming with a quantity of workmen, who, taken together with a flock of some 200 or 300 sheep, greatly animated a landscape already very picturesque in itself".

Redding, Memoirs of William Beckford at Fonthill vol. II, 97.g 1859 wrote that ‘the east bank was ornamented with rocks, caverns, baths, and grottoes in the taste of the earlier part of the century

see -

I have quoted liberally here from the excellent Fonthill Recovered...edited by Caroline Dakers pub. 2018 - available on line at - https://discovery.ucl.ac.uk/id/eprint/10048421/1/Fonthill-Recovered.pdf

Chaper 14 - page 247 The landscape at Fonthill - An assessment of the grottoes and their builders by Michael Cousins

or individual chapters at -

https://www.ucldigitalpress.co.uk/Book/Article/68/92/5083/

https://ucldigitalpress.co.uk/Book/Article/68/92/5126/

https://ucldigitalpress.co.uk/Book/Article/68/92/5130/

The landscape at Fonthill

An assessment of the grottoes and their builders

Michael Cousins

For a brief video of the Hermitage see -

https://www.youtube.com/watch?v=Mt-DGxqe0i0

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

Polyphemus.

https://ucldigitalpress.co.uk/Book/Article/68/92/5083/

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

The Knees of Polyphemus are shown in the Water colour drawing by Charles Tompkins (1757 - 1823). 

Signed and dated 1801.

British Museum.

https://www.britishmuseum.org/collection/object/P_G-1-234

The Fonthill Polyphemus Left Leg.

35 in. (89 cm.) high; 26 in. (66 cm.) deep.

Christie's say modelled by Stephen Pettifer but it appears to me to be the original leg!

https://www.christies.com/en/lot/lot-5694138?ldp_breadcrumb=back

sold at The Dunsborough Park sale.

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

The Water colour drawing of the Coade Manufactory by Charles Tompkins.

Signed and dated 1801.

This drawing appears to show the legs of the statue of Polyphemus (illustrated below) which was later set up in the Westminster Bridge showroom before being sold to the Fonthill Estate in the sale of 1843.

Note the statue of Polyphemus which was retrieved from the Fonthill estate along with the much smaller group of Acis and Galatea by John Robbins when he was working for Talisman Antiques of Gillingham, 

It is a great shame that thes pieces were split up - at the time Talisman were unaware of the relationship of the two groups of Acis and Galatea and Polyphemus and I didn't make the connection until later when the small group had been sold - where is it now?.

See the photographs and notes on the Poyphemus.

The watercolour also shows a pair of felines on rusticated plinths and a pair of Herm / Term type busts and a very large pair of female figures.

British Museum.

https://www.britishmuseum.org/collection/object/P_G-1-234

see - Fonthill Recovered... Professor Caroline Dakers pub. UCL 2018 available on line -

https://www.ucldigitalpress.co.uk/Book/Article/68/92/5083/

It appears in the 1799 catalogue where it was to form the ‘coup de theatre’ at the new Coade Gallery by Westminster Bridge Road, Lambeth with a fulsome description in the visitor’s guidebook of 1799 - but if the signed and dated watercolour by Tompkins is to be believed it was still in the Narrow Walls premises in 1801.

 

"this stupendous design is conceived at the moment when Polyphemus discovers, from the summit of the rock, the nymph Galatea with his rival Acis, upon whom, in his fury, he hurls a fragment of stone, and kills him. This work occupies a space of 20 feet in height by 12 ft in width, the Polyphemus is a statue of 10 ft. 6 ins, a cave is formed in the rock, at the entrance of it lays the Acis and Galatea, much larger than life".

The figure was perhaps designed by John de Vaere (d. 1830) possibly? in circa 1798 - 99 when de Vaere was active with the Coade manufactory. It was not mentioned in the Coade catalogues of 1784. In 1799 John Bacon died, he had been the chief designer and supervisor of the firm from 1771 and a close associate until his death. 

Bacon was  replaced by de Vaere who is cited in the new guidebook, '[de Vaere] is now constantly engaged at the Manufactory in its various branches of statuary &tc.’ (Coade’s Gallery, 1799) 

In 1787 de Vaere had been employed by Josiah Wedgwood to make models from the Antique under the supervision of the sculptor, John Flaxman, R.A. (d. 1826), an experience which would have ably equipped him for the role at Coade.

Extract from the Somerset House Gazette 1824.

The reference to Acis and Galatea and Polyphemus.

These statues were sold to JB Papworth for James Morrison and erected at the Fonthill Estate in Wiltshire after 1843.

Acquired from the Rushworth & Jarvis auction of the stock of the Coade Artifcial Stone Manufactory, Lambeth on 23 July 1843, by architect J.B. Papworth, (d. 1847) on behalf of James Morrison (d. 1859), for 16 guineas and subsequently removed to The Pavillion, Fonthill Estate, Wiltshire, and thence by descent from James Morrison to his great, great, great grandson.

Alastair Morrison, 3rd Baron Margadale, from whom along with a small group of Acis and Galatea acquired by Talisman Antiques of Gillingham.

In their wisdom the smaller group of Acis and Galatea were sold separately!  When I learn't of its existance I contacted Talisman with the history of the figures somehow my input was never recognised - but I'm not bitter!

It is possible that the missing vandalised fragments are still in the lake at Fonthill - the head of Poyphemus would be a fantastic discovery.

https://www.christies.com/en/lot/lot-5838449

"On 20 July 1843, J.B. Papworth, architect and designer to James Morrison ('the richest commoner in England’), advised him of several lots in a sale of the stock of the Coade Artifical Stone Manufactory that was to begin the following day, 21 July 1843, by Rushworth & Jarvis, and of the suitability of ' Polyphemus Acis and Galatea’ for the Pavilion at Fonthill, Morrison’s preferred summer retreat.

'At Coade’s in the Belvedere Road there are works that would suit your objects – some for indoor and some out. ... The Polyphemus Acis and Galatea in the third days sale – this will probably be sold for a small sum – for its taking down removing & repair will be a considerable draw back to biddings for it – The Giant would certainly perform well over the covered way at the Landing, Fonthill & the Acis & Galataea [sic] in the Cavern of the Rookery".

Quote below from Christies Catalogue entry -

 -The cluster of grottos located around the serpentine lake or 'river’ in the grounds of the Pavilion had been commissioned by Alderman Beckford in circa 1749; the grottos had excited the imagination and works of his son, William, but by Morrison’s tenure were virtually in ruins (T. Mowl, 'Inside Beckford’s Landscape of the Mind’, Country Life, 7 February 2002, p. 60). 

Papworth created a grand landing stage on the east side of the lake that led to the first of three grottos, which is presumably the landing refered to by Papworth in his letter to Morrison of 20 July 1843. Interestingly, the architectural historian, Timothy Mowl, describes what may be the present figure, and another figure, probably Galatea, on a visit he made to the grottos in the late 20th century, 'Relics of some abandoned garden project by the Alderman, half-finished stone statues, a naked god and a broken nymph they lie there in the dark’ (op. cit., p. 62).

Catalogue of the surplus and splendid collection of sculpture, in Coade's imperishable stone, comprising a magnificent colossal group of Polypheme with Acis & Galatea, Apollo Belvidere, Gladiators, Venus, ... and a great variety of other works; also about thirty excellent marble chimney pieces, ... which will be sold by auction, by Mr. W.R. Croggon, on the premises, Palace Row, New Road, opposite to Tottenham Court Road, on Wednesday, July 30, 1834, and following day, at twelve o'clock, by order of the proprietors, who, in consequence of the above premises being disposed of, are removing to their Manufactory Belvidere Road. Lambeth.

The closest I can find for the original source for the design of this group is the engraving of the painting by Pompeo Batoni of 1761.

and the subsequent engraving.

National Museum of Stockholm.

Sold 23 May 1780, Lot 43 by AJ Paillet and subsequently in 1868 Druot

The engraving below shows that the original by Batoni was with Jacques-Laure Le Tonnelier (1723–1785), Bailli de Breteuil, who was the Knights of Malta’s ambassador to the Holy See in Rome from 1758 and, subsequently, to the French court from 1778. 

It is conceivable that the original composition came from the original painting by Pompeo Batoni. The closest I can find to a source for the design of this group is the painting by Pompeo Batoni of 1761.and the subsequent engraving.

National Museum of Stockholm.

Sold 23 May 1780, Lot 43 by AJ Paillet and subsequently in 1868 Druot in Paris.

The engraving below shows that the original by Batoni was with Jacques-Laure Le Tonnelier (1723–1785), Bailli de Breteuil, who was the Knights of Malta’s ambassador to the Holy See in Rome from 1758 and, subsequently, to the French court from 1778. 

A  Preparatory Drawing? is in Museu Nacional del Belas Artes. Rio de Janiero, Brazil.

The painting by Batoni in turn appears to be derived from Annibale Carracci's frescoes of Polyphemus, located in the Galleria Farnese in Rome (painted between 1597 and 1607).

A 19th Century Danish terracotta of Polyphemus.

Biscuit porcelain tinted in imitation of red terracotta.

Marked "P. Ipsen, Kjøbenhavn. Eneret" and number "406" (?).

Height: 47 cm. Width: 11 cm. Depth: 21,5 cm.

  

Produced by the P. Ipsens Enke factory founded in Copenhagen, Denmark by Peter Ipsen (d.1860) in 1843.

The factory enjoys international success with its reproductions of the great models of ancient Greek and Roman sculpture.

The company won awards at international exhibitions and opens boutiques in its name in Paris and London at 110 New Bond St.

For the very comprehensive Ipsen Catalogue of 1886 in German see -

https://www.kb.dk/e-mat/cop/pamphlets/dasmaa//pamphlets-dasmaa-2012-jul-smaatryk-object64287.pdf

This statuette was almost certainly based on the Coade original sold at auction in 1843 and gives us some idea of how the 10 tall statue originally appeared.

The lack of the third eyeball but the appearance of the eye socket in the middle of the forehead is interesting.

Who knows - it might be possible to have the missing pieces modelled and united with the torso!

Page 40 from the Ipsen Catalogue of 1885.

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

Polyphemus and Acis and Galatea

Vignette of Galatea; on the right, Polyphème seated on a rock, playing Pan flute; on the left, Acis and Galatea embracing each other on beach; sea behind them; after Cipriani; illustration to 'Opere di Pietro Metastasio' by Pietro Metastasio (Paris: V Hérissant, 1780-2); proof before letters. 1783

 

Engraved by  Francesco Bartolozzi after Giovanni Battista Cipriani

British Museum.

https://www.britishmuseum.org/collection/object/P_1897-1231-215

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The Fonthill Grottos

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The Coade Lion and Tiger (in the Charles Tompkins watercolour dated 1801 above).

This tiger was sold at the Dunsborough Park sale by Christie's - Lot 50 - 20 June 2013.

The Tiger is illustrated in the book of Coade's etchings which correspond to those listed in the 1784 Descriptive Catalogue of Coade's Artificial Stone Manufactory, Section I, Statues, p.4, No.59, Tiger, £8/8/0d.

Alison Kelly, discusses a Tiger and its Companion in Tehidy Park, Cornwall which have since disappeared. 

According to Mrs Coade in her Gallery handbook, the Tiger, sitting up like a cat, was modelled from life by John Bacon, the Coade Manufactory's principle modeller and designer. The model cost 8 guineas and sat about 3ft 6ins high..