Tuesday 30 October 2018

Bust of John Ogilby etched by Richard Gaywood



Bust of John Ogilby (1600 - 1676).
Etched by Richard Gaywood (fl.1644 - 1672).


Another image in the occasional series of sculpture depicted in two dimensions in other media.





John Ogilby (1600 - 1676).

Etching by Richard Gaywood
138 x 91 mm paper size.

Image courtesy NPG.

Busts of Sir Peter and Lady Eleanor Temple by Richard Gaywood




Sir Peter Temple (1592 - 1653) of Stanton Bury
and Lady Eleanor Temple nee Tyrrell
engraved by Richard Gaywood (active 1644 - 1672).
1658

Another post in the occasional series of sculpture depicted in two dimensions in other mediums.




Lady Elianor Temple
by Richard Gaywood
etching
1658
124 x 77 mm Paper size
NPG

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Sir Peter Temple Mp for Buckingham
by Richard Gaywood
etching
120 x 69 mm. Paper size.
1658
Image courtesy NPG.


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Saturday 27 October 2018

Judith Ivatt Monument, St Peter ad Vincula, Combe Martin, Devon




The Ivatt Monument
to Judith Ivatt.
1634.

St Peter ad Vincula, 
Parish Church
Combe Martin, Devon.

Mural monument with a carved marble bust - the sculptor is not recorded but the bust has similarities with the bronze bust on the monument of William Godolphin in St Mary's Church, Bruton. of about 1636.


https://bathartandarchitecture.blogspot.com/2018/09/monument-to-william-godolphin-bruton.html









"Memoriae Amoris Sacrum. (Sacred to the memory of Love) Here lyeth the body of Judith first the wyfe of William Hancock Lord of this mannor by whome she had issue John & Ann, after the wyfe of Thomas Ivatt Es(q) some tymes His Ma(jes)t's printcipail sercher in the Port of London at whose cost this monument was erected. Shee had issue by him Thomas & Judith Ivatt. Shee departed this life May 28 1634 A(nn)o Aetatis 26. (in the year of (her) age 26) Solus Christus mihi salus". (Christ alone is salvation to me).

"Grace meekenes love religion modistye
Seem'd in this mirrour of her sex to dye
For hir soule's lover in hir lyfe did give
To hir as many vertues as could live
And thus full beutifyed by heavenly arte
Earth claim'd hir body Heaven hir better parte"

Judith was buried in the middle of the aisle of the chapel, in the floor of which exists a large sandstone ledger slab inscribed thus:


"Fuimus (We Were) Here lyeth the body of Judith Ivatt wife of Thomas Ivatt Es(q). for whome he lay'd this stone & erected the monument in the north isle of this chancel. Erimus" (We shall be).


info from - http://www.wikiwand.com/en/Manor_of_Combe_Martin









William Godolphin
Attributed to Hubert le Sueur but could be the work of John and Matthias Christmas.
St Mary's Church, Bruton, Somerset

This bust appears to be bronze but I have as yet been unable to substantiate.
The lappets on the lace collar are very similar in execution to the bust of Judith Ivatt at Combe Martin

Abraham Bosse ( 1642) in a Sculptors Studio.



Abraham Bosse (1604 - 1676)
Etcher.
In a Sculptors Studio
1642.

(French, Tours 1602/1604–1676 Paris).

Another blog entry in an occasional series depicting sculpture in other media.

Bosse was born in Tours and was brought up as a Calvinist. His father, Louis, was a Calvinist tailor, born in the Duchy of Clèves near Kranenburg, a region situated near the Dutch border, but now in Germany. However, his mother, Marie Martinet, was a Catholic. He married Catherine Sarrabat, the daughter of a clockmaker in Tours, in 1633 and settled in Paris shortly afterwards, where he worked for the engraver Melchior Tavernier, who was also a Huguenot.

His first etchings date to 1622, and are influenced by Jacques Bellange. After meeting Jaques Callot in Paris in about 1630, whose technical innovations in etching he popularised in a famous and much translated Manual of Etching (1645), the first to be published. He took Callot's highly detailed small images to a larger size, and a wider range of subject matter.
He was a prolific etcher producing over 1200 images (mostly book illustrations).

Unlike Callot, his declared aim, in which he largely succeeded, was to make etchings look like engravings, to which end he sacrificed willingly the freedom of the etched line, whilst certainly exploiting to the full the speed of the technique. Like most etchers, he frequently used engraving on a plate in addition to etching, but produced no pure engravings.

In 1641 he attendended classes given by the architect Girard Desargues (1591–1661) on perspective and other technical aspects of depiction. Bosse began using these methods and published a series of works between 1643–1653 explaining and promoting them.

see - Moyen Universel de pratiquer la Perspective sur les tableaux, ou surfaces irrégulières, ensemble quelques particularitez concernant cet art et celuy de la graveure en taille douce, par A. Bosse, A Paris, chez l'autheur en l'Isle du Palais, sur le quay qui regarde celuy de la Megisserie, 1653.

In 1648, when Cardinal Mazarin established the Académie royale de peinture et de sculpture, Bosse was made a founding member. However his publicising of Desargues' methods embroiled him in a controversy with Charles Le Brun and his followers who had different methods, and also a belief that "genius" rather than technical method should be the guide in creating artworks. In 1661 Bosse was forced to withdraw from the Academy; he established his own school as an alternative.






Inscription: Lettered in plate, below image: Voicy la representation d'un Sculpteur dans son Attelier / Les Choses dont il forme...une aue grandeur / fait aleau forte par ABosse, a Paris en Lisle du palais, Ian 1642. avec Privilege.



26 x 32.3 cms. - (Plate size).

Image courtesy Metropolital Museum. New York.


References:

Georges Duplessis Catalogue de l'oeuvre de Abraham Bosse. Paris, 1859, cat. no. 1386, p. 160.

André Blum L'Oeuvre gravé d'Abraham Bosse. 1924, cat. no. 204.

Sophie Join-Lambert, Maxime Préaud Abraham Bosse: Savant graveur. Exh. cat., Bibliothèque nationale de France; Tours: Musée des beaux-arts. 2004, cat. no. 199, p. 222, ill.

José Lothe L'oeuvre gravé d'Abraham Bosse. Graveur parisien du XVIIe siècle. Paris, 2008, cat. no. 253, pp. 264, 308, ill.



Le Blanc Marianne, D’acide et d’encre, Abraham Bosse (1604?-1676) et son siècle en perspectives, CNRS Editions, 2004, p. 317

Weigert Roger Armand, Bosse Abraham : le peintre converty aux précises et universelles règles de son art : Sentiments sur la distinction des diverses manières de peinture, dessin et gravure, Hermann, Paris, 1964.





A reversed copy of the Bosse etching signed N. Lauwers (1600 - 1652).


Nicolaes Lauwers of Antwerp.


According to the RKD he joined the Antwerp Guild of St. Luke in 1619, and opened a print workshop shortly after that on the Lombardenvest, called ‘In de scryvende Hand’ (in the writing hand).[1] He married 8 February 1628 to Maria Vermeulen and became deacon of guild in 1635. He taught the students Nicolaes Pitau, and Hendrick Snyers, in addition to his young brother Conrad. He is known for prints after Rubens and Gerard Seghers










Image from page 189 of "Traité des Pratiques Geometrales et Perspectives : enseignées dans l'Academie Royale de la Peinture et Sculpture" (1665).







A Gentleman Examining Print.
Eleventh plate opposite page 30 in the book Traité de manières de graver …by Abraham Bosse 
Pub.Paris: Pierre Auboüin and Charles Clousier, 1701.

Etching and Engraving.
175 x 115 mm.


Image Courtesy Fine Arts Museum of San Francisco.

Tuesday 23 October 2018

Gerard Thomas - The Sculptors Studio.





 The Sculptors Studio.
Gerard Thomas (1663 - 1721).


Apprnticed to Godfried Maes
Master of Guild of St Luke, Antwerp 1688 - 89.
Compatriot of Balthasar van den Bosch (see my previous post)..


Some images and a few notes.


Another post in the occasional series of images of  sculpture depicted in various mediums.
These images are of great interest from the point of view of the sculptures depicted. Although Flemish they show the works of sculptors of the period and with diligence it should be possible to work out the source of the sculpture and the authors.

This post is of necessity rather slim in content, but is of a subject worth investigating in the future.




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The Farnese Hercules




Low resolution images from tiresome commercial websites.

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Described as School of Gerard Thomas
48 x 60 cms

https://www.hampel-auctions.com/

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Gerard Thomas
780 x 87.5 cms
National Museum, Sockholm Sweden.

http://emp-web-84.zetcom.ch/eMP/eMuseumPlus?service=ExternalInterface&module=artist&objectId=8388&viewType=detailView

Monday 15 October 2018

Visit to a Sculptors Studio by Balthasar van den Bosch etc. The Green Man Socle.




A Visit to a Sculptors Studio
and other works  
by  Balthasar van den Bosch (Bossche) (1681 - 1715).
(various spellings).
Flemish.
Signed and dated 1704.

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Balthasar van den Bosch was born in Antwerp. He was a fairly prolific painter of genre scenes  He worked in the studio of Gerard Thomas (1663 - 1721) whose influence is very strong. 
He worked in Paris, Nantes and Douai
He became master of the Antwerp Guild of Painters in 1697 and then spent some time working from a studio in Paris before returning to Antwerp in 1700 where he also worked as a dealer in works of art.


There is a very useful potted biographyof van den Bosch available on wikipedia.

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

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Visit to a Sculptors Studio.

Oil on canvas.

52 x 61 cms.

Acquired 1959.

National Museum of Sweden.


Another post in an occasional series of photograph of works of art featuring sculptures.


He died in 1715 from striking his head on a window frame while instructing his pupils.

Photographs below  courtesy National Museum of Sweden.





















This detail is very interesting in that it shows a bust with a socle with a grotesque head or green man - I have found three other uses of this motif (see below).




George I.
early 18th century

Life size lead bust in a private collection.


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Bust of Inigo Jones.

with the Green Man Socle.
 
Probably early 19th century by Shout of Holburn.

Soane Museum.

The Bust of Inigo Jones, the original possibly by James Marshall.

The first mention of a bust of Inigo Jones is that by James Marshall (1598 - 1675).

Marshall whose address was Fetter Lane according to John Aubrey made the bust for the monument to Inigo Jones in St Benets Church, Pauls Wharf. City of London damaged in the Great Fire of London and rescued by James Marshall - it has since disappeared.

I would suggest that this bust is based on a 17th century bust by Marshall now missing.

More work needs to be done on the subject of Marshall and portrait busts 






Bust of Dryden on a monument dated 1722.

The bust is unusually possibly wooden.

St Mary the Virgin Church, Titchmarsh  Northamptonshire



http://collection.nationalmuseum.se/eMP/eMuseumPlus?service=ExternalInterface&module=collection&objectId=22551&viewType=detailView

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Balthasar van den Bosch.

A selection of  his works are illustrated below depicting sculpture both in rather fanciful studio and domestic situations.

These images are very instructive - the interiors are almost certainly fanciful but they give an idea of the work being produced - particularly in the sculptors studios of the low countries - this also shows the influences to the work of later sculptors working in England such as John Van Nost, Rysbrack and Scheemakers.

Several elements are repeated in these paintings including the Farnese Hercules

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Oil on Board.

22.25 x 32 inches.

Sold by J Levine, Auctioneers, Scotsdale, Arizona 1 Jan. 2016.


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Interior of a Sculptors Studio depicting the Uffizzi Wrestlers
after a Roman copy of a Greek bronze - discovered in 1583.

22 x 26.75 inches.

Sold by Grisebach, Berlin - 31 May 2018.

Interesting in that it shows two sculptors working on the same piece of sculpture.

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One of a pair of Companion Paintings: Atelier of a Sculptor and Atelier of a Painter, circa 1713.

Oil on canvas.

99.1 x 116.8 cm each. 

Both signed in lower left quadrant: B. V. Bosche F. 17[13?] and B. V. Bosche F. 

PROVENANCE: By continuous descent in the family of Juan II Suros, who commissioned the pair from van den Bossche circa 1713.

Heritage Auctions Dallas USA - 10 November 2010.


Unusually the catalogue entry is extremely informative and I will reproduce it here -

"According to the present owner, these works were commissioned by his forebear Juan II Suros, who is represented in the paintings together with his wife. According to family history, the specific subjects of the paintings are intensely political in nature and can be described as follows: Atelier of a Painter, with Juan II Suros and his wife Lisette de Bourbon admiring a painting of King Philip V of Spain; Atelier of a Sculptor, with Juan II Suros admiring a sculpture of the Austrian Pretender, Charles III. 

Juan II Suros, a direct descendant of Charlemagne from the Pyrenees in Northern Spain, had served as Spanish Ambassador of Charles II, the last Hapsburg king of Spain, to the Austrian Court of Emperor Leopold I in Vienna. He married Lisette de Bourbon, daughter of Alexander de Bourbon, Count of Toulouse and Admiral de France, who was a much beloved but illegitimate son of Louis XIV and the Marquise de Montespan. 

When Charles II died without a direct successor, the Spanish War of Succession began in 1700 between another Charles, the Hapsburg Pretender, who was the second son of the Emperor of Austria, and Philip, the Bourbon Pretender, who was the second grandson of Louis XIV. Ambassador Juan II Suros, who was compromised by both sides (employed by a Hapsburg and married to a Bourbon), regarded his political position as too delicate, and discreetly retired to his Countship of Besalu trying not to make any enemies. During the War of Spanish Succession the Hapsburg side, buttressed by the support of the Catalans and England, was winning in the person of Charles III. However, the new young emperor of Austria, Joseph I, older brother of Charles III suddenly died of typhoid fever, and left behind no children. Consequently his brother Charles, who had fought so hard to be crowned King of Spain and its colonies. suddenly found himself the new Hapsburg Emperor of Austria. Ungratefully, Charles III left Spain and abandoned his supporters to their fate at the hands of the new Bourbon king, who was crowned Philip V by default. Eventually to stop the European turmoil, the Treaty of Utrecht was signed in 1713. In order to have the treaty accepted, Philip V had to give away Milan and the Low Countries to his old enemy, the new Austrian emperor, Charles; part of Provence and Besancon went to his grandfather, Louis XIV; and to appease England, he had to agree never to colonize north of the Mississippi River in the New World. Juan II, with diplomatic experience acceptable to both the Bourbons and the Hapsburgs, was called out of retirement to become one of the signatories of the Treaty of Utrecht. During the lengthy deliberations, he spent time around the region of Antwerp and commissioned these two paintings from van den Bossche. In them, Suros embedded references to his and his wife's political situation. In the Atelier of a Sculptor, Juan II is shown alone, without his Bourbon wife, admiring a sculpture of the Austrian Pretender to the Spanish throne, Charles III. On the other hand, in the Atelier of a Painter, the couple appears together, admiring a painting of Philip V, the new Bourbon King of Spain. His grandfather makes a cameo appearance in the painting in the lower right corner in an oval portrait. 

The present owner reports that for many years his grandfather routinely joked that "Juan II, diplomat that he was, had one painting or the other handing in his dining room. It all depended upon the political tendencies of whomever had been invited to dinner!" 

Another version of the present paintings with very near dimensions, although somewhat inferior in execution in some of the details, was recorded in the collection of H. C. Boysen, Berlin in February 1928 (comparative black and white photos courtesy of the RKD,The Hague). Interestingly while the male figures are very similar between the two sets of paintings, the equivalent of "Lisette de Bourbon" in the Berlin painting has entirely different facial features. 

Many thanks to Fred G. Meijer, Curator, Rijksbureau voor Kunsthistorische Documentatie, for his generosity in examining these paintings by van den Bossche in photographic form, endorsing the attribution based on photographs, and for his kind assistance in researching comparable works in the RKD photo archive".


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Balthasar van den Bosch

The interior of a sculptor’s studio, with students drawing and a sculptor finishing a Hercules sculpture 
A pair, oil on canvas. 

Both signed, the first l.l. and the second l.r.: B.V.Bossche.

68.5 x 88 cms.


Sotheby's - 23 May 2017.
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The Interior of a sculptor's studio; and An elegant interior with an Artist painting a portrait of a lady.

Balthasar van den Bossche (Antwerp 1681-1715)

the first signed and dated 'B.V.Bosch.f 1705' (lower right); the second signed and dated 'B.V.Bosch.f 1705' (lower left)
oil on panel
15 5/8 x 19 1/8 in. (39.6 x 48.4 cm.)
a pair.

Provenance:
 Dr. Gorlitzer, from whom purchased by the present owners on 18 April 1944 for 56,000 Reichmarks.

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Another bust on the floor, foreground with the "green man" socle










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Excellent High resolution image.

Note form of the green man socle on the bust on the floor in the foreground.

49 x 59 cms.


Dorotheum Vienna - no date of sale.


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Another green man socle.

1709.

66 x 84 cms.

Hermitage Museum, St Petersburg.
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Note form of the "Green man" Socle on the bust in the foreground.


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66 x 86 cms.

1712

Formerly in Anichkov Palace.

Hermitage Museum.

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Another bust with the green man socle - on the floor in the foreground.

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Note the detail on the socle of the bust on the left.

They say Circle of van den Bosch.

Sotheby's. 
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Unknown location and size.


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Statue of Hercules and Anteus.

Unknown location or size.
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Gerard Thomas.

70 x 87.5.

National Museum, Stockholm, Sweden
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Balthasar van den Bosch and Cornelis Huysman

The Reception of Jan Karel de Cordes at the Guild Hall.

140 x 182.5 cms.

1711.

Royal Museum of Fine Arts, Antwerp.

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Image courtesy Rijksmuseum.


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