English 18th Century Portrait Sculpture: July 2019

Friday, 26 July 2019

An Artists Studio - oil painting - York Museum Trust

An Artists Studio.

York Museum Trust.

oil painting on canvas.

Canvas size: 54 x 72 cms.

c 1725 - 35.

Another in the occasional series of images depicting sculpture in other media.

Note the bust on the floor by the table, and the reduced cast of Silenus with the child Dionysus. a Roman copy of the middle 2nd century CE possibly after a Greek original by Lysippos (ca. 300 BC).

There are at least two ancient versions of this statue (see below).

They say the painting is Dutch but the glazing bars on the window might suggest that it is English.

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Silenus with the child Dionysus.

Braccio Nuovo, Mueum Chiramonte, Rome.

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Another in the Louvre, Paris.

Found in 1569 in the former gardens of the Salluste. In Carlo Mutti Collection in Rome in 1594; in the Borghese collection in 1613; Purchased by Napoleon in 1807.

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2000 mm x 970 mm x 1000 mm.

They say "c. 1800 - original in the Louvre"

Royal Acadamy Collection.

see -https://www.royalacademy.org.uk/art-artists/work-of-art/cast-of-silenus-with-the-infant-bacchus

This is a plaster cast of the marble sculpture Silenus with the Infant Bacchus in the Louvre, itself believed to be a Roman copy of a bronze original by Lysippos or one of his followers.

The statue was discovered by Carlo Muti before 1569 on his grounds near the present Cassino Massimo, and remained in Muti’s collection for many years, although it was in the Borghese collection by 1613. It was in the Villa Borghese by 1638, where it occupied a room named after it by 1650.

In the 17th century the statue was sometimes thought to represent Saturn holding a baby who he is about to devour, but by the late 18th century it was generally described as a Faun (frequently Silenus in particular) holding the infant Bacchus.

The statue was one of the most admired statues in Rome - it was frequently reproduced and sometimes classed alongside the Venus de’ Medici and the Farnese Hercules (both represented in the Royal Academy cast collection).

A marble copy was made for Philip IV of Spain in 1650 while a marble copy was made for Versailles in 1684. Casts and copies continued to be popular in the 18th and 19th centuries.

The statue was purchased by Napoleon Bonaparte in 1807 along with many of the Borghese antiquities, and was in the Musée Napoléon by 1811.

By 1815 the statue had again had a room named after it in its new surroundings.

Monday, 22 July 2019

Marble Bust of Stanislaw Malachowski by John Deare and a few notes regarding Deare.

A few notes and images. Hopefully to be enlarged upon in due course.

Stanislaw Malachowski (1736 - 1809).

by John Deare (1759 - 98).

Marble Bust.

Modelled in Rome.

1793.

66 x 40 x 34 cms.

Located in The Royal Castle in Warsaw.

Including here are some notes on John Deare.

For John Deare see - Notes - P. Fogelman, P. Fusco and S. Stock, 'John Deare: British sculptor in Rome', Sculpture Journal IV, 2000, pp. 85-126.

John Deare (26 October 1759, Liverpool – 17 August 1798, Rome) was a British neo-classical sculptor. His nephew Joseph (1803-1835) was also a sculptor.

Son of a jeweller in Liverpool. John Deare in 1777 he enrolled at the Royal Academy Schools, where he won a gold medal for a Miltonic subject (1780).

Meanwhile he also served an apprenticeship to the London carver Thomas Carter from 1776 to 1783, who amongst other worked for Robert Adam. When he completed his apprenticeship he began sculpting as a freelancer, especially for his Carter as well as for John Bacon (whose work he admired) and possibly for John Cheere (this needs clarifying).

Independent commissions included the reliefs The War of Jupiter and the Titans in plaster for Whitton Park's pediment and The Good Samaritan (post-1782) for the Liverpool Dispensary. Deare was himself admired by his contemporaries, particularly by Joseph Nollekens.

However, so far his only surviving early works are those he produced to be made in ceramic by Derby for clocks by Benjamin Vulliamy.

The Royal Academy gave him a pension for a three year stay in Rome (on the condition he sent back a work to the RA's annual exhibition), starting in 1785, where he starting drawing the classical sculpture collections at (among others) the Villa Albani and the Capitoline Museums, probably joined the Adamiani sect (insisting God be worshipped naked) and set up an artistic circle including Robert Fagan, Charles Grignion, Samuel Woodforde and George Cumberland.

For his exhibition piece he modelled in plaster The Judgement of Jupiter (with over 20 figures and emulating history painting of the time, it was the largest 18th century relief by a British artist) but the Academy argued with him over its size and it was not sent to London (a marble version, commissioned by Sir Richard Worsley in 1788, is now in the Los Angeles County Museum of Art).

His next relief was Edward and Eleanor (drawn from a play by poet James Thomson). He also acted as an agent for Thomas Hope and the Earl of Bristol in their acquisition of works by his friend John Flaxman and for Henry Blundell and John Latouche in acquiring works by Canova (all four of whom also bought works by Deare), and also financed himself on the expiry of his pension by carving copies of classical sculptures for British Grand Tourists, by restoring classical sculptures for collectors and by producing chimneypieces for patrons that included one at Frogmore House for the Prince of Wales (employing Joseph Gandy and other architects for the latter purpose).

By his death in Rome in 1796 (supposedly after sleeping on a block of marble hoping for inspiration and catching a chill) Deare had married an Italian woman, who he left with their children as a widow and for whose benefit Deare's friends such as Vincenzo Pacetti and Christopher Hewetson posthumously disposed of his studio contents. Three days after his death he was buried in Rome Protestant Cemetery.

Works.

* The Judgement of Jupiter

* Edward and Eleanor (1786, marble version of 1790 for Sir Corbet Corbet now in a private collection).

* Marine Venus, marble relief, purchased in 1787 by Sir Cecil Bisshop for Parham Park, Sussex, drawing on classical and 16th century Mannerist sculpture

* Cupid and Psyche, marble (1791) for Thomas Hope (plaster version, Lyons House, co. Kildare)

* The Landing of Julius Caesar in Britain (1791–4; Stoke Manor, Stoke Poges, Buckinghamshire), the subject chosen by its commissioner John Penn

* Portrait bust of John Penn (Eton College) another in the Church at Soke Poges, Buckingham.

Classical copies

* Apollo Belvedere, commissioned in 1792 for Attingham by Lord Berwick

* Faun with a Kid (Prado Museum, Madrid), acquired by Lord Cloncurry (private collection)

* Bust of Ariadne (c.1789, now in the Capitoline Museum, Rome), for John Latouche

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for a useful biog of Malachowski see -

https://en.wikipedia.org/wiki/Stanis%C5%82aw_Ma%C5%82achowski

Deare’s bust of Stanisław Małachowski differs from other representations, in particular the painted, likenesses of the Marshal due to the rendering of the model.

While Johann Baptist von Lampi (portrait of 1791), Antoine-Jean Gros (1793), François-Xavier Fabre (1794), Josef Grassi (1795) and Marcello Bacciarelli (several portraits) depicted Małachowski in contemporary attire with distinctions and wearing a fashionable wig, Deare showed him bareheaded, with a naked torso.

This type of likeness, a reference to ancient depictions of outstanding personages, was intended to idealize and glorify the model. Made during Małachowski’s lifetime, while he was in exile in Italy, the bust, may have been the model for the sculptor Massimiliano Laboureur, who was commissioned by Małachowski’s family to make a statue for St. John’s Cathedral in Warsaw (unveiled in 1830), in which he is depicted in the attire of a Roman senator, and with features similar to those in the bust.

Signed J. DEARE / Faciebat / Romae / 1793 on back under left shoulder.

The bust may later have belonged to Michał Ludwik Pac, who married Małachowski’s niece, Maria Karolina, and subsequently Konstanty Radziwiłł in Towiany (Lith. Taujenai). From 1926 it was on loan to the Royal Castle in Warsaw, in the Canaletto Room. In 1939 it was removed by the Germans and in 1947 returned to the National Museum in Warsaw; since 1984 again part of the Royal Castle’s collections.

Stanisław Małachowski of the Nałęcz coat of arms (1736–1809). Marshal of the Four Year Sejm, co-author of the Constitution of 3 May. In the period 1792–5, he lived in exile in Vienna and Florence. In the years 1807–9 he was President of the Governing Commission and later of the Senate of the Duchy of Warsaw.

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The Bust of John Penn

Engraving dated 1801, after a drawing by Antonio Tendi.

British Museum

https://www.britishmuseum.org/collection/object/P_1845-0405-9

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A list of works by John Deare culled from the Biographical Dictionary of Sculptors...

rather a lot of untraced works perhaps waiting to be discovered.

1. Lady Charlotte Burgoyne - Funerary Monument. 1778. Untraced.

2. William Wilson. Funerary Monument †1792 - Ganton, E R Yorks.

3. Human skeleton, statuette Statue. c1770. untraced.

4. Bellerophon, model. Statue. 1784. Untraced.

5. Adam and Eve, group Statue 1792.untraced.

6. Apollo Belvedere Statue 1792-1795. Untraced.

7. Venus de’ Medici Statue 1792-1795. Untraced.

8. Faun with a kid (Faunus), small statue Statue nd. Coll. Cloncurry family.

9. The devil. Bust. 1781. Untraced.

10. A criminal. Bust. c1783. Untraced.

11. Ariadne, after an antique bust in the Capitoline Museum. Bust. 1789-1790. Untraced.

12. Madame Martinville. Bust. 1789-1790. Untraced.

13. John Penn of Stoke Poges. Bust. 1791-1793. Eton College, Windsor, Berks, library.

14. Marshal Stanislaus Malachowski. Bust. 1793. National Museum, Warsaw, Poland.

15. Augustus Frederick, Duke of Sussex. Bust. c1795. Untraced.

16. Lady Elizabeth Webster. Bust. c1795. Untraced.

17. Description unavailable. Chimneypiece. 1783. Untraced.

18. The seasons, four reliefs for chimneypieces. c1783. Untraced.

19. Chimneypiece with frieze of the nine muses. 1792. private coll.

20. Chimneypiece. Caesar invading Britain, overmantle relief. 1791-1794 VAM.

21. Description unavailable. Chimneypiece. c1795. Untraced.

22. Two, one with frieze depicting a racehorse, the other ‘mosaic’. Chimneypiece. c1795. untraced.

23. Chimneypiece with festoons and masks. c1795. Royal Coll (Frogmore, Berks).

24. War of Jupiter and the Titans. 1784. Destroyed.

25. Adam and Eve (The Angels surprising Satan at the ear of Eve). Relief. c1780. Untraced.

26. The soldiers going to kill Marius in prison, probably a clay sketch. Relief. c1780. Untraced.

27. The good Samaritan Relief. post-1782. Untraced.

28. Cupid and Psyche. Relief. c1783. Untraced.

29. Venus reclining on a sea monster with Cupid and a putto (Marine Venus). Relief. 1787. Parham Park, Pulborough, Sussex.

30. Edward and Eleanor Relief. 1790. private coll.

31. The judgement of Jupiter. Relief. 1788-1790 - Los Angeles County Museum of Art, Cal M.79.37

32. Cupid and Psyche. Relief. c1791. Lyons Demesne, Co Kildare.

33. Liberality, supported by justice and fortitude. Relief. 1791. Untraced.

34. Bacchus feeding a panther. Relief. 1790-1792. Art Institute of Chicago.

35. Hebe feeding the bird of Jupiter. Relief. 1790-1792. Untraced.

36. Apollo with the muse Euterpe (?). Relief. 1790-1795. Untraced.

37. A seated figure; portrait of the Pope; Time ravishing Youth. Relief. Nd. Untraced.

38. Boys - Relief, nd. Untraced.

39. Spanish coat of arms, design only (?) Miscellaneous. 1783. Untraced.

40. Crucifix. Miscellaneous. 1784. Untraced.

41. Figures for clocks by Benjamin Vulliamy, models. Miscellaneous. c1784. Untraced.

42. Virginius and his daughter, cast. 1784. untraced.

43. Venus and Cupid. 1790-1791. untraced.

44. The three graces with the thread of life. c1793. Untraced.

45. Centaur. 1794. Untraced.

46. Antinous? Nd. Untraced.

Tuesday, 9 July 2019

Some More Busts of Isaac Newton

Some More Busts of Isaac Newton.

After Louis Francois Roubiliac

see my previous post:

http://english18thcenturyportraitsculpture.blogspot.com/2016/03/the-roubiliac-busts-of-isaac-newton.html

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Isaac Newton

after Roubiliac

They say 19th Century

Marble

590 mm.

College of Optometrists

Craven Street, London WC2

Purchased 1939. - no further information.

http://museyeum.org/detail.php?module=objects&type=related&kv=528

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Isaac Newton

Plaster Bust

Harris Manchester University Oxford

Isaac Newton

After Roubiliac.

Height 73 cms.

No provenance provided.

Harris Manchester College, University of Oxford

Mansfield Road, Oxford, Oxfordshire OX1 3TD

images courtesy Art UK website.

https://artuk.org/discover/artworks/isaac-newton-16431727-248584/search/venue:harris-manchester-college-university-of-oxford-7515/page/4/sort_by/name.keyword/order/asc/view_as/grid

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For comparison:

The Original Roubiliac terracotta.

The Belchier - Greenwich Observatory Terracotta bust of Isaac Newton

by Louis Francois Roubiliac.

The following text is lifted from Royal Museums Greenwich website:

http://collections.rmg.co.uk/collections/objects/220530.html

It repeats the same mistakes made by Katherine Esdaile in 'Roubiliac's Work at Trinity College Cambridge' pub. Cambridge University Press 1924.

"On Newton's death in 1727, his nephew, John Conduitt, allowed John Rysbrack to take casts of his face. Two of these were obtained by Roubiliac and in about 1731. Conduitt commissioned him to make this terracotta bust from them. It was later owned by the surgeon John Belchier FRS, who at his death in 1785 left it to the Royal Society with instructions that it should be placed in the Royal Observatory at Greenwich".

"In his will Belchier also stated that, as a portrait, it was 'esteemed more like than anything extant of Sir Isaac'.

Some forty to fifty years later, at Greenwich, the head was broken off in an accident and, after being repaired, the whole was painted white. The result was that by the later 19th century the bust was mistaken for a low-value plaster one and it remained at the Observatory up to and throughout the Second World War, on occasions provided with a tin hat, before moving to Herstmonceux with the Royal Greenwich Observatory (RGO) organization in the 1950s.

The original was considered 'lost' until the error was discovered in 1961, when it was stripped of paint and expertly restored by the British Museum. After the RGO later moved to Cambridge, it was lent to the Fitzwilliam Museum, mainly for safety. It returned to Greenwich and the NMM's custody on the closure of the RGO in 1998".

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Isaac Newton

They say stone? It appears like a cast to me - perhaps composition stone by Austin and Seally.

Possibly from an original plaster by John Cheere

The shape of the eared support on the turned socle would suggest 19th century.

The Fry Gallery Saffron Waldon Essex.

Images courtesy Art UK

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Issac Newton

Plaster Bust

Here suggested as possibly by John Cheere after Roubiliac.

The embroidery on the dress and the shape of the socle would suggest that this is possible although it might be a later pirated cast by one of the many 19th century Italian plaster casters working in the Leather Lane are of London.

Isaac Newton

Here suggested as by John Cheere after Roubiliac

Plaster

Height 50 cms

Bellman's Auctioneers

June 2019, Lot 1437

The embroidery on the dress is typical of Cheere's busts

Bust on the Staircase 138 Federal Street, Salem, Massachusetts .

The Bust on the Staircase

Assembly House.

138 Federal Street, Salem, Massachusetts.

Interior photograph of a stairwell in the Assembly House, 138 Federal St., Salem, Mass.

Possibly Simeon Skillin(g) Junior.

Image below from:

https://www.historicnewengland.org/explore/collections-access/capobject/?refd=PC002.USMA.Salem.159.07

Erected in 1782 as a Federalist Clubhouse the house was built in two distinct phases. Funded originally by a joint stock venture it served as assembly rooms for social and cultural events. The Marquis de Lafayette was entertained there in 1784 - George Washington dined and danced there in 1789.

Its original architect is unknown. It became obsolete in 1792 with the building of Washington Hall in 1792. One of its original developers systematically bought out the other shares and owned it outright by 1796. Two years later it sold to Judge Samuel Putnam - and Samuel McIntire (1757 - 1811) was engaged to remodel it turning it from a plain public meeting hall into an elaborate and fashionable dwelling McIntires association with the house is documented by two front elevation drawings at the Essex Institute.

It is thought that the decorative features on the staircase were added at this time.

The house was presented to the Essex Institute in 1965.

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For Salem woodcarving see -

see - https://archive.org/details/woodcarversalem00rilegoog/page/n62

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For the Skillin family history see -

A Forgotten Landscape: How A Place Called Crockett's Corner Became The Maine ...

By M.M. Drymon PhD available on Google books.

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Tuesday, 2 July 2019

Possibly Irish Marble Bust - Christie's October 1999

Possibly Irish Marble Bust.

Lot 6 from

Christie's London

The Murnaghan Collection

London, South Kensington|

14 October 1999.

Height 24 "

A Miniature Carved Wooden Bust of Matthew Prior attrib. to Martin Jugiez

A Miniature Carved Wooden Bust of Matthew Prior.

After an original plaster bust by John Cheere.

Approximately 12 cms tall.

Carved Mahogany.

Here attributed to Martin Jugiez (fl 1762 - d. 1815) of Philadelphia.

The Cheere Bust was adapted from the bust of Prior by Antoine Coysevox on the Monument in Westminster Abbey.

This bust was once almost certainly mounted on a piece of furniture - the socle is not original.

Currently on the English Art Market.

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I first posted on the subject of the busts of Matthew Prior 11 November 2014 with particular reference to the busts of John Cheere.

see - http://bathartandarchitecture.blogspot.com/2014/11/a-lead-of-matthew-prior-by-john-cheere.html

I updated this post with a new post on 24 January 2018.

https://bathartandarchitecture.blogspot.com/2018/01/lead-bust-of-matthew-prior-by-john.html

see also for another bust of Prior on

http://english18thcenturyportraitsculpture.blogspot.com/2018/12/some-carved-wooden-busts-on-mid-18th.html

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Here is a further post on the subject of the busts of Matthew Prior with the appearance of the miniature bust on the English Art Market.

The photographs below are not great - taken with my i phone in poor light.

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Martin Jugiez (c.1730 - 1815).

Pennsylvania Gazette on November 25, 1762, that he and his partner Nicholas Bernard had imported goods on the Carolina with Captain Friend at the helm sailing from London,” Gergat said. The advertisement listed “A Compleat assortment of Looking-Glasses, framed in the newest Taste, Picture Frames, Sconces, Chimneypieces, Ornaments for Ceilings, Pictures Framed and Glazed, a neat Harpsichord, N.B. All Sort of Carving in Wood or Stone and Gilding done in the neatest Manner.”

In the Pennsylvania Gazette in 10 January 1765 they offered " a great variety of figures, large and small busts in plaister of Paris, and Brackets for ditto". and "Any gentlemen and ladies that want paper machie cielings may be supplied at a reasonable rate."

They advertised again in the Pennsylvania Gazette 3 September 1767.

Jugiez had advertised "just imported" stock including "a great variety of glasses, with mahogany and walnut, plain or gilt frames, and dressing ditto; . . . He likewise makes frames of any kind, . . . also gorondolas, brickets, bases &c. He has paper mache for ceilings, or for bordering rooms, plain or gilt." Pennsylvania Gazette, March 10, 1773.

It has until recently been assumed that Jugiez was apprenticed in London, but I have discovered that as his name suggests, he was French and was apprenticed to François Germain Suppligeaux in Paris in 1741.

Contrat de mise en apprentissage pour 5 ans, entre Jacques Jugiez, marchand de vins, et François

Germain Suppligeaux, maître sculpteur, au profit de Martin Jugiez, âgé de 11 ans, fils de Jacques,

logé, nourri, blanchi et entretenu par son père, sauf l'hiver, où le maître le logera, sans deniers

déboursés (approuvé par les jurés en charge, droits perçus).

30 juin 1741.

30/06/1741 : apprenticeship contract between Jacques JUGIEZ (Wine merchant) and François Germain Suppligeaux (master carver).

The apprentice is Martin JUGIEZ, 11 years old - Son of Jacques Jugiez

https://www.siv.archives-nationales.culture.gouv.fr/siv/rechercheconsultation/consultation/ir/pdfIR.action?irId=FRAN_IR_042005

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Unlike the immigrant carvers James Reynolds and Hercules Courtenay, Jugiez never advertised as having arrived from London as the other two would do in 1766 and 1769 respectively.

Between 1762 and 1783, Jugiez shared a business in Philadelphia with the carver Nicholas Bernard. Bernard and Jugiez publicised that they could provide all manner of carving in wood and stone. They also offered an assortment of items for sale imported from London, including looking glasses, picture frames, chimney pieces, and ornaments for ceilings. Shortly after Bernard and Jugiez first advertised in The Pennsylvania Gazette on November 25, 1762, they were engaged in many of the most desirable commissions in Philadelphia, including producing a variety of architectural carving for St. Peter's Church and the massive organ case (1763-1764), and creating the carved interiors at Mount Pleasant (completed 1765), the country seat of the privateer John Macpherson and his wife Margaret.

From receive commissions from affluent patrons such as Benjamin Chew, John Cadwalader, and Samuel Powel, as well as from prominent Philadelphia cabinetmakers Thomas Affleck and Benjamin Randolph. He marched alongside James Reynolds and the carver's float in Philadelphia's Grand Federal Procession of July 4, 1788, and carved Ionic capitals for the central rotunda of the Pennsylvania Hospital in 1799.2

Little work is documented or attributed to him past the end of the eighteenth century, though in an 1803 letter to Samuel Mifflin discussing the construction of a stove for the U.S. Senate Chamber in Washington, D.C., architect Benjamin Henry Latrobe wrote, "and old Martin Jugiez renowned as the ugliest man in Philadelphia will do the carving, exactly in the stile of the stove of the Bank of Philadelphia.

Text above from http://www.antiquesandfineart.com/articles/article.cfm?request=872#Anchor-49575

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Luke Beckerdite on the Chipstone Foundation website makes the point - Jugiez’s (busts of Locke and Milton) were probably inspired by imports. In 1765 Jugiez and Bernard advertised a “variety of neat figures and busts in plaister of Paris, with brackets for ditto.

http://www.chipstone.org/article.php/752/American-Furniture-2016/A-Philadelphia-Carved-Bust-of-Benjamin-Franklin

(These busts of Locke and Milton were probably derived from imported plaster casts by John Cheere.

For the busts of Locke by John Cheere see - my post -

http://bathartandarchitecture.blogspot.com/2018/02/some-plaster-busts-of-john-locke-by-and.html

http://www.antiquesandfineart.com/articles/article.cfm?request=872#Anchor-49575

Clipping from The Pennsylvania Gazette, 25 November 1762.

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Bernard and Jugiez.

Pennsylvania Gazette, 11 October 1770.

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9 July 1788

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From the American Museum vol 4 Pub. 1787.

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An Account of the Grand Federal Procession in Philadelphia, 4 July 1788.

Mentioning both Rush and Jugiez

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The Will of Martin Jugiez. 1814

JUGIEZ, MARTIN. Phila. Carver.

July 19, 1814. April 25, 1815. 6.35.

Legacy to nephew Jerome Jugiez.

All residue to friend John Bernard and to his heirs.

Exec: Said friend John Bernard.

Codicil: July 19, 1814. Legacy left to Jerome Jugiez to remain in hands

of Executor John Bernard until Martin Jugiez, son of Jerome Jugiez

shall attain age of 21 years.

Witnesses to Will and Codicil: George Glentworth, Joshua Robinson.

info from - http://files.usgwarchives.net/pa/philadelphia/wills/willabstrbk6a.txt

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For more on the portrait sculpture of Martin Jugiez of Philadelphia see;

http://english18thcenturyportraitsculpture.blogspot.com/2018/12/the-american-carved-wooden-busts-of.html

http://www.chipstone.org/html/publications/2004AF/Beckerdite/beckerditeindex.html

of tangential interest see -

http://english18thcenturyportraitsculpture.blogspot.com/2018/11/carved-wooden-bust-of-benjamin-franklin.html

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Matthew Prior, Although somewhat crude the little mahogany bust is obviously derived from the Cheere bust.

Above Left to Right -

Lead Bust of John Cheere in the Louvre.

Prior in Mahogany by Martin Jugiez of Philadelphia.

Plaster bust of Matthew Prior, 43 cms, sold by Sotheby's, London -7 Dec 2010.

and the Wedgwood & Bentley Basalt Bust of Matthew Prior c. 1775.British Museum 15.2 inches tall. The original plaster for the basalt bust was supplied to Wedgwood & Bentley in 1775 by Hoskins and Grant and is in the Wedgwood Museum, Barlaston (4592).

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