Unless I am mistakenthis is the first time this bust has been publishedand the photographs should be compared with the photographs of the other busts of Chesterfield by Roubiliac collected recently on this blog.
I am very grateful to William Derham of Collections and Research at Dublin Castle for taking the trouble to take these photographs for me and to the Irish Aesthete for putting us in contact.
I heartily recommend his blog to anyone interested in the History and Architecture of Ireland
From Some Designs for Buildings both
Publick and Private be James Leoni, architect.
From: The architecture of Leon Battista Alberti, in ten books : Of painting in three books and Of statuary, one book / translated into Italian by Cosimo Bartoli, and now first into English and divided into three volumes, by James Leoni.
London : Printed by Thomas Edlin, 1726.
Engraved by - Bernard Picart (11 June 1673 – 8 May 1733).
A bust of George I by Edward Stanton was displayed at the Royal Exchange until the fire in 1738.
see Steward 1978 pp. 216 - 217.
Information from The Lustrous Trade Essay, Edited by Cinzia Sicca and Alison Yarrington, 2,000 Leicester University Press - essay Recasting George I by Barbera Arciszewska.
A statue of George I in Imperial Garb? by Laurent Delvaux was set up in the New Court of Rolls in about 1724.
A statue of George I
in Roman dress, by John Ricketts the Elder, (1691 - 1734), of Gloucester,
was put up in Westgate Street in Gloucester in 1720 and was moved to Eastgate Street near the
barley market house in 1766; its later history has not been traced.
This ivory coloured wax head
and shoulder profile portrait depicts George I in profile, facing right. He is
shown wearing a full-bottomed wig, armour and a shaped robe. It is set on an
oval shaped black-backed ground and with an ebonised moulded oval wooden frame
with glazed front. Vertue described the skill of the ‘Ingenious Isaac Gosset’
as ‘so universally approved on for likeness’ that he dedicated a section in his
notebooks to wax carving, which he considered a growing industry. Gosset was
from a Huguenot family which had fled to Jersey after the Revocation of the
Edict of Nantes. The family later moved to London and Isaac learned wax
modelling and frame carving from his uncle Matthew. His wax production was
prolific and covered both classical and contemporary figures. Gosset’s renown
lay in the fact that, unlike most contemporary wax modellers, he worked from
life, and at speed, apparently producing a portrait in under an hour. Gosset
also created a secret recipe for tinting his wax to appear like old ivory. His
waxes were highly fashionable and were sold at four guineas a piece for an
original portrait or one guinea for a copy. Vertue noted that Gosset ‘had the honour
of the King sitting to him’ as well as ‘great numbers of persons of Quality and
persons of distinction – Learned and others’. Queen Caroline is known to have
commissioned various works from Gosset, and may even have granted him a
pension. The Picture Closet at Kensington displayed numerous waxes, framed both
singly and in groups of up to 16 figures. Some Vertue catalogued as historic
and contemporary princes but most remained unidentified. Text adapted from The
First Georgians; Art and Monarchy 1714 - 1760, London, 2014.
Possibly from the collection of
Text and image from - Royal Collection.
Here Attributed to Isaac Gosset.
Victoria and Albert Museum.
Engraving after Kneller.
The Line of Kings - Tower Armouries - Tower of London
The figures of George I and George II were placed in the line in 1750 and 1768 respectively. The inclusion of George I, somewhat belatedly, had already been approved in 1730 but the order was not completed. Suitable armour to represent George I was finally identified in 1750 at Windsor Castle. The most curious feature to emerge during this period however is the casting of a metal head by the sculptor, John Cheere. This was apparently the only occasion that metal was considered as a sculptured element in the display. However, although the head was not used he was still paid £8 8s 0d for his efforts in 1751.
This bust of Lord Chesterfield is signed and dated 1745, ad
vivum (from the life). Sittings must have taken place after Chesterfield's
return from his diplomatic mission to The Hague (May 1745) and before his
departure to take up office as Lord Lieutenant of Ireland (July 1745).
This bust had belonged to George Edward Stanhope Molyneux Herbert, 5th Earl of Carnarvon,
of Tutenkhamun fame, until 1918 when it was sold at Christie's London.
It is likely to have passed into the
Carnarvon's possession via Lady Evelyn Stanhope, the sister and heiress of the
7th Earl of Chesterfield, who married the 4th Earl of Carnarvon in 1861.
In the Collection of Col. Sir Edward Allen Brotherton in 1959 when it was displayed at Kenwood House in an Exhibition of English Portrait Busts
Sold again at Christie's London, lot 70 3, April 1985.