‡ AFTER JOSEPH NOLLEKENS (1737-1823) A WHITE MARBLE PORTRAIT BUST OF A LADY 'M.M.A' DATED 1816With signature and date to reverse and inscribed MMA- possibly for a Mrs Arkwrightapproximately 65.5cm high Provenance: This bust is recorded on the Henry Moore Foundation works database as having been purchased by Feigen in Amsterdam, November 1985 where it is thought the possible identification of the sitter was made
JOSEPH NOLLEKENS (1737-1823): BUST OF WILLIAM PITT THE YOUNGER (1759-1806) a patinated bronze library bust, English, circa 1820, face modelled slightly turned and raised, draped in a classical cloak, the bust detaching from the waisted socle, on a square marble plinth with bronze laurel border above the base, bronze 23cm high, marble plinth 15cm high 'Oh my country! How I leave my country!..." were apparently William Pitts last words on his deathbed aged forty-six on 23 January 1806. Having successfully guided the nation through the most perilous years of the Napoleonic Wars and notwithstanding Nelsons victory at Trafalgar, the news of Napoleons triumph at Austerlitz is thought to have dealt the already exhausted Prime Minister his death blow. Ironically perhaps, given Pitts refusal to grant the artist a sitting during his lifetime, Nollekens successfully immortalized the statesman posthumously, using his death mask, as well as the portrait by John Hoppner. The prime version, executed in 1806, is held by the Earls of Rosebery at Dalmeny House. In the following years Nollekens studio produced over seventy further versions of the bust in marble, each priced at 120 guineas, additionally selling 600 plaster casts. Busts are sometimes encountered paired with Nollekens' depiction of the other renowned politician of the age, Charles James Fox (1749-1806). Bronze versions were also cast, probably in the following decade, although the bronze founder is, as yet, unidentified, the suggestion being they may have been by Benjamin Vulliamy.
Joseph Nollekens e collaboratori (Londra 1737 - 1823) Busto di Charles James Fox scultura in marmo bianco h.cm. 70 Vedi scheda storico-scientifica ed attributiva di Sandro Bellesi
Joseph Nollekens (British, 1737-1823) A carved white marble bust of Lord George Augustus Henry Cavendish, later 1st Earl of Burlington of the 2nd Creation (1754-1834) The sitter looking slightly dexter, his shoulders clad in folded classical drapery, raised on a turned circular socle, 67cm high overall, 47cm wide, 23.5cm deep approximately
Joseph Nollekens (British, 1737-1823) A carved white marble bust of Samuel Bateman Dashwood The sitter with curling hair looking to dexter, his shoulders clad in classical folded drapery, signed and dated to the rear Nollekens Ft./1812, raised on turned circular socle, 68cm high overall, 45cm wide, 27cm deep approximately
JOSEPH NOLLEKENS R.A. (LONDON 1737-1823 LONDON) JOSEPH NOLLEKENS R.A. (LONDON 1737-1823 LONDON) Two studies of a female head with elaborate hairstyle black chalk 10.5 x 17.5 cm PROVENANCE: Annabel Popovic, London
JOSEPH NOLLEKENS R.A. (LONDON 1737-1823 LONDON) JOSEPH NOLLEKENS R.A. (LONDON 1737-1823 LONDON) Two studies of a female head with elaborate hairstyle black chalk 10.5 x 17.5 cm PROVENANCE: Annabel Popovic, London
JOSEPH NOLLEKENS, R.A. (LONDON 1737 - 1823) JOSEPH NOLLEKENS, R.A. (LONDON 1737 - 1823) Six designs for monuments pen and ink, pencil and brown wash on paper 324 x 207 mm and smaller PROVENANCE: (3) Mrs M. Hill; Sotheby's, London, 27 March 1969, lots 279, 281, 282 (3) Dr Arthur M. Sackler, until 2010 Andrew Wyld; his sale, Christies, South Kensington, 10 July 2012, lot 72 (part lot). (6)
JOSEPH NOLLEKENS, R.A. (LONDON 1737 - 1823) JOSEPH NOLLEKENS, R.A. (LONDON 1737 - 1823) Six designs for monuments pen and ink, pencil and brown wash on paper 322 x 200 mm and smaller PROVENANCE: (3) Mrs M. Hill; Sotheby's, London, 27 March 1969, lots 279, 281, 282 (3) Dr Arthur M. Sackler, until 2010 Andrew Wyld; his sale, Christies, South Kensington, 10 July 2012, lot 72 (part lot). (6)
JOSEPH NOLLEKENS (LONDON 1737 - 1823) JOSEPH NOLLEKENS (LONDON 1737 - 1823) Study for a funerary monument inscibed in pencil M . S (centre) pen and ink with wash and traces of pencil on paper 305 mm x 205 mm (measured in frame) framed
JOSEPH NOLLEKENS, R.A. (LONDON 1737-1823 LONDON) Apollo terracotta figure; indistinctly inscribed on the underside '...10-1944' 67⁄8 in. (17.5 cm.) high Provenance Possibly Nollekens sale, Christie’s, London, 5 July 1823, lot 67, sold with two others (£1 15s.), bought by ‘Rouw’ Mrs C. A. Cater Mr Wynne Jeudwine Anonymous sale; Christie's, London, 13 April 1983, lot 63 (£1,000) Anonymous sale; Christie’s, London, 9 April 1987, lot 88 (£3,500) Anonymous sale; Christie’s, London, 7 July 1992, lot 67 (£1,800)
Joseph Nollekens, R.A. (London 1737-1823) Design for a monument to three captains: William Bayne, William Blair, and Lord Robert Manners black chalk and grey wash 10 ½ x 7 7/8 in. (26.8 x 19.9 cm.)
After Joseph Nollekens (English, 1737-1823) Arthur Wellesley, 1st Duke of Wellington, early 20th century Painted plaster, raised on circular socle. H: 26 1/2 in.
After Joseph Nollekens (English, 1737-1823) Arthur Wellesley, 1st Duke of Wellington, early 20th century Painted plaster, raised on circular socle. H: 26 1/2 in.
ATTRIBUTED TO JOSEPH NOLLEKENS (ENGLISH, 1737-1823) OR JOHN BACON (ENGLISH, 1740-1799), AFTER A MODEL BY GIAMBOLOGNA (ITALIAN, 1529-1608): A MARBLE RELIEF DEPICTING VENUS AND A DOLPHIN of rectangular form, Venus with her right foot raised, looking to dexter with the dolphin at her feet, 23 x 13.3cm, the figure alone 22cm high PROVENANCE: CHARLES AVERY COLLECTION Charles Avery is a specialist in European sculpture, particularly Italian, French, English, Flemish and Dutch. A graduate in Classics at Cambridge University, he obtained a Diploma in the History of Art at the Courtauld Institute and a doctorate for published work from Cambridge. Having been Deputy Keeper of Sculpture at the Victoria and Albert Museum for twelve years (1966-79), and a Director of Christies for ten years, since 1990 he has been a highly respected, independent historian, consultant, writer and lecturer. His books include Florentine Renaissance Sculpture, 1970, Giambologna the Complete Sculpture, Phaidon, 1987, Donatello: An Introduction, John Murray, 1994; Bernini, Genius of the Baroque, Thames and Hudson, 1997 (paperback, 2006), and The Triumph of Motion: Francesco Bertos, 2008. The present rendering in marble is undocumented, save that it was acquired from a dealer in Florence, but could easily be a tribute to what was held to be the Michelangelo original by an English sculptor, such as Nollekens, who owned it; or John Bacon, who was used to working on a small scale on account of his involvement with modelling ceramics. The marble relief is based on the prototype in terracotta (19.5cm x 10cm) formerly attributed to Michelangelo, and finally in the 1980s - to Giambologna. The provenance of the terracotta relief was possibly Senator Bernardo Vecchietti, Villa Il Riposo, Florence, late 16th century; maybe to Cav. Filippo Guadagni (1698-1769), who exhibited a terracotta relief of Venus attributed to Michelangelo in an exhibition of 1729, held in Santissima Annunziata, Florence. Joseph Nollekens, R.A. (his sale Christies, 3-5 July 1823, 3rd days sale, 5 July, p. 22, lot 23: CINQUECENTO AND OTHER MODELS (From the small closet, First Floor) M. Angelo. The original small highly-finished Model, in relief for the Venus of M. Angelo, framed; Sir Thomas Lawrence sale, 19 June 1830, lot 356 for 55 guineas, bought by Samuel Woodburn; Richard Ford (1796-1828), then by descent to the late Sir Brinsley Ford, London. The terracotta relief, not only because of its intrinsic beauty, but more importantly - because it was deemed to be by Michelangelo, on account of the engraving by Frey of 1743 (and presumably earlier still), became a must have composition, as can be judged by the number and variety of media in which it was reproduced, especially those in three dimensions. From at least 1743, the date of the ivory set into the Brand Cabinet, it was known in England and became popular enough to be rendered for the general public in the cheaper and more durable ceramics of Wedgwood and Staffordshire. Other known versions: The following two lots are also based on this composition, but versions in other materials include: Engraving: by Jacob Frey, within a niche, captioned as by Michelangelo and dated Rome 1743. Marble: A) An oval relief in an antique shop in the Fulham Road (1975), 39.5 x 30cm: seen by Timothy Clifford and Sir Brinsley Ford. B) A round-headed relief, with a dished background, labelled as from the noble Rinuccini Collection in Florence, offered at Sothebys, 2014. Ivory: A) A small oval plaque set into the right-hand door of the Thomas Brand Cabinet (Christies 1938, from The Hoo, Hertfordshire; then London, 27 November 1980, lot 24; and at Christies, 5 July 2012, lot 5). This was made shortly after Horace Walpoles Cabinet of 1743 (W-52.1, 2-1925: see M. Trusted, Victoria & Albert Museum: Baroque and Later Ivories, London 2013, pp. 174-80, no. 148). B) An ivory plaque, purchased from the Roman carver, G.B. Pozzi (d.1752) in January 1741 by Henry Howard, 4th Earl of Carlisle (sold Sothebys, London,11 November 1991, lot 58). C) Another copy in ivory noted by Sir Brinsely Ford set into a mantelpiece in Sizergh Castle Ceramic: A) Salt-glazed earthenware, Staffordshire, oval, c. 1755-60 [?], attributed to John Bacon (1740-1799). Collections of the late Derek and then Sir Timothy Clifford. B) Wedgwood and Bentley oval medallion. Holbourne of Menstrie Museum, Bath; The Brooklyn Museum, New York (exhibited at the Art Institute of Chicago, 1962, no. 71). Literature: Richard Ford, MS list of the contents of 123 Park Street, Front Drawing Room: The terracotta of Venus belonged in my youth to Mr. Nollekens, the famous sculptor, and was kept by him in his studio. Sir T[homas] Lawrence in vain tempted him with extravagant offers: Miser though Nollekens was he preferred this gem to gold: at the death of Nollekens, the terra-cotta was bought by Lawrence who kept it in his studio, where I have seen it 100 times: at Lawrences death and sale it was bought by Samuel Woodburn. I waited patiently and bought it at the death of him, my poor old friend J. T. Smith [ed. W. Whitten], 'Nollekens and His Times', London/New York, 1920, pp.10, 160: Mr. Nollekens was likewise an indefatigable enquirer after terra-cottas, executed by the most celebrated sculptors, Michel Angelo, John di Bologna, Fiamingo, &c. The best of these he reserved for himself until the day of his death. This beautiful little gem now sparkles out over the chimneypiece of Sir Thomas Lawrences Front Parlour, a room enviably rich in inestimable jewels. C. Avery, 'Giambologna: the Complete Sculpture', Oxford, 1987, pp. 272-73, no. 160, pl. 321 C. Avery, The Ford Giambolognas, in The Walpole Society, LX, Ford I, 1998, pp. 75-76, & colour plate.
AN ENGLISH WHITE MARBLE BUST OF WILLIAM PITT THE YOUNGER WORKSHOP OF JOSEPH NOLLEKENS, (1737-1823), CIRCA 1810 Unsigned, on a white marble socle 28½ in. (72.5 cm.) high
A CARVED MARBLE BUST OF CHARLES JAMES FOX BY JOSEPH NOLLEKENS (1737-1823) AND WORKSHOP, 1813 On a circular marble socle; signed and dated 'Nollekens Ft. 1813.' to reverse of bust 20¾ in. (52.7 cm.) high; 27 in. (68.6 cm.) high, overall
A CARVED MARBLE BUST OF WILLIAM PITT THE YOUNGER ATTRIBUTED TO JOSEPH NOLLEKENS (1737-1823), EARLY 19TH CENTURY On a circular marble plinth 22 in. (56.2 cm.) high; 27½ in. (70.4 cm.) high, overall
A PATINATED BRONZE BUST OF THE YOUNG BACCHUS MID-19TH CENTURY, AFTER A MODEL ATTRIBUTED TO JOSEPH NOLLEKENS (1737-1823) On a square black marble plinth 15½ in. (39.5 cm.) high
Joseph Nollekens, R.A. (London 1737-1823) Design for the memorial in Westminster Abbey commemorating the lives of Captains William Bayne (1730-1782), William Blair (d. 1782) and Lord Robert Manners (1758-1782) inscribed 'CAPTAIN WILLIAM BAYNE./CAPTAIN WILLIAM BLAIR./CAPTAIN LORD ROBERT MANNERS./WERE MORTALLY WOUNDED,/IN THE COURSE OF THE NAVAL ENGAGEMENTS,/UNDER THE COMMAND OF ADMIRAL SIR GEORGE BRYDGES RODNEY,/ON THE ixυtυh AND xiiυtυh OF APRIL MDCCIXXXII./IN MEMORY OF THEIR SERVICES,/THE KING AND PARLIAMENT OF GREAT BRITAIN/HAVE CAUSED THIS MONUMENT TO BE ERECTED.' (lower centre) and variously inscribed with the officer's names pencil and watercolour, within the artist's gold frameline 31¾ x 26 in. (80.7 x 66 cm.)
Joseph Nollekens, R.A. (London 1737-1823) Twelve designs for monuments six annotated with scale and notes nine pencil, one pencil and brown wash, one pencil, pen and black ink, one pencil and grey wash, one watermark 'J JELLYMAN/1802', one watermark Britannia, one fragmentary watermark, one watermark 'C PATCH/1799', on paper, unframed 12¾ x 8 1/8 in. (32.4 x 20.7 cm.); and smaller (12)
PROPERTY FROM A PRIVATE LONDON LIBRARY (LOTS 107-112) BUST OF A MAN, POSSIBLY SIR JOHN WODEHOUSE BT (LATER 1ST BARON WODEHOUSE) signed: Nollekens Fυt. marble 56cm., 22in.
PROPERTY FROM A PRIVATE LONDON LIBRARY (LOTS 107-112) BUST OF A NOBLEMAN WEARING THE STAR OF THE ORDER OF BATH, PROBABLY THE HON. SIR WILLIAM STANHOPE, KB signed and dated: Nollekens. Fυt; / J775 marble overall: 75cm., 29½in.
Charles Knight, after Joseph Nollekens (1737–1823) Portrait Bust of the Right Hon. William Pitt, 1809 inscribed "To The King's Most Excellent Majesty this Print from the Bust of the Right Hon. William Pitt ... is humbly dedicated by Charles Knight" engraving h:78 w: 49 cm
WORKSHOP OF JOSEPH NOLLEKENS (1737-1823), ENGLISH, FIRST HALF 19TH CENTURY A BRONZED PLASTER BUST OF LORD GEORGE AUGUSTUS HENRY CAVENDISH, 1ST EARL OF BURLINGTON (OF THE SECOND CREATION) (1754-1834) wearing a mantle, two white labels inscribed in black ink: Lord George Cavendish 1 st Earl of Burlington 68cm., 26¾in.
WORKSHOP OF JOSEPH NOLLEKENS (1737-1823), ENGLISH, EARLY 19TH CENTURY A WHITE MARBLE BUST OF LORD GEORGE AUGUSTUS HENRY CAVENDISH, 1ST EARL OF BURLINGTON (OF THE SECOND CREATION) (1754-1834) wearing a loose mantle, inscribed in pencil, F. Faulkes on the back 68cm., 26¾in.
A GROUP OF DESIGNS FOR FREE-STANDING CLAY FIGURES All black chalk, except one drawn in pen and brown ink (recto);inscribed in black chalk, verso: 43 North St;three are drawn on the reverse of letters addressed to the artist in Mortimer Street, London, one bears the date in brown ink, April 22 and another bears part of a letter on the verso: ...precaution.- Mr ... has inserted the / inscription.- / In memory / of H:W:B: Portman Esqr of Bryanston / in the County of Dorset - / who died Jany. 16th. 1796 - aged 57 years. / Mr. Portman would wish to have a line when the / Monument is put on board the Vessel with its / name & c.-
A GROUP SKETCHBOOK PAGES WITH FEMALE FIGURES AFTER THE ANTIQUE All black chalk;a number inscribed with locations in brown ink: Villa Medici [crossed out] / De, Villa Borghese, Negroni, Justiniani, Tivoli / ortro Pitt [?]; one inscribed in black chalk on the base of a statue: MYRTOESSA and in brown ink, upper right: Do;some bear numbering in pencil on old mount: 7, 29, 60, 65, one bears inscription: Villa negroni
