John (1740) Bacon Sold at Auction Prices

Sculptor, b. 1740 - d. 1799

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  • A GEORGE III STATUARY MARBLE CHIMNEYPIECE
    Feb. 02, 2012

    A GEORGE III STATUARY MARBLE CHIMNEYPIECE

    Est: £20,000 - £30,000

    A GEORGE III STATUARY MARBLE CHIMNEYPIECE IN THE MANNER OF JOHN BACON (1740-99), CIRCA 1790 AND LATER The moulded shelf above a frieze centred by a panel carved with figures of Venus and Andromache attended by a sacrificial lamb, the end blockings with seated figures of 'drawing' and 'painting' above the jambs with two Muses in lozenge panels, the opening with Siena marble panels with white mouldings, the Siena marble later 54¾ in. (139 cm.) high; 71¾ in. (182.2 cm.) wide; 7¾ in. (19.5 cm.) deep; the opening: 39 1/8 in. (99.2 cm.) high; 41 in. (104 cm.) wide

    Christie's
  • An artificial stone figure of 'Old Father Time'
    Feb. 19, 2003

    An artificial stone figure of 'Old Father Time'

    Est: $6,360 - $9,540

    Attributed to the Coade manufactury, Circa 1790 The winged figure seated a naturalistic base, restorations and losses overall 513/4in. (131.5cm.) high overall NOTES A similar figure by Coade and dated 1792 was sold Christie's at Wrotham Park, 21st June 1994, lot 199, œ51,000. Two variants on this theme by Coade are known to have been produced; the present type, which should have a sickle to his right hand and an hour glass resting in the palm of his left hand (now lacking). (The signature to the base of the plinth has also been completely obscured by restoration.) The other type as offered in the above sale again has an hour glass in his left hand but his right arm is raised to support a sundial. The modelling closely relates to that of Coade's River God figure, noted in the catalogue of 1784, which can be attributed to the sculptor John Bacon (d.1799), with whom Mrs Eleanor Coade (d.1796) was in partnership (see A. Kelly, Mrs Coade's Stone, Worcs., 1990. p.62). The same Chronos figure is featured alongside the sarcophagus of Dame Anne Henniker (d.1793) in Rochester Cathedral and its design appears to have been mistakenly attributed to the sculptor Thomas Banks in the Gentleman's Magazine, 1794, part 1, p.410. (see A. Kelly, op cit p.250). An engraving with Father Time is also featured as the frontispiece to the book of etchings of Coade's Gallery, which also includes this figure (see Kelly, op cit, p.66). Another sun-dial commissioned by the architect Sir John Soane (d.1837) is discussed by A. Kelly, Sir John Soane and Mrs Eleanor Coade, Apollo, 1989; while one purchased by James Baxter for his Turnham Green house in July 1818 was described as "A statue of Time with scythe and hour-glass complete with rustic plinth. 18 pounds. (A. Kelly, op cit, 1990, p.144). A six foot figure of Time is listed as item no.20 in A Descriptive Catalogue of Coade's Artificial Stone Manufactory of 1784.

    Christie's
  • A GEORGE III WHITE CARRARA AND ITALIAN PINK MARBLE CHIMNEYPIECE
    Jul. 04, 2002

    A GEORGE III WHITE CARRARA AND ITALIAN PINK MARBLE CHIMNEYPIECE

    Est: $38,750 - $62,000

    The rectangular moulded shelf above a leaf-carved cavetto frieze and two granite panels flanking a central tablet of a reclining Bacchante, between granite panelled pilasters headed by leaf-wrapped volutes and capitals carved with ribbon-tied urns hung with grapes, with a Victorian cast-iron surround Overall: 361/2 in. (161.5 cm.) high; 813/4 in. (207.5 cm.) wide; Aperture (without cast-iron surround): 453/4 in. (116 cm.) high; 521/2 in. (133.5 cm.) wide PROVENANCE Commissioned by Sir Bourchier Wrey (7th Bt.) for Tawstock Hall, Barnstable, Devon, circa 1789, and by descent. NOTES Th000awstock Hall chimney-piece, designed in the 1780s for Sir Bourchier Wrey (d. 1826), is likely to have formed the focal point of his dining room. Inlaid in the Roman manner with tablets of rose-red Italian marble mottled in the Egyptian granite fashion, the chimney-piece is enriched with statuary marble bas- reliefs celebrating lyric and pastoral poetry, the harvest of the Autumn Season and the t0iumph of the wine-deity Bacchus. Its palm-wreathed tablet celebrates The Feast of Bacchus with an Arcadian bacchante reclining in the Roman 0ashion beside vines and a grape-filled krater vase while pouring wine into0a tazza. Trophies of vine-decked sacrificial ewers suspend in tablets raised above the pilasters, whose elegant vine-festooned tru0ses are wrapped by Roman foliage. In0 1837) for designs for his dining room chimney-piece, but appears to have rejected his proposals. Instead, the architecture of this c0imney-piece relates to the work of the architect James Wyatt (d. 1813), so it is seems likely that he commissioned this chimney-piece from John Bacon, R.A. (d. 1799). The reclined bacchante's pose relates to that of a river nymph that Bacon design in the 1770s, as well as to 0 0IMrs Coade's Stone, London, 1990, pp. 129 and 170). Soane's Journal, I, (p. 183), notes on 18 Mar 1790 that one of his pupils took 'Sir B.Wrey, Bruton Street 2 fair drawgns of Chy Pieces one for Eating Room & one of Drawing room...they are not what he wishes...'. We would like to thank Susan Palmer archivist at the Sir John Soane's Museum for this information. Since 1940, Tawstock has been St Michael's School and this chimneypiece was removed in 1970. SALESROOM NOTICE The overall height measurement is 631/2 in. and not as stated in the catalogue.

    Christie's
  • A GEORGE III COADESTONE FIGURE
    Oct. 18, 2001

    A GEORGE III COADESTONE FIGURE

    Est: $15,000 - $25,000

    Signed and dated Coade London 1791 The female figure standing with a sicle in her right hand and wheat in her left with wheat in her hair, standing on a demilune base inscribed 'Autumn' on a later plinth, inscribed twice B698X and Autumn 75in. (190.5cm.) high, 23in. (58.5cm.) wide, 20in. (51cm.) deep PROVENANCE Purchased from Plaza Art Gallery by French and Company, Inc., New York in 1959 (originally a set of four figures representing the four seasons). Acquired from French and Company, Inc., New York, 19 August 1960 ($1,700). NOTES Coadestone, a manufactured stone meant to mimic limestone, was made from a mixture of ground glass, flint, sand, clay and petrified clay, a combination which often turned out to be more durable than the stone it was imitating. The mixture was then poured into molds, dried, fired in kilns and finished by hand. The technique was pioneered by the mother-daughter team, both named Eleanor Coade when the elder married the artificial stone manufacturer Daniel Pincot and established their kiln at Lambeth, in London. Their efforts were immediately successful as the firm was able to produce, at great speed, high quality pieces. By the early 1770's they had teamed up with the neoclassical sculptor John Bacon, who was to remain their leading designer until his death in 1799. Coadestone was supplied to architects and used in many interiors for fireplaces, plaques and other architectural elements. And since it withstood the frost, it was put to great use as outdoor ornament and garden sculpture as well. While the present lot is on a base inscribed Autumn, the figure appears to represent the vestal figure of the corn-bearing harvest deity Ceres, emblematic of Summer. A related Ceres features in an engraving of the kiln published in the European Magazine, 1784, and was listed in Coades' 1784 catalogue. A set of the Seasons of the same measurements, was acquired by Earl Fitzwilliam and another related Ceres was supplied for the Orangery at Burton Constable, Yorkshire in 1789 (see A. Kelly, Mrs Coades Stone, Reading, 1990, pp.62 and 131). The present lot formed part of a group of four statues representing the seasons and intended for the garden. The four seasons remained together when they were purchased by French and Company in 1959. A similar model, possibly also part of what was a similar group is illustrated in A. Wilkie, 'Coade Stone', Elle Decor, May 2001, p.84. Christie's would like to thank Angus Wilkie for his help in preparing this catalogue entry.

    Christie's
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