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Auktionsarchiv: Los-Nr. 32

Alfred Gilbert

Schätzpreis
6.000 £ - 8.000 £
ca. 7.263 $ - 9.684 $
Zuschlagspreis:
n. a.
Auktionsarchiv: Los-Nr. 32

Alfred Gilbert

Schätzpreis
6.000 £ - 8.000 £
ca. 7.263 $ - 9.684 $
Zuschlagspreis:
n. a.
Beschreibung:

DescriptionAlfred GilbertBritish1854 - 1934The Mother of the 9th Symphony, portrait of Mrs Charlotte Gilbert
patinated plaster68cm., 26¾in.Condition reportFor further information on the condition of this lot please contact sculpture@sothebys.com.
Please note that Condition 12 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.ProvenanceGuilford Lewis, 1904;Acquired by Isabel McAllister (Alfred Gilbert's assistant and biographer), c. 1935;Bequeathed to Miss Ida Cruttwell Abbott;Adrian Bury (Alfred Gilbert's nephew);Presented to Air Chief Marshal Sir John Barraclough, KCB CBE DFC AFC;His sale, Christie’s, London, 2 July 1971, lot 24 (unsold);Thence by descent to the present ownerLiteratureA. Bury, Shadow of Eros, London 1954, p. 88, pl. XXIII;
R. Dorment, Alfred Gilbert New Haven and London, 1985, pp. 237, 264, fig. 144;
R. Dorment, Alfred Gilbert Sculptor and Goldsmith, exh. cat. Royal Academy of Arts, London, 1986, p. 186, no. 102ExhibitedLondon, Royal Academy of Arts, The Exhibition of the Royal Academy of Arts, 1904, no. 1714;
London, Royal Academy of Arts, Alfred Gilbert Sculptor and Goldsmith, 1986, no. 102Catalogue noteGilbert’s mother, Charlotte (née Cole, 1824-1910), was a strong and abiding influence on Alfred throughout her long life. The daughter of a shoemaker and musician (her father James was the church organist at Tarrington in Herefordshire), Charlotte and her sister, Susannah, attended the Royal College of Music in the mid-1840s, where she met her husband, Alfred Gilbert snr; they married in 1853. Her artistic nature was a constant influence on her children. Gilbert’s nephew, Adrian Bury remembered his grandmother as: ‘small of stature, with a somewhat gipsy-like cast of countenance, and piercing, dark eyes, expressive of great pride and courage … much admired, and held not a little in awe because of her imperious manner … She was completely devoted to her celebrated son and he to her’ (Dorment 1985, op. cit., p. 4).
The unusual title of Gilbert’s bust of his mother is related to his hope that he could win a commission for a memorial to Beethoven. The reason he believed his mother’s portrait was appropriate is because Gilbert himself is said to have had a striking resemblance to Beethoven. This extended to a family likeness and one reviewer of the Royal Academy exhibition observed that: ‘The work in the Sculpture Gallery attracts by its strangeness and genius … The face is that of Beethoven, but the strange overhanging draperies are feminine and the effect of the whole is enigmatical; but the power is extraordinary and the skill of modelling wonderful. The originality of the workmanship, as well as the conception, marks out the bust as the most striking thing in the room’ (Dorment, 1986, op. cit., p. 187). The 1904 Royal Academy catalogue gives the full title for this bust as: The mother of the 9th Symphony - Bust. study of a head for a contemplated monumental homage to Beethoven.
Charlotte Gilbert’s ‘imperious manner’ was also an inspiration for Gilbert’s famous Jubilee Memorial monument to Queen Victoria in Winchester Castle of 1887. Charlotte was only five years younger than Queen Victoria and Dorment has noted that Gilbert infused his mother’s indomitable personality into his portrait of the Queen.
Gilbert’s earliest known work is a seated portrait of his school Headmaster, the Reverend Alfred Leeman, made around 1870. During his career he sculpted fewer than 20 portraits, excluding those of Queen Victoria, and he brought his characteristic originality and inventiveness to this very traditional genre. Many of his portraits challenge the distinction between portraiture and thematic sculpture, such as his moving double portrait of his wife Alice and their first child, George (see lot 18, Master Sculpture from Four Millennia, Sotheby’s 5th July 2022, https://www.sothebys.com/en/buy/auction/2022/master-sculpture-from-four-millennia/mother-and-child), or his late imaginary portraits of Alice Mary Towneley, First Baroness O’Hagan, entitled The Chatelaine, and Edward Stocks-Massey, entitled The Virtuoso, (Dorment, 1986, cat. nos. 109 and 110), and indeed the present original plaster bust of Gilbert’s mother.  

Auktionsarchiv: Los-Nr. 32
Auktion:
Datum:
13.07.2022
Auktionshaus:
Sotheby's
34-35 New Bond St.
London, W1A 2AA
Großbritannien und Nordirland
+44 (0)20 7293 5000
+44 (0)20 7293 5989
Beschreibung:

DescriptionAlfred GilbertBritish1854 - 1934The Mother of the 9th Symphony, portrait of Mrs Charlotte Gilbert
patinated plaster68cm., 26¾in.Condition reportFor further information on the condition of this lot please contact sculpture@sothebys.com.
Please note that Condition 12 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.ProvenanceGuilford Lewis, 1904;Acquired by Isabel McAllister (Alfred Gilbert's assistant and biographer), c. 1935;Bequeathed to Miss Ida Cruttwell Abbott;Adrian Bury (Alfred Gilbert's nephew);Presented to Air Chief Marshal Sir John Barraclough, KCB CBE DFC AFC;His sale, Christie’s, London, 2 July 1971, lot 24 (unsold);Thence by descent to the present ownerLiteratureA. Bury, Shadow of Eros, London 1954, p. 88, pl. XXIII;
R. Dorment, Alfred Gilbert New Haven and London, 1985, pp. 237, 264, fig. 144;
R. Dorment, Alfred Gilbert Sculptor and Goldsmith, exh. cat. Royal Academy of Arts, London, 1986, p. 186, no. 102ExhibitedLondon, Royal Academy of Arts, The Exhibition of the Royal Academy of Arts, 1904, no. 1714;
London, Royal Academy of Arts, Alfred Gilbert Sculptor and Goldsmith, 1986, no. 102Catalogue noteGilbert’s mother, Charlotte (née Cole, 1824-1910), was a strong and abiding influence on Alfred throughout her long life. The daughter of a shoemaker and musician (her father James was the church organist at Tarrington in Herefordshire), Charlotte and her sister, Susannah, attended the Royal College of Music in the mid-1840s, where she met her husband, Alfred Gilbert snr; they married in 1853. Her artistic nature was a constant influence on her children. Gilbert’s nephew, Adrian Bury remembered his grandmother as: ‘small of stature, with a somewhat gipsy-like cast of countenance, and piercing, dark eyes, expressive of great pride and courage … much admired, and held not a little in awe because of her imperious manner … She was completely devoted to her celebrated son and he to her’ (Dorment 1985, op. cit., p. 4).
The unusual title of Gilbert’s bust of his mother is related to his hope that he could win a commission for a memorial to Beethoven. The reason he believed his mother’s portrait was appropriate is because Gilbert himself is said to have had a striking resemblance to Beethoven. This extended to a family likeness and one reviewer of the Royal Academy exhibition observed that: ‘The work in the Sculpture Gallery attracts by its strangeness and genius … The face is that of Beethoven, but the strange overhanging draperies are feminine and the effect of the whole is enigmatical; but the power is extraordinary and the skill of modelling wonderful. The originality of the workmanship, as well as the conception, marks out the bust as the most striking thing in the room’ (Dorment, 1986, op. cit., p. 187). The 1904 Royal Academy catalogue gives the full title for this bust as: The mother of the 9th Symphony - Bust. study of a head for a contemplated monumental homage to Beethoven.
Charlotte Gilbert’s ‘imperious manner’ was also an inspiration for Gilbert’s famous Jubilee Memorial monument to Queen Victoria in Winchester Castle of 1887. Charlotte was only five years younger than Queen Victoria and Dorment has noted that Gilbert infused his mother’s indomitable personality into his portrait of the Queen.
Gilbert’s earliest known work is a seated portrait of his school Headmaster, the Reverend Alfred Leeman, made around 1870. During his career he sculpted fewer than 20 portraits, excluding those of Queen Victoria, and he brought his characteristic originality and inventiveness to this very traditional genre. Many of his portraits challenge the distinction between portraiture and thematic sculpture, such as his moving double portrait of his wife Alice and their first child, George (see lot 18, Master Sculpture from Four Millennia, Sotheby’s 5th July 2022, https://www.sothebys.com/en/buy/auction/2022/master-sculpture-from-four-millennia/mother-and-child), or his late imaginary portraits of Alice Mary Towneley, First Baroness O’Hagan, entitled The Chatelaine, and Edward Stocks-Massey, entitled The Virtuoso, (Dorment, 1986, cat. nos. 109 and 110), and indeed the present original plaster bust of Gilbert’s mother.  

Auktionsarchiv: Los-Nr. 32
Auktion:
Datum:
13.07.2022
Auktionshaus:
Sotheby's
34-35 New Bond St.
London, W1A 2AA
Großbritannien und Nordirland
+44 (0)20 7293 5000
+44 (0)20 7293 5989
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