Frederico Nicoli (fl. 1800-1823) British, first quarter 19th century

Overall the condition of the marble is very good, with minor dirt and wear to the surface consistent with age. There is some veining to the marble consistent with the material, notably at the proper right shoulder, to a lesser extent at the proper left shoulder, and to the drapery around the chest. There are several small naturally occurring inclusions, including two with fill to the proper left collar bone, some to the drapery around the chest, and several more with fill to the proper left side of the face. There are a few very minor chips, including to some of the laurel leaves. There are also a few minor chips and abrasions to the socle. There is particular dirt in the crevices.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The prolific partnership between British sculptors Frederico Nicoli and Francis Hardenberg saw the production of several highly acclaimed works between 1817 and 1820. Notably, the pair co-sculpted a 'very fine' bust of Marshal Blücher, now in the Royal Collection at Windsor Castle, and Nicoli’s model of Princess Charlotte was exhibited at the Royal Academy in 1818, and now stands in Buckingham Palace.

The present bust is carved with astonishing realism; the face of the ageing King with full lips and chin, and intensely furrowed brow, compares well to Sir William Beechey’s  (1753-1839) portrait of circa 1800, which hangs in the National Portrait Gallery. Nevertheless, conspicuously adorned with laurel wreath and toga, this model invites closer comparison not only to the King’s numismatic iconography, but also to the work of Sir Richard Westmacott RA (1775-1856), whose Mount Street workshop was situated directly adjacent to that of Nicoli’s, and whose Augustan-style monument to George III, The Copper Horse, continues to dominate the grounds of Windsor Castle. Equally comparable is a model produced by Hardenberg in 1820, and Peter Turnerelli’s bust which now aptly guards King George’s comprehensive literary collection within the British Library.

In addition to the unequivocal connotations of Caesarian strength and majesty, the laurel wreath exudes connotations of military and political victory, significant in the midst of the Napoleonic Wars (1803–1815), and following the King’s earlier failure to prevent American Independence in 1783.

Nevertheless, this glaringly heroic iconography is undercut by a further, tragic significance. Akin to Roman emperors Caligula, Nero, and Justin II, King George III was overcome with mental illness. By the time that Nicoli flourished in 1817, George IV had long served as the King's Regent, and assumed his father’s throne just three years later.

RELATED LITERATURE:
R. Gunnis, Dictionary of British Sculptors 1660–1851, second edition, London, 1968; I. Roscoe, A Biographical Dictionary of Sculptors in Britain 1660 – 1851, New Haven and London, 2009, p. 884