Worlds within Worlds | Works from the Collection of Peter Petrou

Attributed to John Cheere, 1709-1787 | Pair of Figures of Scaramouche and Pantalone

UK: Greenford Park WarehouseVAT applies to buyers outside the UK

Lot Closed

September 21, 05:00 PM GMT

Estimate

15,000 - 25,000 GBP

Lot Details

Description

Attributed to John Cheere

1709-1787

Pair of Figures of Scaramouche and Pantalone

lead, on modern painted wood bases

height of figures: 97cm., 38⅛in. and 99cm., 39in.; bases: 60 by 50 by 50cm., 23⅝by 19¾ by 19¾in.

Executed in London, circa 1755.

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Private Collection, the Netherlands, 19th century

Private Collection, Italy

with Gertrud Rudigier, Munich, 1980

Private Collection, Germany

Christie's, London, 2 December 2014, lots 97 and 98

with Daniel Katz, London, (total £90,000).

These amusing figures of Scaramouche and Pantalone from the Commedia dell'Arte can be attributed to John Cheere, who was the leading lead caster in 18th-century England. Statues by Cheere can be found in the gardens of many of England's greatest country houses, including Castle Howard, Hampton Court Palace, Syon House, Chiswick House and Keddleston Hall to name but a few. His statues were a feature of any fashionable 18th-century garden until the arrival of Capability Brown and his Arcadian landscapes.

Cheere’s reputation as a master of his art is confirmed by a probable reference to his work by the satirist Richard Cumberland in his Visit to Sir Theodore and Lady Thimble. Describing the approach to Sir Theodore’s estate he remarks upon having caught the glimpse of a well-dressed gentleman, standing in a very becoming attitude, who, I concluded, must be the master of the mansion, waiting our approach; and as I perceived, he had his hat under his arm, expecting us with great politeness and civility, I instantly took mine from my head … but, how was I surprised to find, in place of Sir Theodore, a leaden statue on a pair of scates, painted in a blue and gold coat, with a red waistcoat, whose person, upon closer examination, I recollected to have been acquainted with some years ago, amongst the elegant group, which a certain celebrated artist exhibits to the amusement of stage-coaches and country wagons, upon their entrance into town at Hyde-Park Corner.

This reference is, of course, somewhat tongue-in-cheek and is from a fictional account. However, it gives us a sense of the high esteem in which Cheere was held during his lifetime. The sculptor produced numerous lead and plaster sculptures for many of the greatest country houses in Britain. He produced two large lead figures of the Borghese Gladiator and the Dancing Faun for Castle Howard, numerous leads for the gardens at Stourhead, and statues for Burton Agnes Hall, Hampton Court Palace, Syon Park and Blenheim Palace. These commissions give us a sense of the scale of Cheere’s reputation, and the widespread taste for his sculptures.

In the late 1750s, he received his most important commission of garden statuary, for more than ninety lead statues and groups for the Royal Palace at Queluz in Portugal for King Pedro III. The commission, which reflects the close diplomatic ties between Britain and Portugal throughout the 18^th century, was probably instigated by Dean Joseph Wilcocks, who had been Chaplain of the British Factory in Lisbon. No other British sculptor could have completed such an order, which was dispatched in three shipments between 1755 and 1757. Whilst the leads represent the high point of Cheere’s oeuvre, he was also a prolific caster of plaster busts and statues. Examples of his work include the monumental plaster Apollo Belvedere at Syon, and the twenty-four busts of scholars in the Codrington Library, Oxford. One of the earliest commissions Cheere received from his most loyal patron, the 2^nd Duke of Atholl, was, in fact, for seventeen plaster busts for Blair Castle. The sculptor went on to produce numerous plasters and lead casts the Duke, which remain in situ to this day.

By the 1750s Cheere’s reputation as a maker of garden statuary par excellence had reached its height, as is clear from the Portuguese Royal commission towards the end of the decade, which adds an international dimension to his oeuvre.

The present figures are rare and evidence the variety of Cheere's repertoire, which ranged from classical figures after the antique to Punch and Judy characters. Although not signed the quality is absolutely consistent with Cheere's output, and it is known that he produced statues of such characters, as has been outlined by Davis, who describes his oeuvre as consisting 'Punch, harlequin, Columbine and other pantomimical characters' (op. cit.). Pantalone and Scaramouche are, of course, figures from the Commedia dell'Arte, but they would have been well known to English customers at the time since they often appeared in Punch and Judy shows. Pantalone was the greedy Venetian merchant with a cat on his shoulder, and Scaramouche, a coward who was frequently beaten by Harlequin.

RELATED LITERATURE
T. Friedman, The man at Hyde Park Corner. Sculpture by John Cheere 1709-1787, exh. cat. Temple Newsam Leeds, 1974; J. P. S. Davis, Antique Garden Ornament: 300 years of creativity: Artists, manufacturers and materials, Woodbridge, 1991, p. 31