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John Michael Rysbrack

United Kingdom (1693 -  1770 ) Wikipedia® : John Michael Rysbrack
RYSBRACK John Michael  Bust Of John Palmer (1612-1679)

Christie's
Jan 27, 2015
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Artworks in Arcadja
28

Some works of John Michael Rysbrack

Extracted between 28 works in the catalog of Arcadja
John Michael Rysbrack -  King George Ii (1683-1760)

John Michael Rysbrack - King George Ii (1683-1760)

Original 1739
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Price:

Gross Price
Lot number: 193
Other WORKS AT AUCTION
Description:
Michael Rysbrack BUST OF KING GEORGE II (1683-1760) signed: M. RYSBRACK.F. white marble 63cm., 24 3/4 in. 1694-1770 Executed circa 1739. Literature I. Roscoe, E. Hardy and M. G. Sullivan,A Biographical Dictionary of Sculptors in Britain 1660-1851, New Haven and Yale, 2009, p. 1087, no. 212 Catalogue Note This beautifully carved autograph bust of George II by Michael Rysbrack follows a terracotta model taken from life and dated 1738 in the Royal Collection at Kensington Palace (RCIN 1412). The terracotta is paired with a bust of QueenCaroline (1683-1737; RCIN 1411). Vertu, in his diaries from1738, records that\‘the KING … sat to [Rysbrack] at Kensington twice. to have his picture modelled in Clay. the likeness much approvd on – and with a good Air. – also a Moddel of the Queen vastly like. Tho\’ not done from the life\’ (as quoted in Webb, op. cit., p. 155). The terracotta busts were subsequently offered in Rysbrack's sale on 14 February 1767, lots 57-58, there acquired by Sir Edward Littleton for Teddesley Hall. They were inherited by Lord Hatherton, whose collection was sold by Spink in 1932, where they were purchased by Queen Mary and installed in the Private Apartments at Windsor (Webb, op. cit., p. 155). Rysbrack executed a pair of marble versions of the busts for George II, who placedthem in the new library at St James' Palace, designed for Queen Caroline by William Kent; though she never saw it since she died in 1737 before it was completed (Esdaile, op. cit., p. 41). These busts are almost certainly the prime marble versions and can still be seen today in the Royal Collection at Kensington Palace (inv. nos. RCIN 31322 and 31317). The fact that Rysbrack kept the terracotta models indicates that he was given permission to execute further versions. Interestingly, a marble bust of Queen Caroline, signed M. RYSBRACK, is housed in the Wallace Collection, London (inv. no. S24). Given that the models were conceived as pendants, and in the absence of another clear candidate, it is possible that the present bust is the missing partner to the Wallace Collection marble. The model was adapted by Rysbrack, and an older king appears in busts in the Royal Collection at Windsor Castle (St George's Hall) (inv. no. RCIN 31623) and in the Victoria and Albert Museum (inv. no. A10:1 to 3-1932; catalogued as workshop). A further bust of George II by Rysbrack is recorded at Christ Church, Oxford (see Roscoe, op. cit., p. 1087). In the present bust Rysbrackpresents the King in armour in the guise of a Roman general, the wreath of triumph surmounting his head. The attention to detail, with the fantastical all'antica armour, centred by the mask of Medusa at the chest and balanced with elaborate lion mask pauldrons, is typical of the sculptor's portrait busts.This format is exemplified by Rysbrack's busts of John Churchill, Duke of Marlborough, of which an important version from the Northumberland collection was sold in these rooms on 9 July 2014, lot 12. In the present bust, however, there is an even greater degree of elaboration, reflecting the status of the sitter. Dramatically draped across the torso is a silk sash suspended with theemblem of the Order of the Garter,The Lesser George. This addition is probably a deliberate reference to Bernini's lost bust of Charles I. Michael Rysbrack was one of the greatest British 18th-century sculptors. A Fleming by birth, he arrived in London in 1720. His early tomb sculptures captivated the British public and soon he could count Lord Burlington, Viscount Cobham, and Sarah Churchill, Duchess of Marlborough, amongst his most loyal patrons. Sarah Churchill\’s patronage led him to create one of his most important tombs, that of John Churchill, 1st Duke of Marlborough at Blenheim Palace. Rysbrack\’s greatest public commission was his equestrian statue of King William III in Queen Square Bristol of 1733-1736. Important works by Rysbrack can be found in many of the world\’s leading museums, including the Victoria and Albert Museum, London, and the Metropolitan Museum of Art, New York. RELATED LITERATURE A. Esdaile, The Art of John Michael Rysbrack in Terracotta, cat. Spink, London, July 1932, p. 41, M. I. Webb,Michael Rysbrack, London, 1954; J. Kenworthy-Browne, 'Portrait Busts by Rysbrack',National Trust Studies 1980(1979), 67;Robert Williams and Katharine Eustace. "Rysbrack."Grove Art Online.Oxford Art Online. Oxford University Press. Web. 11 May. 2014.; Katharine Eustace, \‘Rysbrack, (John) Michael(1694–1770)\’,Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, May 2009 [http://www.oxforddnb.com/view/article/24427, accessed 12 August 2017]
John Michael Rysbrack -  Bust Of John Palmer (1612-1679)

John Michael Rysbrack - Bust Of John Palmer (1612-1679)

Original
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Price:

Lot number: 287
Other WORKS AT AUCTION
Description:
Lot Description

A PLASTER BUST OF JOHN PALMER (1612-1679) AFTER A MODEL BY MICHAEL RYSBRACK (1694-1770), PROBABLY BY PLOWDEN & SMITH, LATE 20TH CENTURY 24 ½ in. (62.2 cm.) high

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John Michael Rysbrack - Bust Of John Churchill

John Michael Rysbrack - Bust Of John Churchill

Original
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Gross Price
Lot number: 12
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Description:
Charles Seymour, 6th Duke of Somerset (1662-1748), Northumberland House, London;

by descent to Algernon Seymour, 7th Duke of Somerset (1684-1750), Northumberland House, London,

by descent to Elizabeth Percy (née Seymour), 1st Duchess of Northumberland (1716-1776), Northumberland House, London;

by descent to George Percy, 5th Duke of Northumberland (1778-1867), Syon House, Middlesex;

thence by descent.

London, Northumberland House, until circa 1874;

Middlesex, Syon House, 1866-2004;

London, The Royal Academy of Arts, English Taste in the 18th century from Baroque to Neo-Classic, 1955-1956, no. 37

SOLD BY ORDER OF THE 12TH DUKE OF NORTHUMBERLAND AND THE TRUSTEES OF THE NORTHUMBERLAND ESTATES
Michael Rysbrack (1694-1770)
English, circa 1722-1748
BUST OF JOHN CHURCHILL, 1ST DUKE OF MARLBOROUGH (1650-1722)

inscribed to the front of the socle: IOHANNES / DUX MARLBURIENSIS / S.R. Imperij Princeps &c / Angliae et Bataviae Libertatum / periclitantuim Assertor, / Galliae Triumphantis / Domitor et Flagellum / Germaniae ruentis Liberator / ac Tutamen. / Qui, per acerrimum Decenne Bellum /' Hostium copias Saepius aggressius, nunq: / non fudit, EorumqE oppida oppugnans / nunquam non expugnavit.

inscribed to the reverse of the socle: IOHN Duke of MARLBOROUGH / Prince of the Roman Empire, & c

a

. / The Rescuer of the Liberties of / ENGLAND and HOLLAND / when in most Imminent Danger, The Subduer and Scourge of FRANCE when in its Height of Power, The Deliverer and Protector of GERMANY, When at the Point of Ruin, Who through the whole course, of A Ten Years Vigorous War, In Repeated Attacks, Upon The Enemies, Armies and Continual Assaults upon their Strong Townes, Never once fail'd of Success.

white marble, on a white marble socle

bust: 63cm., 24¾in.

socle: 30cm., 11¾in.

Overall the condition of the bust is very good. There is minor dirt and wear to the surface, in particular dirt to the crevices in the hair and wreath. There are a few faint pencil marks, including one to the proper left cheek. There are some minor splashes of paint, including to the proper left shoulder. There are a few small naturally occurring inclusions, including to the drapery on the proper left side of the body. There is some minor veining consistent with the material, in particular to the chin and neck, and there are some small minerals visible in the bottom lip. There are some small chips, in particular to the bottom edge of the bust at the front and to the edges of the arm drapery. There is a larger loss to the back of the bust at the bottom left corner (truncation). There are various chips and abrasions to the edges and corners of the socle. There is some wear to the painted inscriptions on the socle in areas. The carving is executed with great proficiency; it is of excellent quality, particularly in the hair and wreath. "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."
John Michael Rysbrack - A Goat-herder With His Flock

John Michael Rysbrack - A Goat-herder With His Flock

Original
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Gross Price
Lot number: 352
Other WORKS AT AUCTION
Description:
LOT 352
JOHN MICHAEL RYSBRACK

ANTWERP 1693 - 1770 LONDON
A GOAT-HERDER WITH HIS FLOCK
together with a Study of the Death of Meleager and a Composition of Classical Figures, by the same hand
Quantity: 3
The first: pen and brown ink with red chalk and grey and brown wash; the second: pen and black ink and brown wash, heightened with white, on prepared laid paper; the third: pen and brown ink and brown wash, heightened with white, on prepared laid paper;
the first: inscribed lower left: Mich:e [sic] Rysbrack Sculptor 1750
The first: 148 by 187 mm; the second 195 by 356 mm; the third: 195 by 254 mm
John Michael Rysbrack - Two Maenads Dancing And Playing Tambourines

John Michael Rysbrack - Two Maenads Dancing And Playing Tambourines

Original
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Net Price
Lot number: 268
Other WORKS AT AUCTION
Description:
John Michael Rysbrack (Antwerp 1694-1770)

Two Maenads dancing and playing tambourines

inscribed 'Mich: Rysbrack Invent:t' (on the mount)

red chalk, pen and brown ink, brown wash heightened with white on paper, laid on to an 18th century mount

17.4 x 12cm (6 7/8 x 4 3/4in).
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