1736-1738
8: 1736 (?) (c. 50)
Artist:
Denner, Balthasar (1685-1749) (?)Inscribed signature:
In the middle right: “Denner 1736” (probably not signed by Denner)Description:
Oval oil painting, with an applied rectangular frame, inscribed on the four corners of the frame: “FREDRICK HANDEL. AETATIS. 52. OB. T. 75”; upper body looking to the right, wig, neck piece, coat (5 buttons), vest (5 buttons)Type and material: H x W cm:
Oil: 67.3 x 35.6Date of creation:
1736 (?)Comments:
In spite of the variously expressed doubts, there is an unmistakable resemblance to other authentic portraits. - Harald Marx, Dresden: “excellent” ; Goddard: “A portrait of a man by Denner belonging to Lord Sackville at Knole, which is now generally considered not to be of Handel.” ; Maitland and Squire p. 29: “Doubtful whether this is a portrait of Handel for it is dated 1736 and represents a man between thirty and forty.”Sources and illustrations:
Goddard p. 48, 49 ; Maitland and Squire p. 29 ; Smith 3, 11Provenance:
Notation on a photograph: “Bought by the 3rd Duke of Dorset, 1778.” ; Bridgewater catalogue, Knole, 1817 (?)Owner:
Lord Sackville, Knole House, Sevenoaks, Kent
9: 1737 (52)
Artist:
Wolfgang, Georg Andreas the Younger (1703-1745)Inscribed signature:
Lower left: “G A/W“Type and material: H x W cm:
Oil on ivory, miniature: 17 x 13.4Date of creation:
Probably 1737Comments:
The miniature shows Handel with an organ in the background.Sources and illustrations:
Simon, p. 38-39, reproduction in front of p. 36 ; Smith 1, p. 132 ; Kerslake, p. 130, pl. 325Provenance:
Probably purchased by the Prince Consort for the Royal Collection on Dec. 4, 1860. (Displayed in the Royal Archives in 1881.)Owner:
Royal Collection
Copy (?)
Artist:
Anonymous (Hudson school) after Georg Andreas Wolfgang the Younger (1703-1745) (?)Description:
Very similar to the miniature, Handel is holding a score labeled Alexander’s Feast in his right hand, his left hand rests on his hip; three quarter length, body turned to the left, face looking forwards; wig, neck piece, brown overcoat, ruffles, light brown undercoat, partly buttoned.Type and material: H x W cm:
Oil on canvas: 121.5 x 98Date of creation:
c. 1737Comments:
This portrait was formerly attributed to Th. Hudson, but is unquestionably based on the miniature by Wolfgang. It was displayed in the Handel exhibition in London in 1859 and in Vienna in 1892Sources and illustrations:
Flower 1947 and 1959 (Frontispiece in colour) ; Henrice Auktionskatalog CXXX, 24 March 1928 ; Coopersmith p. 159, FN 21 ; Vogel, p. 26 ; The Listener, 23.4.1942 ; Musica (1956) 9, pl. 18 (as "Hudson, Faber”) ; Smith 3, 82 ; Simon, p. 38-39Provenance:
This painting was auctioned off by K. E. Henrici in Berlin on March 24, 1928 (lot 129) on behalf of Harry E. Smith, Streatham, London. It was described for the auction as coming from the collection of Dr. Harry E. Smith of Streatham. It was acquired by Newman Flower and Desmond Flower and is now part of the Coke Collection.Owner:
Gerald Coke Handel Collection (Paintings 4073)
10: 1737/38 (52-53)
Artist:
Roubiliac, Louis François (1702/5-1762)Type and Material: H x W cm:
Terracotta : 47 cm (height)Comments:
This terracotta statuette was commissioned by Jonathan Tyer as a model for the lifesized Handel statue which was to be placed in a particular niche in the Vauxhall Pleasure Gardens. Roubiliac must have begun with this work in the summer of 1737 before Handel’s departure for the continent. Handel had ended his season at Covent Garden with his musical version of Dryden’s ode, Alexander’s Feast. This display of the “power of music” must have inspired Roubiliac, especially the entry scene with the lines “Timotheus plac’d on high … with flying Fingers touch’d the Lyre.” This terracotta statuette is a masterpiece of the English rococo style.Sources and illustrations:
Esdaile, Katharine A. (1928) The Life and Works of François Roubiliac, London: Oxford University Press, pp. 37, 39, 41-42 ; Hodgkinson, Terence Handel at Vauxhall, [page: pp. 1-13] Source title: Victoria and Albert Museum Bulletin (comments: Publ. Illustrated, pp. 1-13, illustrated p. 10, fig. 11 ; (1982) Treasures of the Fitzwilliam Museum, Cambridge (Cambs.): Pevensey Press, p. 81 ; [comments: Publ. Illustrated in colour, p. 81, no. 82] ; Exhibition Catalogue: (1984) Rococo: Art and Design in Hogarth's England, London, p. 89 [comments: Publ. p. 89, no. F 9] ; Bindman, David Roubiliac's Statue of Handel and the Keeping of Order in Vauxhall Gardens in the Early Eighteenth Century, pp. 22-31 ; The Sculpture Journal (1997) [comments: Ref. For background information about Vauxhall gardens and the marble, see pp. 22-31] ; Baker, Malcolm Tyers, Roubiliac and a sculpture's fame: a poem about the commissioning of the Handel statue at Vauxhall, pp. 41-4] ; The Sculpture Journal (1998)[comments: Ref. pp. 41-4. It was entitled 'To the Master of Vauxhall Gardens, on his employing the ingenious Mr Roubillac to carve the Statue of Mr. Handel' London Magazine, VII (June 1738), p. 302] ; catalogue: Bilbey, Diane (2002) British Sculpture 1470 to 2000 : A Concise Catalogue of the Collection at the Victoria and Albert Museum, London : V. & A. Publications, p. 114-15 [comments: Cf. p. 114-15, no. 156, the marble in the Victoria and Albert Museum (A.3-1965). The Fitzwilliam's terracotta is mentioned on p. 115. The author's identify Handle as in the guise of Orpheus playing Apollo's lyre.] ; Simon, pp. 39-40, reproduction between pp. 44 and 45 ; Kerslake, p. 129 ; Victoria and Albert Museum Bulletin 1(1965)4, p. 1-14Provenance:
The statuette first belonged to Thomas Hudson, a friend of Roubiliac. Nathaniel Smith bought it at auction at Christie’s on c. 26th February 1785, lot 37; purchased by Nathaniel Smith and sold by him to his master, Joseph Nollekens; Nollekens sale, 3rd July, 1823, lot 60 (as Carlini), purchased by 'Hamlet, the silversmith', presumably Thomas Hamlet; probably purchased for Northwick Park at Hamlet's sale held by Robins, 29th July, 1833 (only recorded copy of the sale cat. derives from the Northwick Park Library); Captain E.G. Spencer-Churchill, Northwick, by whom given to the Fitzwilliam Museum.Owner:
Fitzwilliam Museum Cambridge (M3-1922)
10.1 (52-53)
Artist:
Roubiliac, Louis François (1702/5-1762)Inscribed signature:
Back of the pedestal: "L. F. ROUBILIAC. IN ET SCUL”Description:
A full-figured seated representation, on a base – this was later placed on a large marble pedestal with the inscription “Handel.” The figure is shown with crossed legs, night cap, long wrap, house coat, knee pants, slippers (one of which is dangling from the left foot). In this representation Handel is playing a lyre, which he is holding in his left hand; sitting at his feet is a naked boy who is writing on a piece of paper which he has placed against the back of a violoncello. On the ground lie a flute and an oboe. Handel’s left arm is placed on a number of scores, four of which have the titles: “ALEX FEAST, OPERAS, ORAS, LESSONS.” The statue is sculpted from Carrara marble which was white at one time, but is somewhat discolored today.
Type and material:
Marble statueDate of creation:
1738Comments:
The pedestal was probably added at the time of acquisition by the Sacred Harmonic Society in 1854.Sources and illustrations:
See Nr. 10 ; Smith 3, 345Provenance:
Obtained from Novello & Co. of London in 1965.Owner:
Victoria & Albert Museum
11.1: 1737/38 (52-53)
Artist of the prototype:
AnonymousArtist of this work: Houbraken, Jacobus (1698-1780
Inscibed signature
J. Houbraken sculps. Amst.Description:
The portrait is based on an unknown original; with a scene taken from Hubert Francois Gravelot (1699-1773) on the lower part of the work (scene 1, act 1 from Alexander’s Feast)Type and material: H x W cm:
Print from copper plate: 35.6 x 22.1Date of creation:
June 15, 1737 – March 2, 1738Comments:
This is the only printed portrait of Handel which we know to have been approved by Handel. It was originally intended to be included for the subscription to the score of Alexander’s Feast, published by Walsh. However, it was also used in subsequent publications and was sold by Handel himself in his house on Brook Street. The existence of the print was announced in The Country Journal on April 22, 1738 with the following:“This Day is publish'd (And are ready to be deliver'd to the Subscibers for Alexander's Feast) A Print of Mr. Handel. Engraved by the celebrated Mr Houbraken of Amsterdam. The Ornaments design'd by Mr Gravelot.”
The suspicion that this print was based on an unknown original is confirmed by the fact that the face is reproduced in mirror image – in the original the birthmark is on the left cheek (compare the summary above).
Sources and illustrations:
Simon, pp. 32 and 38 ; Reproduction in some early editions of Handel’s music, first included in Alexander’s Feast 1737.
