15929961370001312637261000Standard Recordobject-29736170292701755317029083730001702926928206fitz-onlineadlib-object-29736https://data.fitzmuseum.cam.ac.uk/id/object/2973657ef82e2-9676-30e0-b9f8-dc708773b3dd15personreferenceagent-158126adlib-agent-1581266316743e-3a7d-3548-87b1-90a36fc1756fHandel, George Fridericpersonreferenceagent-149975adlib-agent-149975e6f5b711-54e0-351d-a83c-758cad4cba19angelreferenceterm-98228adlib-term-982283d747999-296f-3944-9a84-2936c3ae9f5csculpturereferenceterm-98112adlib-term-9811232d115a4-d3ac-33b0-b126-2a3da0fdf139portraitApplied ArtsTerracotta, modelled in the round. The composer is seated on a plinth, plucking the strings of a lyre. He is shown in undress, wearing a night-cap and gown, and slippers, one of which has fallen off and is under his foot. A boy 'recording angel' sits at his feet taking down the notes.2referenceexhibition-1273adlib-exhibition-1273e066a7f8-4979-33ba-acc2-31a503fb2397Handel and the Fitzwilliam MuseumF 9referenceexhibition-654adlib-exhibition-65471d91f5d-ff07-35f5-923f-5ee87da17aa7Rococo: Art and Design in Hogarth's England6referenceexhibition-1424adlib-exhibition-1424d3062293-286d-31da-91bc-2a7db4fcacbfHandel, A Celebration of his Life and Times 1685-1759C.36referenceexhibition-2373adlib-exhibition-2373468bb6a8-edac-3df0-890f-1d3aff9e4595Silent Partners: Artist and Mannequin from Function to Fetishreferenceexhibition-3311adlib-exhibition-331158387055-a3d9-3ae0-b728-d65b826d1db4Opera: Passion, Power and PoliticsM.3-19221accession numberM.3-192229736priref29736external IDCAM_CCF_M_3_1922urihttps://data.fitzmuseum.cam.ac.uk/id/object/29736https://data.fitzmuseum.cam.ac.uk/id/object/29736referenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumGiven by Captain E.G. Spencer-Churchillreferenceagent-157193adlib-agent-15719355bce008-f15c-3079-9696-f6ae30ea3df4Spencer Churchill, E. G., Captain192219221922-12-07given1738CE1738before1738sculptorreferenceagent-118198adlib-agent-118198a7742220-d263-32a2-b02d-091c6269df3fRoubiliac, Louis FrançoisIn depicting Handel in the act of composing, Roubiliac encourages us to imagine the the sound of the music being played. Eyes half-shut, the composer leans towards his lyre (a small stringed instrument), concentrating on the notes produced as he plucks the strings. At his feet, his amanuensis (a naked putto) listens carefully, scribbling down the score as Handel plays. The music is probably for Alexander’s Feast, composed in 1736, in which lute and oboe feature (as shown in the sculpture). On the unveiling of the marble statue in April 1738, visitors were astounded by its realism, and would no doubt have enjoyed being able to compare the sculpture with the real man, as Handel regularly frequented the Gardens.This terracotta was the model for Roubiliac’s first major work after settling in London in c.1730: a life-size statue in Carrara marble of the famous composer, Handel made for display in the Vauxhall Pleasure Gardens (now in the Victoria and Albert Museum). Life-size marble statues were the most expensive type of portrait sculpture, traditionally reserved for monarchs and military heroes and normally commissioned for prominent public spaces. Sitters were generally shown standing and dressed in formal attire. The fact that Handel was a German musician, portrayed in casual attire in a relaxed pose, made this informal image a radical departure from accepted convention.referenceterm-121036adlib-term-121036d94c6987-b658-37d7-a4c1-f5da804d2e4018th Century, second quarter#referenceterm-107736adlib-term-107736e93a8dd1-d76d-320b-be9b-afa352e322a1George IIreferenceterm-106216adlib-term-106216825b8379-ec94-388e-9a59-624e40c090d0literalEnglandEnglandcountryprobablyLondonAll or most of the surface appears to be united by a thin pinkish-buff terracotta-coloured wash over a whitish gesso? ground; the latter revealed in thinner areas of wash (e.g. the crease above the PR thigh of the putto) and by minor damage (e.g. chip from toe of Handel's PL slipper).
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imagereferenceterm-107454adlib-term-1074546ca0f2ab-c1f8-329d-8a45-8f1322f53a20figurehistory noteThomas Hudson by 1751); sold in his sale, 26th February 1785, lot 37; purchased by Nathaniel Smith and sold by him to his ma;ster, Joseph Nollekens; sold in his sale, 3rd July, 1823, lot 60 (as by 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 (1876-1964), Northwick, by whom given to the Fitzwilliam Museum.1referenceobject-13450adlib-object-134504b73d6e1-4923-3544-9402-f29748264fff1reference1term-107454adlib-term-1074546ca0f2ab-c1f8-329d-8a45-8f1322f53a20figurefigurereferenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam Museumreference numberliteralnameSculpture UKSculpture UKreference numberliteralnameSensual VirtualSensual VirtualPubl. Provenance, pp. 41-2. Thomas Hudson; his sale, 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.pp. 41-2referencepublication-2370adlib-publication-2370e3713b12-fdd7-33b5-a806-333a62832e5fThe Life and Works of François RoubiliacPubl. Illustrated, pp. 1-13, illustrated p. 10, fig. 11pp. 1-13referencepublication-200000771adlib-publication-200000771b8d94ca1-2a03-3307-8958-83db55496f2cHandel at VauxhallPubl. Illustrated in colour, p. 81, no. 82p. 81referencepublication-382adlib-publication-382ee5148de-e3eb-3d38-88db-9a331edf70b6Treasures of the Fitzwilliam MuseumPubl. p. 89, no. F 9p. 89referencepublication-2341adlib-publication-23419f995346-7a8d-3fd8-910c-b973dd37873bRococo: Art and Design in Hogarth's EnglandPubl. pp. 39-40, no. 6, ill. in colour between pp. 44-5. The provenance is given.pp. 39-40referencepublication-2372adlib-publication-2372886521b2-07d3-3b58-a357-81aa6d0a7fb4Handel, A Celebration of his Life and Times 1685-1759Publ. p. 185, fig. 2.130185referencepublication-6368adlib-publication-63689c344200-cd9c-3b07-ac5e-06c969ee810cI Turned It Into a Palace, Sydney Cockerell and the Fitzwilliam MuseumRef. For background information about Vauxhall gardens and the marble, see pp. 22-31pp. 22-31referencepublication-200000772adlib-publication-200000772cb761bfe-1770-3284-b922-f9c4c3990970Roubiliac's Statue of Handel and the Keeping of Order in Vauxhall Gardens in the Early Eighteenth CenturyRef. 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. 302pp. 41-4referencepublication-200000773adlib-publication-200000773ab92bd55-e9c3-339e-b2ed-8250419d0b6fTyers, Roubiliac and a sculpture's fame: a poem about the commissioning of the Handel statue at VauxhallCf. 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.114-15referencepublication-3759adlib-publication-375973edca64-3289-371a-bf69-0300633e25edBritish Sculpture 1470 to 2000, A Concise Catalogue of the Collection at the Victoria and Albert MuseumPubl. p. 17, illustrated b & w.5-22referencepublication-200002161adlib-publication-200002161ef9eb918-ace0-33fa-9ef4-797aa6273823Roubiliac's Handel for Vauxhall Gardens; a sculpture in contextCatalogue C.62252referencepublication-8424adlib-publication-84245f31fab4-b41f-36a0-964f-e7e8543a7765Silent Partners: Artist and Mannequin from Function to FetishPubl. p. 78 short description, p. 79 full page colour illustrationpp. 78-9referencepublication-8737adlib-publication-8737401a7b78-3a20-3d2c-a046-22a738446b86Opera: Passion Power and Politicsreferenceterm-9010adlib-term-9010ecd03def-5d2a-3b43-bb92-76be16fbabf6Rococoreferenceterm-110268adlib-term-110268fccb06c4-b7ca-32c4-8478-182b56bedd1cVauxhall Gardensobject namereferenceterm-92289adlib-term-92289a68f0b86-a6a2-3a73-a5aa-c22190983802lyreplace namereferenceterm-106216adlib-term-106216825b8379-ec94-388e-9a59-624e40c090d0Londonplace namereferenceterm-131459adlib-term-131459c3946fc7-b99a-378c-87ce-34e6554e4c3951.486667; -0.121833co-ordinatesreferenceterm-1609adlib-term-160984f2e5e2-0de4-3096-98b9-7bb4c12aaffdmaleliterallyrelyreliteralLondonLondonliteral51.486667; -0.12183351.486667; -0.121833literalmalemalereferenceterm-107454adlib-term-1074546ca0f2ab-c1f8-329d-8a45-8f1322f53a20figurefigureterracotta hand-modelled, and firedreferenceterm-120060adlib-term-1200602a6ad93f-460b-3c12-ae60-89a8c8d54a3dhand-modellingGeorge Frideric Handel (1685-1759)object
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