traces of polychromy, with later resin base.

Sotheby's, London, November 9, 1999, lot 65

Remains of dark lacquer. Dents, scratches, small losses, and general wear throughout commensurate with age and material. Dents include his nose and some fingers. Small losses include very bottom edge of drapery in back. Several cracks on base of his pedestal which may have occurred during casting, all repaired/soldered and overpainted. Some repair to back of his pedestal.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This sculpture is from a series of portraits of important historical figures by the English artist John Cheere. Cheere worked in the studio of his older brother, Sir Henry Cheere, for five years before opening his own workshop in 1737 at Hyde Park Corner. It was there that he produced the lead figures for which he is best known.

A signed, slightly larger bronzed plaster example of this model was shown in the first exhibition dedicated to Cheere's work, titled The Man at Hyde Park Corner. Sculpture by John Cheere at Temple Newsom, Leeds and at Marble Hill House, Twickenham in 1974. At the time, this was the only known example of Cheere's model of Locke, though it was listed in a 1754 letter from the artist to John Grimston and presumed to have been produced in multiples. The portrait was originally made for a set of bronzed plaster figures commissioned by the Turner family, formerly at Kirkleatham Hall in Yorkshire. Many of the Turner portraits of historical figures were loaned to the 1974 exhibition from the Castle Museum in York and were on permanent loan to the York City Art Gallery where they are preserved today. The Turner set is comprised of figures of Homer, Edmund Spenser, William Shakespeare, John Milton, Alexander Pope, Peter Paul Rubens, Anthony van Dyck, Inigo Jones, and Isaac Newton. Examples of Cheer👍e's lead figures of Edmund Spenser and Alexander Pope standing are in the Victoria and Albert Museum, London (inv. nos. A.3-1955 and A.4-1955). Cheere also executed a plaster portrait bust of Locke, now in the collection of the Victoria and Albert Museum (inv. no. A.84-1921), probably modeled after the marble portrait by John Michael Rysbrack.

The facial features and turn of the head and shoulders of this figure are said to be based on George Vertue's engraved portrait of the philosopher after the British court painter Sir Godfrey Kneller, a print of which was loaned to the 1974 exhibition by the Leeds Public Library. Another print is currently on display in the National Portrait Gallery's exhibition titled The Art of Drawing: Portraits from the Collection, 1670-1780.

RELATED LITERATURE
Timothy Clifford and Terry Friedman (eds.), The Man at Hyde Park Corner. Sculpture by John Cheere 1709-1787, (exh. cat.) Temple Newsom, Leeds and⛦ Marble Hill House, Twickenham, 1974, cat. no. 72