C O N T E X T 1 2 4 : M A Y 2 0 1 2 37 Christine White and Rupert Harris Historic statuary at Trent Park Two 18th century lead statue groups have been conserved after Enfield Council, working with the local voluntary sector, created a database of public monuments and sculpture. Looking after historic statuary – essentially works of art – can be a challenge to custodians, particularly those in the public sector, who are also often trying to maintain historic buildings and grounds, equip them for 21st century use, and provide a core business or service. For the local authority, the first step is to know what sculpture there is in the borough, where it is located, what condition it is in and who is responsible for it. Enfield Council, working with the local voluntary sector, created a database of public monuments and sculpture in the borough. The data was collected in a format that could also be used by the Public Monuments and SculptureAssociation (PMSA) for input into its National Recording Project. Enfield Council is proactive on heritage at risk. The entries on English Heritage’s Heritage at Risk Register (HAR) are reviewed annually. Individual action plans are developed to facilitate the restoration process, such as organising and managing regular reviews with stakeholders and potential funders, and considering any immediate measures necessary to prevent movement and collapse. However, this may not be desirable, as temporary support could dent lead statues. Two 18th century lead statue groups of ‘Samson Slaying a Philistine’ and ‘Hercules and Antaeus’ on ashlar plinths are Grade II listed. They were made in England, after the mannerist originals produced in late 16th century in Italy by Giambologna, a court sculptor to the Medici. Attribution of English lead sculpture is complex and difficult unless contemporary written records exist to prove the manufacturer definitively.The distinctive nature of the fine finishing (chasing) might indicate John Cheere, the most eminent lead statuary producer, as the manufacturer. English demand for classical garden sculpture in the late 17th century founded an artistic industry that flourished for about 80 years. Based in the Piccadilly area of London, it was run by a small but hugely influential group of sculptors.They produced their works in stone, plaster and, particularly, lead, often from moulds taken from casts of the antique or copied from later sculpture. The Flemish sculptor JohnVan Nost the Elder started the first yard, where he produced lead garden statues in profusion. Other artists’ yards followed, including those of Andrew Carpenter and Henry Cheere. It is thought that Henry trained his brother John. In around 1739 Henry helped him to establish his own practice by purchasing Van Nost’s yard, along with his stock and moulds (and possibly Carpenter’s moulds). Lead sculpture was produced using the lost-wax casting method, as with bronze sculpture.However, in the case of lead, the core refractory material (sand or plaster), which formed the internal space of a hollow casting, was left inside to provide support.The process also allowed wrought-iron armatures to be incorporated into the core before casting. The lead surface was then fine finished and chased to add texture and refinement.Most English lead statuary was finished and coloured before leaving the workshop.The larger, classical Renaissance subjects were generally painted to imitate stone or marble. Both statues had suffered deterioration typical of un-conserved lead sculpture of this age. Corroded wrought-iron armatures had expanded causing splitting and slumping of the lead, leading to severe distortion. There were crushed areas of impact damage and previously poorly executed repairs.The surfaces had lost all but a few traces of paint, and had developed a natural patina, marred by physical surface damage such as scratching, bruising and sulphide or carbon deposits. Left untreated, the sculptures would eventually have collapsed, and the lack of integrity of their armatures and fixings heightened their vulnerability to theft. The statues were added to English Heritage’s Heritage at Risk Register. The statues were previously located in the Grecian Valley at Stowe in Buckinghamshire (now a National Trust garden). In the great sales of 1921–22 the statue groups were purchased by Philip Sassoon and taken to Trent Park. Trent Park mansion house is listed Grade II. The immediate landscape features are included in English Samson slaying a Philistine
RkJQdWJsaXNoZXIy MjgyMjA=