William Augustus, Duke of Cumberland (1721-1765) thumbnail 1
Not on display

William Augustus, Duke of Cumberland (1721-1765)

Bust
ca. 1746-1747 (made)
Artist/Maker
Place of origin

This bust made by Sir Henry Cheere, commemorates the victory of the British army led by William Augustus, Duke of Cumberland (son of King George II), over the dissident Jacobites (supporters of the deposed Stuart family whose members ruled Britain in 1603-1688 and again in 1702-1714). The victory was the Battle of Culloden Moor near Inverness in northern Scotland on 16 April 1746. It has been suggested that this bust represents a man older than 25, the age of the Duke of Cumberland in 1746. However, comparisons with contemporary commemorative medals show him with similar features.

William Augustus, Duke of Cumberland (1721-1765) was third son of George II and Caroline of Ansbach. He was created Duke of Cumberland in 1726. He became known as a formidable and ruthless military commander ('Butcher' Cumberland). He fought in Flanders and later, back in Britain, he defeated the Jacobites at the Battle of Culloden in 1746. He commissioned a series of pictures that combined his artistic and military interests.

Sir Henry Cheere (1703-1781) was one of the most successful sculptors in mid-18th-century Britain, and unlike some of his more eminent sculptor contemporaries, such as John Michael Rysbrack and Louis Fran‡ois Roubiliac, he was a native of this country. He specialised in portrait busts and tomb sculpture, and in the latter was particularly adept in the use of coloured marbles. He also employed a light, and yet at the same time highly-finished, style that was typical of the Rococo.

Object details

Categories
Object type
TitleWilliam Augustus, Duke of Cumberland (1721-1765) (generic title)
Materials and techniques
Lead
Brief description
Bust, lead, William Augustus, Duke of Cumberland (1721-1765), by Sir Henry Cheere, England, ca. 1746-7
Physical description
The subject looks half-right. Hair curled over ears and tied at the nape of the neck. Wearing military uniform with gorget and aiguillettes, star and sash of the garter and another sash passing over the right shoulder outside the tunic. The bust is strengthened behind the plaster; the modelled surface is covered with bronze paint, which has peeled in places. Standing on a marble base with inscription.
Dimensions
  • Including socle height: 66cm
Marks and inscriptions
'REPUBLICA SERVATA MDCCXLVI' (inscribed at base)
Object history
Previously at Lowther Castle, near Penrith, Cumberland from an unrecorded date until its purchase by Cooper & Adams, 41 James Street, London, from the Castle sale in 1947. Purchased by the Museum from Cooper & Adams in 1947 for £50.
Subject depicted
Summary
This bust made by Sir Henry Cheere, commemorates the victory of the British army led by William Augustus, Duke of Cumberland (son of King George II), over the dissident Jacobites (supporters of the deposed Stuart family whose members ruled Britain in 1603-1688 and again in 1702-1714). The victory was the Battle of Culloden Moor near Inverness in northern Scotland on 16 April 1746. It has been suggested that this bust represents a man older than 25, the age of the Duke of Cumberland in 1746. However, comparisons with contemporary commemorative medals show him with similar features.

William Augustus, Duke of Cumberland (1721-1765) was third son of George II and Caroline of Ansbach. He was created Duke of Cumberland in 1726. He became known as a formidable and ruthless military commander ('Butcher' Cumberland). He fought in Flanders and later, back in Britain, he defeated the Jacobites at the Battle of Culloden in 1746. He commissioned a series of pictures that combined his artistic and military interests.

Sir Henry Cheere (1703-1781) was one of the most successful sculptors in mid-18th-century Britain, and unlike some of his more eminent sculptor contemporaries, such as John Michael Rysbrack and Louis Fran‡ois Roubiliac, he was a native of this country. He specialised in portrait busts and tomb sculpture, and in the latter was particularly adept in the use of coloured marbles. He also employed a light, and yet at the same time highly-finished, style that was typical of the Rococo.
Bibliographic references
  • Bilbey, Diane and Trusted, Marjorie, British Sculpture 1470-2000: A Concise Catalogue of the Collection at the Victoria and Albert Museum. London: V&A Publications, 2002 p. 64. cat. no. 85
  • Whinney, Margaret, English Sculpture 1720-1830. London: H. M. Stationery Off., 1971 p. 94.
Collection
Accession number
A.12-1947

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Record createdFebruary 26, 2003
Record URL
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