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Lot Essay
George Byng, 1st Viscount Torrington, was born in Kent in 1663. His father was a wealthy landowner who later suffered great financial difficulties that resulted in George, at the young age of 15, joining the navy. Early in his career Byng helped win the support of the navy for William of Orange in the Glorious Revolution of 1688. He distinguished himself further in 1704 when, against his own wishes, Admiral Rooke forced him into battle to capture Gibraltar. The Admiral's faith in his young commander was not misspent and, by convincing him to lead the campaign, managed to secure a significant victory for Britain within a matter of a few hours.
In 1708 and 1715 he led the forces that thwarted Jacobite invasions, but his greatest triumph was the defeat of a Spanish fleet off Cape Passaro in 1718. As Philip V of Spain had flaunted the Treaty of Utrecht - the same treaty that gave Gibraltar to Britain - and invaded Sicily, Byng was sent out with a fleet to quash this reprisal. Thus, for a second time he was brought face to face with the Spaniards and for a second time he won a glorious victory. Three years later, in 1721, Byng was rewarded for his compatriotism and raised to the peerage. When he died in 1733 he was the First Lord of the Admiralty.
The present bust of Viscount Torrington represents the sitter as a Roman emperor, wearing a laurel wreath, a cuirass decorated with two lion's masks and cloak; in combination, they form the vocabulary of triumph and victory. Although not firmly documented as being in Wrotham Park before 1847, there can be little doubt that the bust was commissioned by Torrington as a celebration of his successes sometime between 1721 and his death in 1733. Stylistically, it contains many of the symbols of imperial power that could be found in contemporary works by Peter Scheemakers (1691-1781), Louis-Francois Roubiliac (1702-1762) and Michael Rysbrack (1684-1770). This is particularly clear when looking at, for example, Rysbrack's marble portrait bust of George II at Windsor castle (Webb, loc. cit). As with the Torrington, Rysbrack's sitter is depicted looking up and turning is head slightly to dexter, is also wearing the full military regalia of a Roman Emperor - complete with lion's masks to the shoulders that hark back to Herculean strength and prowess - and wears the ultimate symbol of victory, the laurel wreath.
Although the present bust has traditionally been attributed to Peter Scheemakers, the prominent use of the imperial motifs - very popular among the above mentioned artists - and the highly individual facial features indicates that the sculptor was certainly active in this artistic circle but was arguably most influenced by Michael Rysbrack.
In 1708 and 1715 he led the forces that thwarted Jacobite invasions, but his greatest triumph was the defeat of a Spanish fleet off Cape Passaro in 1718. As Philip V of Spain had flaunted the Treaty of Utrecht - the same treaty that gave Gibraltar to Britain - and invaded Sicily, Byng was sent out with a fleet to quash this reprisal. Thus, for a second time he was brought face to face with the Spaniards and for a second time he won a glorious victory. Three years later, in 1721, Byng was rewarded for his compatriotism and raised to the peerage. When he died in 1733 he was the First Lord of the Admiralty.
The present bust of Viscount Torrington represents the sitter as a Roman emperor, wearing a laurel wreath, a cuirass decorated with two lion's masks and cloak; in combination, they form the vocabulary of triumph and victory. Although not firmly documented as being in Wrotham Park before 1847, there can be little doubt that the bust was commissioned by Torrington as a celebration of his successes sometime between 1721 and his death in 1733. Stylistically, it contains many of the symbols of imperial power that could be found in contemporary works by Peter Scheemakers (1691-1781), Louis-Francois Roubiliac (1702-1762) and Michael Rysbrack (1684-1770). This is particularly clear when looking at, for example, Rysbrack's marble portrait bust of George II at Windsor castle (Webb, loc. cit). As with the Torrington, Rysbrack's sitter is depicted looking up and turning is head slightly to dexter, is also wearing the full military regalia of a Roman Emperor - complete with lion's masks to the shoulders that hark back to Herculean strength and prowess - and wears the ultimate symbol of victory, the laurel wreath.
Although the present bust has traditionally been attributed to Peter Scheemakers, the prominent use of the imperial motifs - very popular among the above mentioned artists - and the highly individual facial features indicates that the sculptor was certainly active in this artistic circle but was arguably most influenced by Michael Rysbrack.