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Lot Essay
A design for a model of the Uffizi Boar called 'The Florence Boar' is illustrated in Austin and Seeley's catalogue, Specimen Book of Austin & Seeley's Artificial Stone Manufactory, London, 1844, p. 9. The illustrated model is almost identical to the present example but does not include an integral plinth.
Felix Austin entered into business making artificial stone in 1828, having purchased moulds from a firm that had gone out of business. He established his works in New Road, London, describing himself variously as an architect, statuary mason and sculptor as well as artificial stone maker. His material was not the same as the ceramic body used by Mrs. Coade, but made from Portland cement, broken stone, pounded marble and course sand (The Builder, 1868). However, like Mrs. Coade, he encouraged leading architects and designers to work for him. Around 1840 he entered into partnership with John Seeley; Seeley had trained at the Royal Academy Schools and also made an artificial stone, which he called 'artificial limestone'. In 1841 they published their first catalogue Collection of Ornaments at Austin & Seeley's Artificial Stone Works for Gardens, Parks and Pleasure Grounds, etc. from their address in New Road. The preface to this catalogue begins 'Austin's Artificial Stone is of a light tone, requires no painting or colouring, will not sustain injury from the severest winter, and, being impervious to wet, is particularly applicable to all kinds of water-works. Its superiority is now so thoroughly established, that the most eminent Architects and scientific Gentlemen have expressed, in the highest terms, their approbation of its durability, and close resemblance to real stone.'
The Hellenistic marble original of 'Il Porcellino' was discovered in
Rome and is first referred to in a 1556 city guide. By 1568 it had
moved to Florence and in 1591 was housed in the Uffizi, as a gift from Pope Pius IV to Cosimo I de'Medici. A bronze copy was made by Pietro
Tacca in the 1630s and it has remained a popular Grand Tour image ever since.
Felix Austin entered into business making artificial stone in 1828, having purchased moulds from a firm that had gone out of business. He established his works in New Road, London, describing himself variously as an architect, statuary mason and sculptor as well as artificial stone maker. His material was not the same as the ceramic body used by Mrs. Coade, but made from Portland cement, broken stone, pounded marble and course sand (The Builder, 1868). However, like Mrs. Coade, he encouraged leading architects and designers to work for him. Around 1840 he entered into partnership with John Seeley; Seeley had trained at the Royal Academy Schools and also made an artificial stone, which he called 'artificial limestone'. In 1841 they published their first catalogue Collection of Ornaments at Austin & Seeley's Artificial Stone Works for Gardens, Parks and Pleasure Grounds, etc. from their address in New Road. The preface to this catalogue begins 'Austin's Artificial Stone is of a light tone, requires no painting or colouring, will not sustain injury from the severest winter, and, being impervious to wet, is particularly applicable to all kinds of water-works. Its superiority is now so thoroughly established, that the most eminent Architects and scientific Gentlemen have expressed, in the highest terms, their approbation of its durability, and close resemblance to real stone.'
The Hellenistic marble original of 'Il Porcellino' was discovered in
Rome and is first referred to in a 1556 city guide. By 1568 it had
moved to Florence and in 1591 was housed in the Uffizi, as a gift from Pope Pius IV to Cosimo I de'Medici. A bronze copy was made by Pietro
Tacca in the 1630s and it has remained a popular Grand Tour image ever since.