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Francesco Righetti and Henry Hope: the Welgelegen Lead Statues

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Francesco Righetti and Henry Hope: the Welgelegen Lead Statues 2 the rijks reconstruction of the cuypersmuseum floor in the entrance hall bulletin Francesco Righetti and Henry Hope: The Welgelegen Lead Statues For Henk Rottinghuis * • frits scholten • ntil 2005 seven large grey statues Detail of fig. 3 poetry, the young androgynous god U stood in the park surrounding Apollo (Apollino), Cupid, the little the eighteenth-century Welgelegen god of love, stringing his bow, the Pavilion in Haarlem, now the offices youth Ganymede with the Greek of the Province of North Holland supreme deity Zeus in the guise of (fig. 1). Intriguingly, they were made an eagle beside him, the classical god of lead, not the stone or bronze one of wine Bacchus embracing the satyr would expect. As they approached Ampelos, and lastly Mercury, the god the monumental façade of the great of trade, balancing on the tips of his Neoclassical house, visitors to toes (figs. 3-8). With the exception Welgelegen before 2005 came face to of the Laocoön, they are the work face with a lead version of the Laocoön, of Francesco Righetti (1749-1819), a one of the most famous sculptures of caster of statues in Rome who was Classical Antiquity (fig. 2). Dotted renowned in his day.1 around in the enclosed garden behind In 2007 the provincial authorities Fig. 1 Welgelegen, they would have found Welgelegen front officially transferred the seven statues the other six statues: a seated Euterpe, elevation (after to the Rijksmuseum in Amsterdam the muse of flute-playing and lyrical restoration in 2009). because their condition was visibly 3 the rijksmuseum bulletin 4 reconstructionthe of the welgelegen cuypers floor lead statues in the entrance hall Fig. 3 francesco righetti, Euterpe, 1781. Lead, h. 140 cm. Amsterdam, Rijksmuseum, inv. no. bk-2006-11. Fig. 4 francesco righetti, Apollino, 1781. Lead, h. 148 cm. Amsterdam, Rijksmuseum, inv. no. bk-2006-10. Fig. 5 francesco Fig. 2 righetti, Laocoön, Rome, Amor Stringing his c. 1699. Bow, 1781. Lead, h. 224 cm. Lead, h. 133 cm. Amsterdam, Amsterdam, Rijksmuseum, Rijksmuseum, inv. no. bk-2006-13. inv. no. bk-2006-9. 5 the rijksmuseum bulletin Fig. 6 deteriorating in the open air. To in the Amsterdam merchant bank francesco do nothing would have meant the Hope & Co since 1762 (fig. 9). The righetti, irretrievable loss of the exceptional firm already had a respectable history Ganymede and statues, one of the very rare surviving by then; originally established in the Eagle, 1802. ensembles of monumental lead Scotland, England and France, it had Lead, h. 135 cm. 2 Amsterdam, statuary in Europe. Exact copies opened a branch in the Republic in 5 Rijksmuseum, were made in bronze, a material better the mid-seventeenth century. After inv. no. bk-2006-7. able to withstand the rigours of the a thorough grounding in a firm in Dutch climate, to fill the seven empty London, Henry developed into a Fig. 7 plinths left in Haarlem.3 The original successful general merchant with an francesco lead statues were restored in 2010,4 extensive list of clients and a wide righetti, and are now on display in one of range of goods in his portfolio. His Bacchus and Ampelos, 1781/82. the most prominent positions in the trade relations extended throughout Lead, h. 187 cm. Rijksmuseum – the large atrium – Europe, the Middle East and North Amsterdam, where they welcome hundreds of and South America. In 1802 a contem- Rijksmuseum, visitors every day. porary painted a picture of Hope as inv. no. bk-2006-8. kind and congenial man who did not A Merchant Prince put on airs: ‘He is one of the very rare in the Haarlemmerhout exceptions of being spoken well of by Welgelegen was built between 1786 everybody and deserving it...’6 He was and 1789 as a country seat by the also described as a merchant prince, Anglo-Dutch banker Henry Hope who coupled his commercial talents (1735-1811), who had been a partner with highly refined taste and a love 6 reconstructionthe of the welgelegen cuypers floor lead statues in the entrance hall Fig. 8 Fig. 9 francesco charles howard righetti after hodges after giambologna joshua reynolds, (model), Flying Henry Hope, 1788. Mercury, 1781/82. Mezzotint, Lead, h. 210 cm. 405 x 288 mm. Amsterdam, Amsterdam, Rijksmuseum, Rijksmuseum, inv. no. inv. no. bk-2006-12. rp-p-1883-a-7533. of the arts. This side of Henry Hope was very much in evidence in his art collec - tion and in the building and furnishing of his country house, Welgelegen, on the edge of the Haarlemmerhout – the woods outside Haarlem (see fig. 1). Welgelegen, a Temple of Art Seven years after he joined the family business, Hope bought the old manor house of Welgelegen (which literally means well-situated) and its land on the outskirts of Haarlem.7 Between 1770 and 1785 he extended his Haarlem holdings to include an adjacent, very considerable estate with a view of the Haarlemmerhout, so that the simple manor house now really lived up to its name. In 1785 Hope decided to demolish the old manor house and build a modern, tasteful country house in its stead. He had the avenues and paths of the Haarlemmerhout 7 the rijksmuseum bulletin repos itioned and commissioned architecture that had come into the German landscape gardener fashion throughout Europe in the Johann Georg Michael (1738-1800) eighteenth century. The elegant to transform part of the ancient building was intended above all to woodland into a park in the English underpin its owner’s prestige and landscape style. This would give his house his extensive art collection, magnificent new mansion a long, for which three large galleries were gradually widening and stylish carriage built on the principal floor. Their drive in the sightline of the building presence gave Welgelegen a character and an appropriate ‘front garden’.8 at odds with the prevailing Dutch The new Welgelegen, which was architecture, an air of foreignness eventually completed around 1790, that was reinforced by the input of was built in a modern style with a the international artists and designers foreign grandeur perfectly in keeping Hope employed. Italian craftsmen with its owner and his art collection. made the numerous stucco ornaments The house was one of the earliest and carried out the scagliola work, and most convincing examples of usually working to models in French Neoclassicism in Netherlandish and Italian prints. A marble mantel- architecture, designed by the Amster- piece that was designed around dam city architect Abraham van der 1760 by the famous Italian Giovanni Hart (1747-1820) with the assistance Battista Piranesi (1720-1778) for of Hope himself.9 The front elevation ‘Cavaliere Giovanni Hope’, Henry’s was and is dominated by a tall pillared cousin John, was installed in Wel- portico like a Roman temple, flanked gelegen by John more than twenty to left and right by lower wings with years later (fig. 10). It is now also in corner pavilions, echoing the palace the Rijksmuseum.10 Fig. 10 giovanni battista piranesi (design), Mantelpiece made for John Hope originating from Welgelegen, c. 1769. Marble, h. 133 cm. Amsterdam, Rijksmuseum, inv. no. bk-15449; on loan from the Province of North- Holland. 8 reconstructionthe of the welgelegen cuypers floor lead statues in the entrance hall Fig. 11 Righetti’s signature (detail of fig. 3). Although Hope’s art collection Righetti the Bronze-Founder consisted predominantly of first- Reproducing statues in Italy had class paintings, sculpture was given become increasingly popular in the a prominent place in and around eighteenth century and Righetti was Welgelegen. The magnificent façade by no means the only one to engage in was adorned in 1789 with appropriate this branch of sculpture. The practice sculptures by the Neoclassical of copying famous classical statues had sculptor Gilles-Lambert Godecharle begun in the Renaissance, of course, (1750-1835). However Hope also but in Hope’s day the demand for such owned statuary that stood more replicas had grown very considerably. freely in the natural surroundings This was due in part to the sky-high of Welgelegen, independent of the prices for original antiquities, and in architecture, forming a link between part to the tourists who flooded to the temple of art and its rural environ- Italy from all over Europe every year, ment. There were thirteen large lead with the English in the forefront. As statues, most of them cast from the cradle of European culture, the famous works of Classical Antiquity. country attracted countless wealthy Hope had ordered twelve of them young men who went on their Grand from the renowned statuary founder Tour – the educational rite of passage, Francesco Righetti in Rome in 1781. almost mandatory for the upper Four works from this suite were classes – to see the wonders of art and disposed of at the end of 1803 or culture that Italy had to offer. Under- slightly later because they were in such taking a Grand Tour was apparently poor condition. One has been missing not unusual in the Hope family either. without trace since 1920; another Henry’s cousin John was not in found its way into the garden of the Amsterdam in 1762, when the firm of Drents Museum in Assen. The other Hope & Co was established, because seven withstood the ravages of time he was ‘now on his travels’.11 We in the gardens of Welgelegen reason- cannot say for sure that Henry also ably well, eventually ending up in the went on a Grand Tour, but it certainly Rijksmuseum in 2007. The sculptor cannot be ruled out. In October 1760, signed his name in block letters cast the French philosopher Voltaire wrote into the pedestals of six of the seven to the Marquess Albergati Capacelli lead statues: franciscus righetti in Bologna that ‘a gentleman named fecit romae followed by the year of Mr Hope, half English, half Dutch, and manufacture (1781, 1782 and in one very rich,’ wanted to travel through Italy case 1802) (fig.
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