Lot 5
  • 5

William Henry Rinehart

Estimate
10,000 - 15,000 GBP
bidding is closed

Description

  • William Henry Rinehart
  • Bust of a young man
  • signed and dated: W.M.H. RINEHART SCULPT. 1868
  • white marble, on a white marble socle

Condition

Overall the condition of the marble is very good. There is dirt and some minor wear to the surface consistent with age. There are a few naturally occurring faint veins visible on the surface. There is an area of staining from a fluid to the surface around the proper left shoulder. There is a restoration to the edge of the socle at the back of the bust.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

William Rinehart was Maryland's favourite sculptor, noted for classicising, but highly personalised portrait busts, and several major national commissions. In the final decade of his career Rinehart's busts were so popular among the American mercantile elite that sitters often had to wait three years to be immortalised in marble.

The young Rinehart was first apprenticed at a quarry on the family farm before he moved on to Baltimore's largest marble yard. There his talent was noticed by local businessmen like William T. Walters, who went on to promote Rinehart's career at home. A first trip to Italy in 1855 ended early when the young sculptor felt his talents overshadowed by established competitors such as Hiram Powers and Thomas Ball. However, in a second attempt, Rinehart set up a Roman studio in 1859: it became one of the major Grand Tour attractions.

RELATED LITERATURE
Greenthal et al., pp. 147-149