HUGIJENOT ARTISTS DESIGNERS AND CRAYPSNEN IN GREAT ...

178.
It is probable that even portraits of contemporaries were intended
to be displayed as a series representing members of the same family. Vertue
noted that Mr.Gosset ' has had the Honour of his Majestyes His sitting to
him having done the King's portrait in wax extreainly like him and the
late Prince of Wales - the princess of %ales - the Duke of Cumberland -
and the Present young Prince of Wales';' Vertue was refering to George II
and two portraits by Gosset of that monarch survive in the Royal
Collection, with three portraits of Frederick 'the late Prince of Wales'
one of Augusta of Saxe-Gotha, Princess of Wales, one of William Augustus
Duke of Cumberland, and one of George III as Prince of Wales, and in
addition one of George I, one of Frederick Augustus, Duke of York,
one of Fredinand, Duke of Brunswick, one of Edward Duke of York, two
of George III as monarch, and one of the Pev.Isaac Gosset, the modeller'.s
grandson, who became vicar of Windsor and chaplain to King George III.
The latter used to be shown his grandfather's models when he dined at the
castle. (Plate 11+7)
Although the majority of Gosset's models were created as finished
works in themselves, it would seem that Gosset also made models for
temporary use. An account amongst the Petworth archives records the fact
that Gosset was paid for a 'model of ye Queene in a Rich for the use
of Mr.Hoare the painter It is probable that the wax model of Henry
XVIII made by Gosset for Horace Walpole, was acquired as a substitute,
until Walpole was able to acquire the original hone stone relief.59
Yet another talented Dieppe craftsman who specialized in
miniature Dortraits was Jean Obrisset, who worked in horn arid silver,
and hose father is recorded as an ivory carver, working both in
England and Diepp2 Jean Obrisset probably used dies to create impressions
in pressed horn, and as many of tI images bear a close resemblance to
to con-emporary medals, it is probable that Obrisset may have collaborated
with a medallist, although he evidently also relied on engravings as
source material. Thus Obrisset's portraits of Charles I and Charles I with
Henrietta Maria are based on memorial medals of 1670 by Roettiers(Plate 11+8
and 16 1+9 by Heinrich Rhitz respectively, the image of Oliver Cromwell
is based on the Battle of Dunbar medal of 1650; Charles II is based on
the medal by Rc
)f the Battle of Lowestoft. The joint image e
William III and Mary II is based on Bower's Coronation medal, and
medallions executed in lead by Obrisset of Queen Anne and George I
are based on medals by John Croker. Where there was no easily accessible