FORD, EDWARD ONSLOW (Brit.). Contemporary Sculptor and Royal Academician, well known for his numerous works of statuary. He died on the 23rd of December 1901. "E. Onslow Ford" says Victor G. Parr, in Men and Women of the Time, London, 1899, p. 376, "was born in London, July 27, 1852, and as a boy, had a great desire to become an artist. In 1870 he went to Antwerp and entered ,the School, working his way up to the Antique School, where he studied under M. Buffeau. In 1871 he went to Munich and joined the Academy, still studying painting ; but shortly before leaving he gave up painting and took to sculpture. In 1874 he returned to England, where he has since resided. His principal statues are "Sir Rowland Hill, K.C.B.", 1882; "The Right Hon. W. E. Gladstone, M. P.," 1883; "Henry Irving, Esq., as Hamlet," 1883; and "Linus", 1884. Besides these he has executed a number of busts, amongst which may be mentioned : "Sir John Brown, " 1881 ; " Sir Charles Reid " and " Rev. John Rogers", 1882; " The Archbishop of York," 1884; and " Lieut. -General Sir Andrew Clarke", 1886. In 1885, he exhibited a relief, " In Memoriam, " " and his statuette, "Folly ", was purchased by the Royal Academy under the terms of the Chantrey Bequest. Among his most recent works are a bronze statue of "Applause", and a statue of the Right Hon. W. E. Gladstone, and bronze busts of Mr. Arthur Hacker, A.R.A., M. Walter Armstrong, the late Sir John Millais, and his fellow- Academicians Orchardson, Briton Rivi?re, and Herkomer, as well as the following statues : General Gordon on camel, now at Chatham ; the Shelley Memorial, University College, Oxford ; the equestrian statue of Lord Strathnairn, Knightsbridge, London ; Sir James Gordon, Mysore, India; Sir William Pearse, Glasgow; Dr Dale, Birmingham. One of his latest works is a bust of Jacob Bright Esq. M.P., exhibited at the Royal Academy in 1899. In 1893, this artist sent in several designs, at the invitation of the committee presiding over a new issue of the coins of the realm. Mr. Lewis F. Day, the eminent art-critic, says : " It will be seen from his designs that Mr. Onslow Ford goes nearest to meeting the demands of realism, especially in his uncrowned head, which more than most suggests a study from life. " In a recent article on this artist in the Magazine of Art, we read : " The most remarkable thing to be said about Onslow Ford is that he is a purely British product. He is perhaps the only great Anglo-Saxon sculptor who has ever hammered his knowledge all out for himself, owing nothing whatever to Continental influence or schooling. Until two or three years ago he had not even paid a visit to Italy, the country that is the cradle of most sculptors and the Mecca of all. In the course of a life-time he has made a few brief visits to Paris, but has never studied there. When a lad his mother gave him a number of months in Antwerp and Munich where he took some drawing lessons. At that time they had no idea that he would ever become a sculptor. His time of study was short and at an early age he found himself face to face with the problem of earning a living in London. " The talented young medallist, Mr. Frank Bowcher, was a pupil ofE". O. Ford. At Burlington House this year (1901) Mr. Ford exhibited a nude figure, very modern in feeling, designed to honour those who have fallen in South Africa, and called it " Glory to the Dead ". There is no need to enumerate the many portrait busts that grew year by year under the sculptor's busy hand, nor to discuss at length his imaginative works. The series of studies in girlish forms, which began with the " Folly", now in the Chantrey Bequest Collection, and to which he turned from time to time, includes much work that is of a very delicate and poetic charm, and some that is curiously lacking in these qualities. His aim was to blend the decorative and the realistic. When it was achieved the result was bound to give pleasure, for Mr. Ford had a keen sense of beauty and a temperament that impelled him always to strive after the beautiful. It was this more than any great originality or power in his work that brought it into high favour. M. Ford was elected A.R.A. in 1888 and R.A. in 1895. He leaves a widow and a family. Two of his sons have already made some mark as artists and have had their work exhibited at Burlington House and elsewhere. " Bibliography. — Lewis F. Day, The Coin of the Realm, Magazine of Art, 1895, and Numismatic Circular, March, 1898.
Source: Biographical dictionary of medallists; coin, gem, and seal-engravers, mint-masters, ancient and modern, with references to their works B.C. 500-A.D. 1900; compiled by L. Forrer, London 1904
Source: Biographical dictionary of medallists; coin, gem, and seal-engravers, mint-masters, ancient and modern, with references to their works B.C. 500-A.D. 1900; compiled by L. Forrer, London 1904
EYCKE, HENRI VAN
EYCKE, HENRI VAN (Belg.). This Coin-engraver is the oldest mentioned in Flemish records. In 1389, Henry le tailleur, who was in the service of Johanna, Duchess of Brabant, was appointed to engrave coins at the Mint of Malines; afterwards, he worked at Vilvorde and Louvain. The last mention made of him dates from Christmas 1393. At Vilvorde, van Eycke engraved Double Gros, Gros, Half Gros, of 8, 4, and 2 Esterlins, and at Louvain, silver Deniers of one Esterlin, and gold Deniers, called Tours d'o...
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EYCKE, HENRI VAN (Belg.). This Coin-engraver is the oldest mentioned in Flemish records. In 1389, Henry le tailleur, who was in the service of Johanna, Duchess of Brabant, was appointed to engrave coins at the Mint of Malines; afterwards, he worked at Vilvorde and Louvain. The last mention made of him dates from Christmas 1393. At Vilvorde, van Eycke engraved Double Gros, Gros, Half Gros, of 8, 4, and 2 Esterlins, and at Louvain, silver Deniers of one Esterlin, and gold Deniers, called Tours d'o...
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FABIO, F.
FABIO, F. (Ital.). Misread signature, FA.MANT.AQV. of the Roman sculptor, FABIUS MARCI ANTONII AQUILI, who was a grand-son of the celebrated painter Antonazzo Aquilio, who flour- ished under Sixtus IV. This medallist worked during the second half of the sixteenth century; the only medal known by him com- memorates Hadrianus Caesander, priest and jurisconsult (1598); a specimen exists in the British Museum. Bibliography. — Alfred Armand, Les Médailleurs italiens des XV et XV si?cles, Paris, 1883-...
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FABIO, F. (Ital.). Misread signature, FA.MANT.AQV. of the Roman sculptor, FABIUS MARCI ANTONII AQUILI, who was a grand-son of the celebrated painter Antonazzo Aquilio, who flour- ished under Sixtus IV. This medallist worked during the second half of the sixteenth century; the only medal known by him com- memorates Hadrianus Caesander, priest and jurisconsult (1598); a specimen exists in the British Museum. Bibliography. — Alfred Armand, Les Médailleurs italiens des XV et XV si?cles, Paris, 1883-...
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FABRIS, ANTONIO
FABRIS, ANTONIO (ltd.). Venetian Coin-engraver and Medallist of the first half of the nineteenth century ; he was employed at the Mint of Venice from about 1827, and in 1856, when he struck a medal commemorating the visit of the Emperor and Empress of Austria to Venice, he still filled the same post. This artist was born at Udine, learned the goldsmith's art, and first worked at Flo- rence, where he came in 1823. By him are several Portrait-medals of the great sculptor Canova, which count amongs...
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FABRIS, ANTONIO (ltd.). Venetian Coin-engraver and Medallist of the first half of the nineteenth century ; he was employed at the Mint of Venice from about 1827, and in 1856, when he struck a medal commemorating the visit of the Emperor and Empress of Austria to Venice, he still filled the same post. This artist was born at Udine, learned the goldsmith's art, and first worked at Flo- rence, where he came in 1823. By him are several Portrait-medals of the great sculptor Canova, which count amongs...
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FACCIOLI, GIROLAMO
FACCIOLI, GIROLAMO (Ital.). Bolzenthal quotes this artist, whose name is also found as FACIUOLI, a native of Perugia, who worked between 1530 and 1574, as a clever Goldsmith, Copper plate-engraver, and Medallist. The author above-mentioned adds that Faccioli the Elder must be distinguished from his son, who flourished during the second half of the sixteenth century. Benvenuto Cellini refers to the elder Faccioli in his Autobiography, and says that he worked from designs by Francesco Mazzola. We ...
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FACCIOLI, GIROLAMO (Ital.). Bolzenthal quotes this artist, whose name is also found as FACIUOLI, a native of Perugia, who worked between 1530 and 1574, as a clever Goldsmith, Copper plate-engraver, and Medallist. The author above-mentioned adds that Faccioli the Elder must be distinguished from his son, who flourished during the second half of the sixteenth century. Benvenuto Cellini refers to the elder Faccioli in his Autobiography, and says that he worked from designs by Francesco Mazzola. We ...
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