Medallion
Maker & role
Thomas Woolner (b.1825, d.1892), Sculptor
Production date
1854
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Object detail
Title
William Fanning
Production place
Collection
Measurements
Medallion, Diam: 22cm (Diam: 220mm); Frame & Medallion, Diam: 27.5cm (Diam: 275mm)
Subject person
Signature & marks
- Inscribed lower centre: 'T. Woolner, Sc. / 1854'
- Clyde Bank label (printed & handwritten label), centre of reverse: 'CLYDE BANK/ 43 LOWER FORT STREET,/ THE ROCKS, SYDNEY 2000/ TELEPHONE: (02) 9241 4776/ FACSIMILE: (02) 9251 4991' (printed). 'Mis 13 / Thomas WooLNeR 1825-1892 / PORTRAIT MedALLioN / WiLLiAm FANNiNg / 1854' (handwritten).
- Handwritten in ink on paper label, lower edge of frame front : 'Wm. Fanning'.
- Handwritten in ink on reverse edge of frame - 'Wm. Fanning'.
- Handwritten in pencil on paper label, reverse edge of frame: 'brother of Mrs. Huxley'.
- Handwritten in ink on paper label, reverse upper left edge of frame: 'WOOLNER (1825-1892) / William Fanning, 1854 / ...... portrait medallion / ......diametre'.
- Clyde Bank label (printed & handwritten label), centre of reverse: 'CLYDE BANK/ 43 LOWER FORT STREET,/ THE ROCKS, SYDNEY 2000/ TELEPHONE: (02) 9241 4776/ FACSIMILE: (02) 9251 4991' (printed). 'Mis 13 / Thomas WooLNeR 1825-1892 / PORTRAIT MedALLioN / WiLLiAm FANNiNg / 1854' (handwritten).
- Handwritten in ink on paper label, lower edge of frame front : 'Wm. Fanning'.
- Handwritten in ink on reverse edge of frame - 'Wm. Fanning'.
- Handwritten in pencil on paper label, reverse edge of frame: 'brother of Mrs. Huxley'.
- Handwritten in ink on paper label, reverse upper left edge of frame: 'WOOLNER (1825-1892) / William Fanning, 1854 / ...... portrait medallion / ......diametre'.
Credit line
Gift, through the Australian Government’s Cultural Gifts Program, 2004
Caroline Simpson Collection, Museum of Sydney Collection, Museums of History New South Wales
Caroline Simpson Collection, Museum of Sydney Collection, Museums of History New South Wales
Caption
William Fanning (1854)
Description
Bronze portrait medallion in bas relief of William Fanning by Thomas Woolner, 1854. During the mid nineteenth century the portrait medallion had heroic associations and was seen as a public, rather than a private art form. The ability to produce multiple casts, in different mediums, created a viable market in the colony for these images. Apart from private family ownership, these portraits were also sought after by colonists of ‘a nationalist persuasion’.
English sculptor Thomas Woolner (1825- 1892) trained in the studio of William Behnes, one of Britain’s eminent sculptors, before leaving England in 1852 to try his luck on the Victorian goldfields. After limited success he returned to his original profession seven months later. Early in 1854 Woolner moved to Sydney and, after receiving widespread acclaim for his portrait medallion of William Charles Wentworth, his work was much in demand by clients who were landowners, government officials, civil servants, professionals and merchants.
William Fanning was an army officer who arrived in Sydney in 1842. A year later he entered into a successful partnership with George Richard Griffiths, importing teas, wine and spirits. In 1844 he married Oriana Richardson of Jamberoo, whose half-sister Henrietta had married the scientist T. H. Huxley. About 1846 Fanning acquired extensive pastoral interests in the Wellington Valley. During the 1850s, Fanning lived at Holmwood, Newtown. He was a funding director of the Colonial Sugar Co., a member of the Sydney Chamber of Commerce and the Union Bank of Australia. In conjunction with his brother Francis, he later acquired extensive pastoral holdings in the New England district and interests in shipping. In about 1871 the family returned permanently to England and lived at Bozedown House near Reading, where he died in 1887.
Woolner’s portraits followed the traditions of Renaissance medallic sculpture which drew upon the form of the Roman medal but his work was noted for his accuracy in modelling realistic detail. The Australian casts were originally in plaster and no evidence has been found to indicate that the reliefs were ever locally cast in bronze. When Woolner returned to England in 1854, he took several of these plaster reliefs for casting in bronze. These Australian medallions drew attention to his merits as a portraitist and he continued to work successfully in this genre on both private and major public commissions. In 1874 he was elected to the Royal Academy and taught briefly as Professor of Sculpture between 1877-1879.
English sculptor Thomas Woolner (1825- 1892) trained in the studio of William Behnes, one of Britain’s eminent sculptors, before leaving England in 1852 to try his luck on the Victorian goldfields. After limited success he returned to his original profession seven months later. Early in 1854 Woolner moved to Sydney and, after receiving widespread acclaim for his portrait medallion of William Charles Wentworth, his work was much in demand by clients who were landowners, government officials, civil servants, professionals and merchants.
William Fanning was an army officer who arrived in Sydney in 1842. A year later he entered into a successful partnership with George Richard Griffiths, importing teas, wine and spirits. In 1844 he married Oriana Richardson of Jamberoo, whose half-sister Henrietta had married the scientist T. H. Huxley. About 1846 Fanning acquired extensive pastoral interests in the Wellington Valley. During the 1850s, Fanning lived at Holmwood, Newtown. He was a funding director of the Colonial Sugar Co., a member of the Sydney Chamber of Commerce and the Union Bank of Australia. In conjunction with his brother Francis, he later acquired extensive pastoral holdings in the New England district and interests in shipping. In about 1871 the family returned permanently to England and lived at Bozedown House near Reading, where he died in 1887.
Woolner’s portraits followed the traditions of Renaissance medallic sculpture which drew upon the form of the Roman medal but his work was noted for his accuracy in modelling realistic detail. The Australian casts were originally in plaster and no evidence has been found to indicate that the reliefs were ever locally cast in bronze. When Woolner returned to England in 1854, he took several of these plaster reliefs for casting in bronze. These Australian medallions drew attention to his merits as a portraitist and he continued to work successfully in this genre on both private and major public commissions. In 1874 he was elected to the Royal Academy and taught briefly as Professor of Sculpture between 1877-1879.
Accession number
MOS2005/15
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