Inigo Jones (1573 - 1652).
Soane Museum, Lincoln's Inn Fields, London.
Date of acquisition unknown.
This bust appears to be a unique version of the Scheemakers bust recently sold by Sotheby's London
No size given - presumed to be life size.
NB. Seven buttons on the waistcoat. Also the seams on the skull cap not visible on the Sotheby's Scheemakers marble bust (see below).
It is difficult to tell from the photographs - I have not yet had the opportunity to inspect it closely - but it appears to be quite a fine bust underneath the usual thick coats of paint - in my experience it was easier to repaint these busts than to clean them and many exising 18th and 19th century busts are very thick with paint obscuring their finer details.
These two busts are obviously related but the similarities beg the question - which came first?
It is possible that the Soane bust is a reworked copy or cast taken from a version of the Scheemakers bust perhaps by John Cheere but equally it is possible that Scheemakers copied an earlier version.
Special note should be taken of the very unusual socle on the Soane plaster.
so far I have only located two other busts with this socle with the "green man" on the front.
It appears on a bust of Dryden on the Monument to him at Titchmarsh Parish Church, Northamptonshire.
Painted wooden Monument to the poet John Dryden
Put up in 1722
The bust is believed to have been made of wood -this needs to be confirmed!
This socle is repeated is on a lead bust of George I currently in a private collection.
see my blog post - https://bathartandarchitecture.blogspot.co.uk/2016/08/unrecorded-lead-bust-of-george-i.html
Bust of Inigo Jones by James Marshall
The first mention of a bust of Inigo Jones is that by James Marshall (1598 - 1675).
Marshall whose address was Fetter Lane according to John Aubrey made the bust for the monument to Inigo Jones in St Benets Church, Pauls Wharf. City of London damaged in the Great Fire of London and rescued by James Marshall - since disappeared.
William Kent and his Busts of Inigo Jones and Palladio etc.
Will 13 October 1743.
I give and bequeath unto my friends here-after named as follows.. unto Lady Catherine Pelham the head of Edward VI a busto.... my Lord Lovell (Thomas Coke) Inigo Jones and Palladios Bustos with wooden terms.....unto Mr Brian Fairfax the two bustos of Shakespeare and Butler ... to Lady Isabella Finch four heads bustos Newton Clarke Lock and Woolaston to Mr Thomas Brian Milton and Dryden bustos with wooden terms, to Mr Alexander Pope Raphael head busto and the wooden term and the Alabaster vase. To Mr Thomas Ripley the busto of Michael Angelos with wooden term.
In a codicil dated 10 April 1748 to this will he states again I also bequeath unto the Right Honourable Lady Isabella Finch..... together with my for models of Newton Lock Woolaston and Dr Clark.
The bust of Edward VI given to Lady Catherine Pelham must surely be a version of the Rysbrack terracotta in the Royal Collection made for Queen Caroline's Library dated 1738. see -
Inigo Jones and Palladios bustos given to Thomas Coke Lord Lovell are perhaps versions of the Rysbrack busts but it is possible that they are versions of the pair of busts by Guelfi.
The Original terracottas for Inigo Jones and Andrea Palladio were sold at the Rysbrack Sale
see English Heritage Historical Review Vol 9. 2014 -The Statues of Inigo Jones and Palladio at Chiswick House by Richard Hewlings where he illustrates the article with a photograph of an Invoice from Guelfi to Lord Burlington for the busts of Palladio and Inigo Jones for £50.
It is hard to believe given the evidence of the indifferent quality of Guelfi's production that the two marble busts of Inigo Jones and Palladio are by Guelfi.
The busts of Milton and Dryden are perhaps versions of those by Scheemakers now at Hagly Hall
see - http://english18thcenturyportraitsculpture.blogspot.co.uk/2015/11/busts-of-shakespeare-by-scheemakers-and.html
The models for the busts of Newton Lock Woolaston and Dr Clark must refer to original terracotta busts made for the Queen Caroline Hermitage busts by Guelphi.
For my notes on the Guelphi busts and Queen Caroline's Hermitage see
A bust of Inigo Jones was supplied to the Barber Surgeons Company on 9 August 1750 by James Gheys Statuary (d. 1752), in exchange for the Skeleton.
Gheys was apprenticed to Samuel Roussett of St Martin in the Fields in 1730.
in 1752 he was working from an address in Mayfair probably at Hyde Park Corner.
Portrait of Peter Scheemakers by Francis Hayman
Royal College of Surgeons showing the bust of Inigo Jones on the floor beside him
Height with socle 76 cms
Monogrammed on the back PS.
Lot 408 Sotheby's London, 10 Dec 2015.
A marble bust of Inigo Jones was sold at the posthumous sale of Peter Scheemakers.
Lot 56 on 11 March 1756 for £14 14s.
The Socle follows the same form as those on the busts in Trinity College Library, Dublin.
These busts at Trinity are assumed to be a combination of the work of Scheemakers and Roubiliac but I believe that the involvement of John van Nost III should also be considered. Van Nost III was apprenticed to Henry Scheemakers in 1726 - he was working in Dublin by 1750 when he executed the lead statue of George II for the Guild of Weavers.
Eight of the fourteen busts at Trinity are signed by Peter Scheemakers 7 with the monogram PSFt and the Shakespeare signed Peter Scheemakers. Usher, Homer, Demosthenes, Cicero,M ilton, Locke, and Pembroke
The six unsigned busts - of Aristotle, Socrates, Plato, Bacon, Newton, and Boyle are currently believed to have been provided by Roubiliac.
Whilst I currently have no proof I think it is possible that John van Nost III was involved with providing the sculpture and setting up of the Trinity Library busts. Whilst at first glance these busts appear to be of very good quality comparison with the Cambridge Wren Library busts shows that the latter busts are far finer.
I would suggest that van Nost III was working with both Scheemakers and Roubiliac in the 1740's.
This form of socle was also used on the bust of Isaac Newton by Louis Francois Roubiliac in the Wren Library at Trinity College, Cambridge.
Life Size Portland Stone bust
Height 22 inches.
with Philip Serrell Auctioneers
Lot 94 - 8 Sept 2016.
Six buttons as on the Sotheby's Marble bust.
For another different Portland Stone bust of Inigo Jone by Michael Rysbrack see my next post
van der Hagen after Rysbrack
9.5 cms tall
Victoria and Albert Museum.
A group of four ivory reliefs.
Jones Cromwell Milton after Rysbrack. Shakespeare after Scheemakers.
Gaspar van der Hagen
Height of Each 11.5 cms
Sold Christie's Lot 68 - 8th July 2010.
Ivory relief perhaps after Rysbrack but clearly showing the relationship with the van Vorst engraving.
The original painted in the early 1630's
641 x 533mm
Copy of the van Dyck original formerly in the collection of Sir Robert Walpole at Houghton, sold in 1779 to Catherine the Great, now in the Hermitage, St Peterberg.
William Dobson (1611 - 46).
Oil on Canvas
369 x 305 mm.
National Maritime Museum
Study for the portrait at Chiswick House
William Dobson (1611 - 46).
Oil on canvas.
59 x 59 cms
915 x 710 mm.
Commissioned for Teddesley Hall, Staffordshire by Sir Edward Littleton (1725 - 1812) in 1758.
The National Maritime Museum ( Manuscript Collection) holds two letters from Hogarth to Littleton relating to the delivery of this portrait - 19 May and 7 September 1758.
From the engraving by van Vorst (see below). The original red chalk drawing is at Chatsworth (9.5 x 7.75 inches) it was acquired from a Dutch collector by the 2nd Duke of Devonshire who gave it to the 3rd Earl of Burlington.
National Maritime Museums Greenwich.
probably 19th Century
after the van Dyck van Vorst engraving.
24.1 x 19.1 cms.
Bowes Museum, Barnard Castle, Durham
Robert van Vorst (Voerst).
After van Dyck.
Engraving from van Dyck's Iconographiae or Book of Heads published in 1641.
251 x 187 mm.
Probably copied from the van Vorst engraving above.
after Anthony van Dyck
mid 17th Century
126 x 87 mm
after van Dyck
125 x 153 mm.
National Maritime Museum.
This bust has been severely over cleaned and given a coating of modern wax.
the marble has a bad flaw across the left (proper) cheek and bridge of the nose which would have been disguised in the 18th century - a very good example of "leave well alone" - usually a simple wash with very week soapy water is enough to revive pieces like this
749 x 508 mm.
National Maritime Museum Greenwich
Notes on the Rysbrack Bust of Inigo Jones
Henry Hoare Accounts -
An agreement between Rysbrack and Henry Hoare 10 October 1727 ' A bustow of Inigo Jones in Statuary Marble £35-0 -0. 'a Pedestall' £2-10-0 and two figures of Inigo Jones and Palladio in Plaster £1-10-0.
Langford's Rysbrack Sale 24 Jan. 1766. Two Figures of Palladio and Inigo Jones the original models for the figures of Lord Burlington at Chiswick. This entry suggests to me that they were of terracotta.
see Roman Splendour.....Jervis and Dodd.
NB. The lack of seams on the skull cap.
Another rather poor photograph of the Chatsworth marble bust of Inigo Jones by Rysbrack
Richard Boyle, 3rd Earl of Burlington
Oil on canvas
Showing a bust of Inigo Jones in the background.
In the Green Satin Bedroom at Chatsworth, Derbyshire.
The bust depicted is looking in the opposite direction to the Chatworth Rysbrack Bust.
suggesting that the bust here is perhaps not the same one currently at Chatsworth paired with that of Palladio.
Richard Hewlings has presented irrefutable evidence that Giovanni Battiste Guelfi was paid for providing busts of Inigo Jones and Palladio
A very rare and very fine life size lead bust of Inigo Jones
after Michael Rysbrack.
Paired with a bust of Andrea Palladio (see below).
Offered for sale from the collection of Sir Albert Richardson by Christie's, London 18 / 19th September 2013.
Christie's suggest that they were cast by John Cheere which seems a reasonable assumption.
I have written a little on Mid 18th Century lead busts. Given the nature of the material very few have survived.
Plaster bust after Michael Rysbrack
The Soane Museum.
The form of the socle would suggest a later 18th or early 19th century cast.
After Michael Rysbrack
Worcester College Oxford
Another example from the same mould as the Soane bust of Inigo Jones (see above).
This form of socle was widely used by the Shouts of Holborn.
Excerpts from Catalogue of Portraits in the Possession of the University, Colleges, City and County of Oxford - Mrs Reginald Lane Poole pub. Oxford at the Clarendon Press in 3 Volumes 1925
all available on line.
An invaluable resource for making some sense of 16th, 17th and 18th century Portraits and Portrait Sculpture. Basically a Catalogue with information on each portrait with oo value judgements and no unnecessary commentary - unlike the works of Katherine Esdaile which should be taken with a large pinch of salt.
After Michael Rysbrack
Height 64 cms
Date of Acquisition unknown - old Ministry of Works
Currently in the Banqueting House, Whitehall.(designed by Inigo Jones).
Government Art Collection.
Another bust of Inigo Jones after Rysbrack
Sketch attributed to van Dyck
Musee des Beaux Arts, Agen, France.
The Chiswick House Full length Portland Stone statue of Inigo Jones.
There is a full size lead figure of Inigo Jones after Michael Rysbrack at Holker Hall in Cumbria.
A full length plaster statue of Inigo Jones, a version of the Chiswick statue (not an exact replica) was noted by Horace Walpole in a niche on the Staircase at 4 St James Square, Westminster.
James Francis Verskovis,
On the Walpole Cabinet
Victoria and Albert Museum.
see my blog post -