Wednesday, 9 August 2017

Soane Museum 5 - Bust of Inigo Jones - Some Notes

Inigo Jones (1573 - 1652).
Plaster Bust,
sculptor unattributed.
 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
(see below).

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.



 Image result for Dryden Monument Titchmarsh

 

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!

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This socle is repeated is on a lead bust of George I currently in a private collection.







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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.

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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. 

Notes.

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



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




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 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.




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Portrait of Peter Scheemakers by Francis Hayman
Royal College of Surgeons showing the bust of Inigo Jones on the floor beside him




   Peter Scheemakers.
Marble
Height with socle 76 cms
Monogrammed on the back PS.
Lot 408 Sotheby's London, 10 Dec 2015.
Irish provenance.

A marble bust of Inigo Jones was sold at the posthumous sale of Peter Scheemakers.
 Lot 56 on 11 March 1756 for £14 14s.
see Peter Scheemakers by Ingrid Roscoe, Walpole Soc Journal. 1999.

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, seven 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 Dublin Trinity Library busts. 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 John van Nost III was working with both Scheemakers and Roubiliac in the 1740's.
see - http://english18thcenturyportraitsculpture.blogspot.co.uk/2016/07/brief-biography-of-john-van-nost-younger.html

All the busts at Trinity share the same form of socle indicating thathey might have been carved after the busts had arrived in Dublin
This form of socle with a block on the front for the name was also used on the bust of Isaac Newton by Louis Francois Roubiliac in the Wren Library at Trinity College, Cambridge.
for an introduction to the trinity Library busts see - http://burlington.org.uk/media/_file/generic/886825.pdf










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 Image result for Inigo Jones bust Scheemakers
Inigo Jones
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
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Inigo Jones
Wedgwood
c 1769 - 80
Black Basalt 8.3 x 6.7 cms
Metropolitan Museum
Image result for Inigo Jones Sotheby's
 Inigo Jones
van der Hagen after Rysbrack
Ivory Relief
9.5 cms tall
Victoria and Albert Museum.
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 A group of four ivory reliefs.
Jones Cromwell Milton after Rysbrack. Shakespeare after Scheemakers.
After Rysbrack
Gaspar van der Hagen
Height of Each 11.5 cms 
Sold Christie's Lot 68 - 8th July 2010.
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Inigo Jones
Ivory relief perhaps after Rysbrack but clearly showing the relationship with the van Vorst engraving.
Soane Museum
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Inigo Jones
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.
NPG
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Inigo Jones
William Dobson (1611 - 46).
1642.
Oil on Canvas
369 x 305 mm.
 National Maritime Museum
Greenwich
Study for the portrait at Chiswick House
Inigo Jones (1573–1652)
Inigo Jones
William Dobson (1611 - 46).
Oil on canvas.
59 x 59 cms
Chiswick House
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Portrait of Inigo Jones
Portrait of Inigo Jones
Inigo Jones
William Hogarth
915 x 710 mm.
1758.
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.
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Inigo Jones.
probably 19th Century
after the van Dyck van Vorst engraving.
24.1 x 19.1 cms.
Donated 1952.
Bowes Museum, Barnard Castle, Durham
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Robert van Voerst | Portret van Inigo Jones, Robert van Voerst, Martinus van den Enden, unknown, 1627 - 1636 | Portet van de Engelse architect Inigo Jones. In zijn hand een vel papier.
Inigo Jones
Robert van Vorst (Voerst).
After van Dyck.
1635
Engraving from van Dyck's Iconographiae or Book of Heads published in 1641.
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 Inigo Jones, after an engraving by Robert van Voerst, after  Sir Anthony van Dyck,  - NPG 3128 - © National Portrait Gallery, London
Inigo Jones.
Brown wash
251 x 187 mm.
Probably copied from the van Vorst engraving above.
NPG.
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Inigo Jones, by Wenceslaus Hollar, after  Sir Anthony van Dyck, mid 17th century - NPG D28343 - © National Portrait Gallery, London
Inigo Jones
Wenceslas Hollar
after Anthony van Dyck
mid 17th Century
etching
126 x 87 mm
NPG
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 Frontispiece ...........
Inigo Jones, by Paul Fourdrinier, after  Sir Anthony van Dyck, published 1727 (circa 1632-1635) - NPG D10967 - © National Portrait Gallery, London
Inigo Jones
after van Dyck
Paul Foudrinier
1727
Engraving
125 x 153 mm.
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Inigo Jones
Michael Rysbrack
acquired some time shortly before 1954
see Michael Rysbrack MI Webb pub. Country Life 1954
National Maritime Museum.
Greenwich.

Purchased for the Museum by Sir James Caird in late January 1948 from the dealers London Colnaghi's the source being an unidentified Somerset Country House Sale 'earlier that month.


This bust has been rather 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 - an example of "leave well alone" - usually a simple wash with very week soapy water is enough to revive pieces like this.


















Inigo Jones
Michael Rysbrack
Marble Bust
749 x 508 mm.
National Maritime Museum Greenwich




The  Rysbrack bust of Inigo Jones at Greenwich bust here shown with the Portland Stone bust from the Temple of Worthies at Stowe
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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.
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Inigo Jones
Michael Rysbrack
Chatsworth

NB. The lack of seams on the skull cap.






Another rather poor photograph of the Chatsworth marble bust of Inigo Jones by Rysbrack


File:Richard Boyle, 3rd Earl of Burlington, with Bust of Inigo Jones, by George Knapton, 1743, oil on canvas - West Sketch Gallery, Chatsworth House - Derbyshire, England - DSC03293.jpg

 Richard Boyle, 3rd Earl of Burlington
George Knapton
1743
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

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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.





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The Plaster Busts of Inigo Jones
After Michael Rysbrack.

Original plaster busts for copying were supplied to Wedgwood by Oliver and Hoskins in 1774.




Inigo Jones
after Michael Rysbrack
18th Century Wedgwood Bust
Model supplied by Oliver and Hoskins 1774
Image above from the Albertina Vienna


The plaster busts below could all have been made by London manufacturers from the 1730's. The workshops of John Cheere at Hyde Park Corner were capable of an early form of mass reproduction from 1737 and versions of these plaster busts were definitely being made by Charles Harris of the Strand in 1777.




Inigo Jones.
Plaster bust after Michael Rysbrack
Plaster.
The Soane Museum.
The form of the socle would suggest a later 18th or early 19th century cast.
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Inigo Jones
After Michael Rysbrack
Worcester College Oxford
Another example from the same mould as the Soane bust of Inigo Jones (see above).
NB Socle.
This form of socle was widely used by the Shouts of Holborn.
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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. 


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Inigo Jones
After Michael Rysbrack
Plaster Bust
Royal Institute of British Architects
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Inigo Jones
After Michael Rysbrack
Plaster
Height 64 cms
Date of Acquisition unknown - old Ministry of Works
Currently in the Banqueting House, Whitehall.(designed by Inigo Jones).
Government Art Collection.
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Another bust of Inigo Jones after Rysbrack
Location unknown.
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Inigo Jones
Sketch attributed to van Dyck
Musee des Beaux Arts, Agen, France.
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The Chiswick House Full length Portland Stone statue of Inigo Jones.
Paired with that of Palladio
File:Inigo jones statue.jpg
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There is a full size lead figure of Inigo Jones after Michael Rysbrack at Holker Hall in Cumbria.









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Plaster Statue after Michael Rysbrck
Staircase 4, St James Square Westminster
A full length plaster statue of Inigo Jones, a version of the Chiswick statue (not an exact replica) was noted by Horace Walpole in 1761 in a niche on the Staircase at 4 St James Square, Westminster.
Built for Anthony Grey, the Earl of Kent and remodelled after a fire 1724 by his son Henry Grey  subsequently  Ist Duke of Kent.
All the wall decoration below a band marking the level of the first floor is modern, including the plaster enrichment to the skirting which was formerly plainly moulded. The band itself is original and is ornamented with groups of three acanthus buds and festoons with drops: it forms the sill to the two round-arched windows in the north wall which have an impost-band decorated with a wave moulding and archivolts with enriched mouldings (Plate 137b, fig. 12). Between them is a niche, framed by an egg-and-dart moulding, with an arched head containing a shell above an ornamented impost. In the niche stands a version of the statue of Inigo Jones by Rysbrack, at Chiswick Villa: it is not an exact replica but is said to be of plaster and to be from the sculptor's workshop. (fn. 31) Above the main impost-band is a large rectangular panel, framed also by an egg-and-dart moulding and containing a shell with two festoons and drops tied by ribbons.
c2. The foregoing discussion of the possible architectural authorship of No. 4 has been superseded by the discovery of other archives pointing to Edward Shepherd as the architect. The Duke of Kent's account at Hoare's Bank, opened ten days after the fire in December 1725, evidently comprised a 'House account' and the payments include £367 to the builder and architect Edward Shepherd, though in what capacity is not stated. Shepherd's role as architect is made more explicit in an agreement, dated 21 April 1727, between the Duke and the joiner David Anderson to lay the floors etc at the Duke's house in St James's Square (copy in the Nottingham County Record Office, DDR 215/60), which states that Anderson is to 'be derected by Edward Shepard surveyor in all the aforesaid work'.
Other payments in the Duke's account at Hoare's Bank (perhaps partly for work at Wrest) include: some £1,000 to builders' merchants; £1,146 to Alexander Rouchead, probably a mason; sums of £305, £130, £118 and £100 to Thomas Knight, James Jenner, James Slater and 'Sparke and Co.', perhaps joiner, bricklayer, plumber and brazier respectively; and some £644 to the sculptors Cheere, Delveaux, Nost, Rysbrack and H. Scheemakers and the carver John Boson
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17 x 9.3 cms



17.9 x 10.2 cms

Two drawings for statues of Inigo Jones and Palladio.
William Kent.

V &A say 1727.
Victoria and Albert Museum.
Inigo Jones
Ivory Statuette
James Francis Verskovis,
 1743.
On the Walpole Cabinet
Victoria and Albert Museum.
see my blog post - 
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After William Kent
Engraving
I Audran
40.5 x 26.4 cms
Undated
Victoria and Albert Museum
Image result for Inigo Jones Dobson chiswick
William Kent
Architecture holding the portrait of Inigo Jones.
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 Carved limewood relief.
8 ins diam.
Victoria and Albert Museum.



 Cabinet in the Royal Collection with relief of Inigo Jones in profile - the same profile as the limewood carving in the Victoria and Albert Museum (see above).
Photographs from the Royal Collection.
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I am including here the article by Richard Hewlings - Architectural Historian
Formerly with English Heritage.
This article from The English Heritage Historical Review, Vol II. 2007.
Publication of this journal has sadly ceased.

















Here is the record of the payment of invoice from Guelfi for the busts of Inigo Jones(above).

It should be noted that Michael Rysbrack had signed an agreement with Henry Hoare to supply him with his bust of Inigo Jones on 1October 1727 ' a bustow of Inigo Jones in Statuary Marble £35 - 0 -0' and two figures of Inigo Jones and Palladio in plaster for £1 - 10s.

First day of Rysbracks sale by Langford of the Piazza Covent Garden included Two figures of Palladio and Inigo Jones the original models for the figures of Lord Burlington at Chiswick.
Info from Roman Splendour ..... Jervis and Dodd pub 2015.










To Be Continued...............