Saturday 23 December 2023

John Hinchcliff of Long Acre near St Martin's Lane - Mid/Late 18th Century.

 

John Hinchcliff, Stone Mason / Builder/ Chimneypiece Carver.

Long Acre near St Martin's Lane.

See Biographical Dictionary Sculptors in Britain pub. Yale 2009.

Son of William Hinchcliff a barber of St Georges Parish, Bloomsbury.

Apprenticed Lewis Cockram citizen and mason in 1745. turned over to Richard Buddle in 1751 gained his freedom in 26 June 1755.

Exhibited at the Society of Artists 1768 & 1772 - inlaid tables




Trade Card of John Hinchcliff. c 1770's.

engraved by W. Darling of Great Newport Street



https://www.britishmuseum.org/collection/object/P_Heal-106-16


The Hinchcliff(e) Family.

John Hinchliffe Junior (the name also occurs without the final -e) belonged to a large family of statuaries and masons. He was apprenticed to his father in 1774 (suggesting he was born around 1759/60) and the last certain record of him is around 1804, though one ‘John Hinchcliff’ was responsible for a monument at Great Holland, Essex which is dated 1821.  

That would be chronologically possible, though it could equally be the work of J E Hinchcliffe (see immediately below).

Memorial: Tillington

 

J E Hinchcliffe

John Ely Hinchliffe (also found without the final -e) (1777-1867) probably belonged to the large family of masons of that name (see John Hinchliffe, immediately above for another known member) and was the assistant of J Flaxman from 1805 until Flaxman’s death in 1826.  He completed the works Flaxman left unfinished, by which time he was already known for works in the style of his master.  On his own account, he produced little work after the early 1840s.

Memorials: Udimore; Washington

Monday 18 December 2023

Dukes Court, St Martin's Lane and its inhabitants.


 Short history Duke's Court, St Martin's Lane and its occupants in the 18th/19th Centuries.

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The Mordern and Lea Map of 1685.


If this map is to be trusted entirely it shows buildings on the North side of Dukes Court backing onto The new St Martin's Church yard.


It also shows no 76 as Dukes Yard - it would appear that these buildings were demolished and replaced by two relatively regular terraces facing each other prior to 1747.

Peters Court doglegging between Hemmings Row and St Martin's Lane has not yet been built, neither have Cecil Court or St Martins Court running between Castle Street and St Martins Lane


No 77 is Castle Yard.

78 is Ellis Court.

79, off the East side of Castle Street is the yard of Red Lion Inne.

137, off Long Acre.

140 is Blackamore Alley.

141 is Angel Court.

142 is Garter Alley.






https://www.loc.gov/resource/g5754l.ct002386/?r=0.855,0.167,0.123,0.074,0



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Duke's Court was originally built some time prior to 1684.

At this stage of posting it is difficult to pinpoint the actual date of building of Duke's Court.





From  Catalogue of Books etc Thomas Thorpe 1830.

Available online.

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A New View of London: Or, An Ample Account of that City, in ... Edward Hatton · 1708 · ‎London 




This reference suggests that in 1708 Duke's Court had not yet been rebuilt.

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From Strype's Survey of London of 1720.

 "Castle street lyeth on the Backside of Leicester Fields and St. Martin's Lane, and runneth down unto the Back Gate of the Mewse; near unto which is Duke's Court, which leadeth into St. Martin's Lane, against the Church; a large well built Court, with a Free-stone Pavement, inhabited by several French Families".


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Crop from John Roque's map of London.

Engraved by John Pine 1747.



This crop from the full map downloaded from.

https://lccn.loc.gov/76696823

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Locating Duke's Court, off St Martins Lane, from Horwood's Map of London. 1799.



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1830 Plan prepared for the improvements at Charing Cross.

This excellent hi res plan used with permission from London Picture Archive.


The buildings accessed from the Little Mews south of Duke's Court and between 134 and 137 St Martin's Lane have already been cleared for the development of the National Gallery.


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Duke's Court and the Royal Mews.


The North Eastern area of the Royal Mews, south of Duke's Court was known as the Little Mews in the mid 18th century.

From a detailed Plan by Thomas Chawner, 62 Guilford St, dated June 15 1796, in the British library.


The properties backing onto the west side of Martin's Lane between nos 134 and 136 are designated either Crown or King's servants and could only be accessed from the Mews.





Note the St Martin's Lane Watch House (or Round House) at the far Eastern end of the Little Mews.


Accessed from covered Alleyways to the West from Castle Street and St Martin's Lane from the East.

Showing the North Gateway to the Kings Mews from the South end of Castle Street.

St Martin's Parish Workhouse backing on to the houses on the North side.


The old building on the East side of the King's Mews have been demolished and the land on the West side of St Martin's Lane has opened up the view to St Martin in the Fields.


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The entrance to Duke's Court underneath 17th century houses (132 and 134 St Martin's Lane) viewed from St Martin's Church Yard.

Image above Cropped From Thomas Malton's view of 1795.



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Drawing of the West side of the lower part of St Martin's Lane by George Scharf, dated 1825 with a man entering the entryway Duke's Court.

No. 6 is the Old St Martins Watch or Round House, with a man and child peering through the window


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Crop from a drawing by George Scharf 1827, view from the steps of St Martin in the Fields.

With a glimpse of 134 St Martin's Lane on the right.

Showing the rear elevations of the houses in Duke's Court shortly before demolition.

Image from  British Museum.



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Some of the Inhabitants of Duke's Court.


Francis Pitsala, Plaster Figure Maker and Decorator.

at the Golden Head, Dukes Court, St Martin's Lane c. 1757.

He doesn't appear in the Biographical Dictionary .. Sculptors pub Yale 2009.

Francis Pitsala.

At The Golden Head, Lisle St, Leicester Fields, London 1749-1751, 

At The Golden Head, Duke’s Court, St Martin's Lane 1751-1765, 

At Wardour St 1766-1769. Figure maker and painter.

 

Francis Pitsala (d.1769) married Sarah Wall at St Anne's Church, Soho on 28 January 1747. He can be found in Westminster rate books, 1749-69, at the addresses above. He was a member of an Old Bailey jury in 1760.

 

In 1751, he advertised in a leading Edinburgh newspaper, describing himself as a figure maker willing to pack figures carefully and send them by sea or by land, and explaining that he had removed from the Golden Head in Lisle Street, Leicester Fields, to the Golden Head in Duke’s Court, St Martin’s Lane, opposite the church (Caledonian Mercury 13 June 1751, information from Helen Smailes). He took out insurance in partnership with John Lee, as painters and figure makers, from nearly opposite Chapel St in Wardour St on 14 April 1766 (London Metropolitan Archives, Sun Fire Office policy registers, 168/232825).

 

Francis Pitsala, figure maker in Duke's Court advertised in 1758 that he had opened a subscription for 'the Busto of his Prussian Majesty, taken from an original Painting' (Public Advertiser 2 March 1758). The bust was 22 ins high and available to subscribers at one guinea in plaster of Paris and 27 shillings in a 'much whiter' composition.

info above from - https://www.npg.org.uk/collections/research/programmes/british-bronze-founders-and-plaster-figure-makers-1800-1980-1/british-sculpture-makers-p



Horace Walpole reports - described as an Italian Limner Pitsala died in Wardour St 10 November1769.

For the Pitsala Will of the parish of St James, Westminster dated 24 October 1769  where he leaves his estate to his wife Sarah see -

https://discovery.nationalarchives.gov.uk/details/r/D511480

In May 1770 Sarah Pitsala widow and executrix of Francis Pitsala was paid a balance of the not inconsiderable sum of  £260 for painting done at Shelburne house, Berkley Square under the direction of Messrs Adams for the Earl of Sherburne. Pearl, picked out with dead white (four or five coats).










Trade Card of c. 1740 / 60 of Francis Pitsala in the Lewis Walpole Library, Yale.


Note the similarity with the profile of Alexander Pope with the Richardson etching of Alexander Pope on the Trade Card of Francis Pitsala, Figure Maker of Dukes Court, St Martin's Lane, Opposite the Church.



Etching of a profile of Alexander Pope by Jonathan Richardson c. 1737.

Lewis Walpole Library. Yale.

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Horace Walpole.... in Anecdotes... – Francis Pitsala - d. 10 Nov. 1769. Described as Italian Limner.



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In 1749 the peripatetic engraver and publisher Matthias Darly (c.1721 -1780) - was briefly in Duke's Court, St Martin's Lane (Worms and Baynton-Williams). Darly worked with Chippendale on his director. More on Darly to come...


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William Forster's Music Shop.


c. 1783. Forster's Music Shop was on the North corner of Dukes Court and St Martin's Lane. 133 St Martin's Lane (see Horwoods Map above).

William Forster, (1713 - 1801) "old Forster", Noted Violin Maker. Came to London from Brampton, Cumberland in about 1759. 

His son William (1739 - 1807) was also a noted violin maker.

They published Haydns works with sole publishing rights purchased from Haydn between 1781 - 88.

https://www.coursehero.com/file/p373o6s/William-Forster-Violin-Maker-in-St-Martins-Lane-London-17-F-ORSTER-William/

see also -

https://www.britishmuseum.org/collection/object/P_1870-1008-2273


He is described in papers at Burghley as Violin and Violincello maker to his Royal Highness The Duke of Cumberland.


Forster worked initially for Beck's Music shop on Tower Hill.

In 1762 he was at 33 St Martin's Lane.

......It appears that Forster Snr was labelling violins made in St Martin's Lane in 1762



For interesting notes on the Forster family properties which were insured with Sun Insurance see

https://galpinsociety.org/index_htm_files/GS_Whitehead&Nex_E_to_I.pdf


May, 1767. William Forster his apartments at Spinster Rogers in St Martin's Lane, nr New Street. £100.

September 1768. St Martin's Lane, Remov’d to his Dwelling \ House Brick in Dukes Court, St Martins Lane.

May 1773, St Martins Lane,  Remov’d to his Dwelling \ House Brick in Dukes Court St Martins Lane On his household Goods in his now \ dwelling house only Brick situate as aforesaid \ not exceeding Ninety Eight Pounds \Printed Books therein only not exceeding Two pound \Utensils Stock & Goods in trust therein only not \ exceeding Three hundred & fifty Pounds \[Wearing] Apparel therein only not exceeding Fifty Pounds \ ............... £500.

20 July 1776, William Forster of the Corner \ of Dukes Court in St Martins Lane Musical Instrument Maker \ On his household Goods in his now dwelling house only brick \ & timber situate as aforesaid not exceeding Fifty pounds \Printed Books therein only not exceeding Five pounds \Utensils Stock & Goods in trust therein only not exceeding \ Four hundred & Sixty two pounds \

Wearing Apparel therein only not exceeding Sixty pounds \Plate therein only not exceeding Three pounds \Glass & China therein only not exceeding Twenty pounds \……………… £600.

In 1784 his address is given as 348, Strand. near Exeter Change. 

Available on line - The History of the Violin and Other Instruments Played on with the Bow from ...By William Sandys, Simon Andrew Forster. pub 1864.

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 James Watt at Kenneth Macullock's House in Duke's Court.

James Watt (1736 - 1819) wrote to Matthew Boulton in Birmingham –  London  7th March 1775.

"I have decamped from the Hotel and taken Lodgings in Duke's Court, St Martin’s lane at a Mr Macullocks - at 14/6 week, two rooms & a Closet".

For Kenneth Macullock (otherwise McCullock), Instrument Maker of Duke's Court see -  

https://kirkmichael.info/McCullochTheMechanician.html

Macullock "to remove from his former lodgings to a fine airy house in Duke’s Court, opposite St. Martin’s Church, for which he had engaged, he said, to pay a rent of forty-two pounds per annum, a very considerable sum nearly sixty years ago. Further, he had entered into an advantageous contract with Catherine of Russia, for furnishing all the philosophical instruments of a new college then erecting in Petersburgh – a contract which promised to secure about two years’ profitable employment to himself and seven workmen. In the ten years which intervened between the dates of his two letters, Kenneth M’Culloch had become one of the most skilful and inventive mechanicians of London"

In 1777 he was in partnership with William Fraser.

He had moved to the Minories in the City by 1789.


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Andrew Dury (d.1777, fl. circa 1760-1777). at The Indian Queen, Dukes Court.


A prolific British map and print seller and publisher who lived and worked from Duke's Court, West side of St. Martin's Lane in London. He was a very accomplished mapmaker but not perhaps as successful as contemporaries such as Thomas Jefferys or Jefferys' successor William Faden (1711 - 83) who had premises on the corner of St Martin's Lane and Charing Cross.

Amongst many maps Dury's name is associated with Rennell's large Indian maps. Dury was also responsible for Revolutionary War era plans of Boston and Philadelphia, as well as a series of maps related to the Russo-Turkish War of 1768-74.

He produced large scale maps of county maps of Hertfordshire in 1766 (with J. Andrews and W. Faden (snr), and Middlesex (Twenty Five miles around London on 20 sheets in 1777). 

We will meet Thomas Jefferys and the son of William Faden also William(1749 - 1836) again.

He published a pocket atlas of the World circa 1761 - The New General and Universal Atlas.

Pub and printed a small map of London by John Roque in 1769.

There are several engravings pub by Dury in the BM.




Frontispiece -The New General and Universal Atlas.
with maps by Thomas Kitchen and others.

___________________________


John Francis Estienne, Toyman at the Sign of Star and Pearl, Dukes Court, St Martin's Lane.
Trade Card. c. 1752 - 55.

Bankrupt in 1757 (Gentleman's Mag.)




https://www.britishmuseum.org/collection/object/P_Banks-67-59





Clipping ref. Estienne from 11 July 1752, Reads Weekly Journal


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Erasmus King's Experimental Room for Natural Philosophy, Duke's Court.

Erasmus King d.1760.

The Experimental Room and Philosophical Museum was on the first floor at Duke's Court - his wife had her chamber and lace warehouse below.


Angerstein started to attend the physical lectures of Erasmus King. King was the most prolific public lecturer in 1750s London, and he held lectures in experimental philosophy in his house at Duke’s Court near the Mews.28 He held both private lectures for “Gentlemen or Ladies” in his “Experimental Room in Duke’s Court” as well as public lectures “where all Persons are admitted” for a fee of 6 pence per lecture. Angerstein’s diary from the early 1750s corresponds remarkably well with King’s catalogue of experiments form the early 40s, which described similar experiments with magnetism and air pumps. us, Angerstein seems to have followed a fairly standardised series of lectures that King had been giving for a long time.29 After a couple of weeks of attending the lectures, Angerstein moved to King’s household at Duke’s Court. For the Swedish mining  ocial, attending public lectures seems  to have been a way to learn whether Mr King’s house was a space where useful knowledge could be gained. After he had been convinced by King’s display, the next step was to lodge with the lecturer in order to acquire knowledge that was not communicated through lectures alone. Angerstein continued to attend the lectures, but also made experiments of his own in King’s house.

see

 - https://www.researchgate.net/publication/351330331_Strangers_to_London_The_transformations_of_travellers_and_go-betweens_in_three_18th-century_travelogues

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For much more on Erasmus King and his contemporary Natural Philosophers see -

BJHS, 1990, 23, 411-434 - Lectures on natural philosophy in London, 1750-1765: S. C. T. Demainbray (1710-1782) and the 'Inattention' of his countrymen

by A. Q. MORTON


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Roger Payne bookbinder, Duke's Court, 1739 - 1797.

During the latter part of his life, Roger Payne was in later life the victim of poverty and disease. He closed his earthly career at his residence in Duke’s Court on Nov. 20, 1787, and was interred in the burial-ground of St. Martin’s-in-the-Fields, at the expense of his worthy patron, Mr. Thomas Payne.


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Patrick Begbie, Engraver fl. 1770 - 80..

8 Duke's Court, St Martin's Lane.

 Engraved for the Adam Brothers amongst others.


Copper engraver, 1773-4 in Edinburgh, from 1776 onwards in London.

_____________________


James Ferguson FRS (1710 - 76) at Duke's Court.




see - 'The Light of His Own Mind': The Story of James Ferguson, Astronomer by Patricia Rothman

Notes and Records of the Royal Society of London, Vol. 54, No. 1 (Jan., 2000), pp. 33-45.

Went from Scotland to London in May 1743. In 1756 he resided in the Strand.

1757, he sold his globe-making business to the scientific instrument-maker, Benjamin Martin.

_______________________

Smith Engraver at 17 and later at 13 Dukes Court - 1790's.



Image from the British Museum.

_______________________

John Manson, Book Seller, at 5 Dukes Court. 1788 - 91.

Formerly King St. Westminster 1786.

2 Maiden Lane.

The Mall in 1799.

Later 10, Gerard St, Soho.



John Manson d. 1812 was in Maiden Lane in 1762 where he issued a catalogue




The Manson Catalogue for 1791 see - Wellcome Library - https://data.historicaltexts.jisc.ac.uk/view?pubId=ecco-0513501200

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12 Feb 1816. 16 Dukes Court - Richard Wood, Shoemaker. Sun Fire Office.

2 Feb 1827.   16 Dukes Court - Richard Wood, Shoemaker.

24 June 1799. 5 Dukes Court Solomon Sanders, Salesman. Sun Fire Office.

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The Dukes Court Front of St Martins Workhouse, 1871.


Drawing of the back side of the St Martins Lane Workhouse, JP Emslie 1886. from what was once Dukes Court.




Ordinance Survey Map of 1871.



Thomas Ewart - East side of St Martin's Lane.



(Post under construction).

More on the inhabitants of St Martin's Lane in the time of Roubiliac.

Thomas Ewart at the sign of The Beehive.

fl 1745 - 1781.

Thomas Ewart, was a publisher and seller of engravings, his premises faced Old Slaughters' Coffee House, were on the East side at the top of St Martin's Lane, near Long Acre, London (1746).

The following addresses for Thomas Ewart probably all refer to the same premises, Hartshorn Lane was renamed Northumberland Street in 1760:

At the Bee-hive near St. Martin's Lane in the Strand (1757).

At the Bee-hive, opposite Hartshorn Lane in the Strand (1759).

At the Bee-Hive opposite Northumberland-Street, Strand (1762-66).

The corner of Hudsons Court near St Martin's Lane, Strand, London (print sold in 1781).



Image from the British Museum.



Dated twice - 1746  in the central cartouche but appears to have been reprinted in 1757.


Friday 15 December 2023

The Hardings - 18th Century Booksellers on St Martins Lane.


The Hardings - 18th Century Booksellers on the Pavement, St Martins Lane.

John Harding, and his son Samuel Harding (-1755).

At the Post House, Bible & Anchor on the Pavement, St Martin's Lane, London from 1678.

John Harding was a General Post Receiver 1708 - 22.

Samuel Harding ditto 1723 - 54.

Samuel Harding succeeded his father in 1734.

Will published 1777, died and buried in Enfield Middlesex.

 


John Harding bookseller in London, at (i) Bible and Anchor, St. Paul's Churchyard; (2) Bible and Anchor, Newport Street, near Leicester Fields; (3) St. Martin's Lane. 1678–1712? 

Entered in the Term Catalogue of Mich. 1678. Christopher Nesse's Christian's walk and work on earth ... Second edition. [T.C. i. 336.] 

Dunton became acquainted with John Harding at Sturbridge Fair and dealt with him for several years, finding him [p. 223] "a very honest man, an understanding bookseller and a zealous Church of England man, yet no bigot". 

In 1684 he moved to Leicester Fields, and among his apprentices was Bernard Lintot, who had been turned over to him from Tho. Linyard. 

In 1709, among those who received subscriptions for the Corpus omn. vet. Poetarum Latinorum was—Harding, in St. Martin's Lane, who is probably identical with John Harding. [T.C. ill. 657.] 

In 1713 he subscribed to the fund for the relief of William Bowyer the elder.


................................

First Work printed for Samuel Harding 1722.

The History of the Life & Reign of Queen Anne.

Illustrated with all the medals struck in this reign, with their Explanations; and other useful and Ornamental cuts. To which is added, an appendix, Containing several Authentick and Remarkable Papers; And annnual List of the most Eminent Persons who dy'd in this Reign, with characters of the most Conspicuous. By Mr. A. Boyer....

London :

printed by J. Roberts; and sold by William Taylor, in Pater-Noster-Row; William and John Innys, at the West End of St. Paul's Church-Yard; John Osborne, in Lombard street; Samuel Harding, and Abel Rocayrol, in St. Martin's-Lane, 1722.

Illustrated with engravings by van der Gucht

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First Publication 1723.

PROPHETICAL OBSERVATIONS OCCASION'D BY THE NEW COMET: AND BY OTHER SIGNS IN THE HEAVENS, AS WELL LATELY PAST, AS NOW APPROACHING, VIZ. THE LATE GREAT CONJUNCTION OF JUPITER, SATURN, AND MARS. THE TRANSIT OF MERCURY IN THE DISK OF THE SUN. THE NORTHERN PHOENOMENA. THE TOTAL ECLIPSE OF THE SUN


Printed for Samuel Harding, at the Post-House in St. Martin's-Lane, and sold by J. Peele, at the Lock's-Head in Pater-Noster-Row, 1723.


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https://books.openbookpublishers.com/10.11647/obp.0247/ch2.xhtml


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Trade Card for Samuel Harding.

c. 1742.

British Museum.

https://www.britishmuseum.org/collection/object/P_Heal-17-64

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https://www.royalacademy.org.uk/art-artists/name/samuel-harding


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Ref, Sam Harding General Post Receiver - Post Office 1732.

https://www.barrell.co.uk/products/129118


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of Samuel Harding


https://archive.org/details/bim_eighteenth-century_a-catalogue-of-the-valua_greenwood-john_1790

Tuesday 31 October 2023

Joseph Browne of Bowlish, Shepton Mallet - the Bust of Pope by Roubiliac - Yale Centre

Post in preparation.

The Yale Centre for British Art Bust of Alexander Pope. 

by Louis Francois Roubiliac.

redux.

Formerly in the Collection of Joseph Browne, of Bowlish, Shepton Mallet, Somerset and sold in by Auctioneer  John Gerard of Litchfield Street London in 1791.

 

Signed and dated by chisel under sitter's shoulder, proper right: "Anno Dom. | MDCCXLI. | L.F. Roubiliac | Scit. Ad vivum"

 

Inscribed, chiseled on front of socle: 'POPE'; on proper left under sitter's shoulder: 'ALEX. POPE. Nats. LONDINI, | die 8o. junii anno MDCLXXXVIII. | Obiit in vico Twickenham prope | Urbem, die 8o. maii MDCCXLIV"

Eyes cut.

 Yale Centre for the Study of British Art. 




















Although signed and dated on the left side underneath rthe drapery  - Anno Dom MDCCXLI  Sc. L.F. Roubiliac ad vivum (1741), there is an inscription in the same manner underneath the right side of the drapery, recording the death of Pope at Twickenham on 8th May 1744, suggesting that this bust was carved and completed posthumously but based perhaps on Popes sitting for the terra cotta in 1741. 

Pope visited the studio of Roubiliac in July of 1741, and reported to Ralph Allen in Bath on the progress of busts for his library.

See Popes Correspondence.



We know that this bust was in the collection of Joseph Browne of Bowlish, Shepton Mallett and sold in

 1791.

A catalogue of the intire and valuable museum of that well-known collector, the late Joseph Browne, Esq. of Shepton-Mallet, ... Part I. : Consisting of fine Greek, Roman, Saxon, English, and Anglo-Gallic, coins; proofs, pattern pieces, and curious medals of royal and illustrious personages, by Briot, Blandeau, Ramage, Simon, Rotier, Bower,&c. Also his books and coins and medals, a capital miniature, by Cooper, of the Earl of Southampton, set in gold ; a gold repeating watch, by Mudge and Dutton; rins, &c. Which, ... will be sold by auction, by Mr. Gerard, ... on Wednesday, March 16, 1791, and the three following days, at half after eleven o'clock precisely.


see "Proceedings of the Somersetshire Archaeological and Natural History Society" 1907. Available on line at -





Joseph Browne of Bowlish and the Marble bust of Alexander Pope, by Louis Francois Roubiliac.


The sale of the Joseph Browne Collections in 1791 in two tranches by Auctioneer John Gerard of Litchfield Street, London.

Gerard died July 1793.

Joseph Browne ….. This occurs in the catalogue of the sale by auction in 1791 of the museum of curios, paintings, etc., etc., of Joseph Browne, of Shepton Mallet, clearly a great, important, and interesting sale of a wealthy man. The museum, etc., occupied March 16th and three following days; the china 15th April and following day; paintings, coins, etc., 23rd May and five following days; and 5th June came ancient and modern coins, manuscripts, etc.

The catalogue describes the prints and paintings as — consisting of a remarkably fine and curious collection of prints of the Italian, German, Flemish, Dutch, English, and French schools, comprehending the best works by or after Albert Durer, Goltzius, Elsheimer, Hollar, Rubens, Vandyck, Jordaens, Teniers, Rembrandt, Bergheim, Ostade, Visscher, Walker, Faithorne, Loggan, Vertue, Le Brun, Edelinck, Masson, Balechon, etc., etc.

Together with a few capital pictures and drawings by Rubens, Berghem, W ouvermans, Brughell, Potter, Knyp, Both, Ostade, Ferg, etc.,

 and a beautiful marble bust of Alex Pope by Roubiliac.


The catalogue available at Kings College Library - Foyle Special Collections: [Rare books Coll.]          Z999 B81

https://discover.libraryhub.jisc.ac.uk/search?ti=Three%20Valuable%20Pieces&rn=21&for=kcl

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Dominic Winter Auctioneers, 10 Nov 2021.



Lot 393 - part lots -

14. A catalogue of the entire and valuable museum of that well-known collector, the late Joseph Browne, Esq. of Shepton Mallet, Somerset ... Part I. ... will be sold by auction, by Mr. Gerard ... on Wednesday, March 16, 1791,

15. A catalogue of the entire and valuable museum of that well known collector, the late Joseph Browne, Esq. of Shepton Mallet, Somerset ... Part V. ... will be sold by auction, by Mr. Gerard … on Thursday 2d of June 1791.



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1762 -  Auctioneers Prestage and Hobbs.  A Catalogue of a ... Collection of Greek, Roman, Irish and English Coins and Medals [chiefly Belonging to Joseph Browne] ... which Will be Sold by Auction, by Messrs. Prestage and Hobbs ... the 5th of April, 1762. MS. Notes of Prices

Benjamin Rackstrow


 Post under Construction

Benjamin Rackstrow (d.1772). 

Some notes.


From The Walpole Society Journal Vol. 27 - Notes by Horace Walpole...on the Exhibitions of the Society of Artists.... 1760 -.1791.

Transcribed and edited by Hugh Gatty.


Page 86. Additional Notes by Walpole ...

Society of Artists.


1763 (2). Title: April. P. 16: In this exhibition a whole figure of an elderly man sitting, cast in (lead erased) plaister of Paris and coloured, & so very near to life that every body mistook it for real. 

It was removed, on having frightened an apothecary. It was the performance of Rackstrow, Statuary. [This is probably no. 172, in Algernon Graves, p. 207.].



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The Busts of Alexander Pope belonging to Lady Luxborough and William Shenstone and Rackstrow.

See - Letters written by the late Rt Honourable Lady Luxborough: to William Shenstone published in 1775

 In a letter From Barrells Hall dated 28th April 1748, she mentions a head of Pope over a chimneypiece (page 22) and having Mr Outing sending Shenstone a bust of Pope made to look like marble, and mentions 4 more busts treated in the same way by Rackstrow for her brother Saint John.

 2 August 1750 she mentions Mr Moore of Warwick (plaisterer) “also to desire him to see your white bust of Pope, for I have a mind to have Lord Bolingbrokes painted the same”

 On Easter Sunday 1748, she wrote -The chimney in my study was not exactly in the middle of the room: which has occasioned my moving it 12” and consequently moving Popes bust to be in the centre. The lines wrote above it are put up again (which, you know, are out of Virgil).

 In another letter from Barrells of 13 August 1750, she mentions Mr Williams (of New Street, Birmingham) who was visiting Shenstone “I desired him not to forget to look at your bust of Pope; hoping he may be able to paint mine of my brother Bolinbroke after the same manner”. (page 215).

 

Henrietta St John Knight, Lady Luxborough was the half sister of Henry St John, Lord Bolingbroke, a close friend of Alexander Pope and executor of his will.

 She and a group of Poetic friends were known as the Warwickshire Coterie.

 Barrells Hall, Wooten Wawen, near Henley in Arden, Warwickshire. She had been banished there in 1736 by her husband Robert Knight (created Baron Luxborough in 1745), for an indiscretion (probably with poet and clergyman John Dalton. Horace Walpole said they Rhymed till they chimed and never saw her husband again.

Here we have two busts of Alexander Pope mentioned in letters of 1748 and 1750. From these letters there is no doubt that William Shenstone owned a plaster bust of Pope. Lady Luxborough also owned a bust of Pope but she does not make clear what material it was made from -

This bust could be one of the marble busts by Roubiliac. Given the lack of headroom at Barrells Hall, this could have been the small bust or head now at Temple Newsam signed L.F.Roubiliac, ad vivum 1738. 

Currently there is no record of this bust prior to about 1922 when a Mr ARA Hobson suggests that his father GD Hobson (of Sotheby's) acquired it..

 Illustrated in a wall niche at I Bedford Square and illustrated in Country Life in February 1932, sold at Sotheby's 17 Nov 1933 - see Wimsatt -


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https://london-overlooked.com/rackstrow/





Roubiliac and John Mealing, Waterman

 

A Miniature of John Mealing, waterman 

by Ozias Humphrey. 1766.

Exhibited at the society of Artists 1766.

From Notes by Horace Walpole..... on the Exhibitions of the Society of Artists and the free Society of Artists 1760 - 1791

From the Walpole Society Journal.




1766.no 71. A portrait in miniature, good, head of old John, porter of the Academy, this picture was purchased by the King, he had been a waterman, was chosen by Roubiliac for a Model, having been rowed by him to Vauxhall, when he went thither to place his figure of Handel.

[Graves, p. 125, says 'John Mealing, dressed in scarlet lined with fur'. Whitley, p. 370, quotes Walpole 'Good head of Old John, porter of the Academy', and refers to his vol. i, p. 184, where he says that the King bought this picture


Monday 9 October 2023

The Charles Clay Musical Clocks - Repost. 2.

 



                             The Charles Clay Musical Clocks - Repost. 2.


Catalogue entry from an unknown auction sale -





The Clay Astronomical Clock in the Board Room Treasury Buildings, Whitehall, Westminster.


The Board Room designed by William Kent 1735.






Currently the best photograph I can locate!



"This clock is "evidently the one referred to in an entry of 6th November, 1740, in the Treasury Minute Book: 'Mr. Lowther is to pay out of the King's money in his hands a sum not exceeding £160 for the great clock and all its furniture set up in the Lords' room here, to Mrs, Clay, widow of Mr. Clay who made the same…' A further entry of 4th May, 1742, records a petition from Mrs. Clay for an allowance for keeping in order the Treasury clock in their Lordships' room, which was made by her husband. The Secretaries to the Treasury were to agree with her as to a payment for this service, which they did at £4 per annum." (The Treasury, by Sir Thos. L. Heath, pp. 227–8.)"

Extract and Photograph from British History Online, Survey of London 1931. Plate 23.



1739. Whitehall Treasury Chambers. Mr Lowther is to pay Mr Clay the clock maker £13-2s-0d in full of all his demands for looking after and repairing the Treasury clock 1721 March 25th to 1725 Aug.18th or any time after. (Calendar of Treasury Books Vol.4). - BHO.



..........................



A Musical Clock by Charles Clay.

These pages below from Old Clocks and Watches and their Makers, FJ Britten, 1904. Second Edition.









In an Article in The Musical Quarterly - Vol. 5, No. 4 (Oct., 1919), pp. 538-552 by William Barclay Squire entitled  Handel's Clock Music Mr Squire relates how he contacted Percy Webster who assisted Britten with his work who informed him that it had been previously owned by Mr F.A. English of Addington Park, Surrey.





https://archive.org/stream/oldclockswatches00brit#page/n7/mode/2up


see also - https://www.jstor.org/stable/738126?seq=1&refreqid=excelsior%3A4a2c27228ae398e8893f5d534ee9ee1c#page_scan_tab_contents


------------------------

The Charles Clay Musical Clock at 
Castletown House, Celbridge, County Kildare, Ireland.












The Clock is 98 tall cms x 81 cms wide.

 

Provenance -

Believed to have been taken to Castletown by and Katherine Conolly, nee Conyngham (d.1752), the wife of the Speaker of the Irish house of Commons William Connolly (1662 - 1729)

William Conolly was at the time the richest man in Ireland

 Recorded in an inventory in the Grand Entrance and Inner Hall in 1893/4

by descent to Major William Francis Conolly-Carew

 

Purchased by Desmond Guiness in 1966.

Desmond Guiness had purchased the house in 1967 from a Major Wilson who had bought the house and its collection in 1965.

Bought by the Castletown Foundation in 1975.

The chimes not currently functioning.

 

Information from Castletown Decorative Arts pub 2011

Office of Public Works Ireland

Very kindly supplied by Celine of the Guides reception at Castletown.


............................


The Temple of The Four Grand Monarchies of the World.


1738. March 2nd. On Thursday last Mr Clay entertained their Royal Highness the Prince and Princess of Wales with his musical machine at their Royal Highness house in St James Square and after having heard the beautiful strains of music was graciously pleased. (Stamford Mercury Newspaper).



In November 1743, Clay's widow advertised 'a most magnificent and curious MUSICAL MACHINE, CALL'D The temple of the four Grand Monarchies of the World (viz. the Assyrian, the Persian, the Grecian and the Roman) founded by Ninus, Cyrus the Great, Alexander the Great and Augustus Caesar. The Musick was composed by Geminiani, Handel and Corelli: and properly adapted to the machine by Mr Geminiani. It performs not only in Concert, but alternatively on several Instruments, in a most surprising manner, exceeding the Performance of the best Hands. Note. The Inside Work may be seen by those who desire it.' 

 This clock was finished by John Pyke, clockmaker to Frederick, Prince of Wales, and its elaborate case included reliefs in silver, based on models by Rysbrack and bronzes representing the seated figures of the four Grand Monarchies modelled by the French London-based sculptor Louis Francois Roubiliac (1702-62). The clock was surmounted by Roubiliac's figures of Hercules and Atlas supporting the globe.






Above Clipping from The Daily Advertiser, 14 January, 1744.
 . 

In December 1743 it was available to view at John Pyke's premises at the corner of Brownlow Street, facing Bedford Row near Gray's Inn. It apparently cost more than £4,500.  

The case was a 'noble Structure, a regular Piece of Architecture in the Corinthian Order ... made of fine Ebony, with Mouldings of Brass; its Columns and Entablatures are also of Brass adorn'd with Modilions, Capitals, Bases and other ornaments of Silver in the most elegant Taste. It is supported with a Pedestal of circular Form, made of Curious Wood, with Brass Mouldings, and adorn'd with other Ornaments of Brass, upon which it turns round at Pleasure for the greater Conveniency of the Spectators'.  

This clock was also later acquired for Augusta, widow of Frederick, Prince of Wales. 


The long delay between the completion of the clock and its acquisition for the Royal Collection explains Clay's frustration with the challenge of marketing his musical creations. 

Three days before his death, he 'order'd a Musical Machine, which had cost him about 20 Years Time, and upwards of £2000 to bring to perfection, to be beat to Pieces, and entirely destroy'd to prevent the Expense of the Time and Money of any one who should attempt to finish it after his death'. 

It seems unlikely that Mrs Clay carried out her husband's death-bed wishes. 


......................

The Temple of the Four Grand Monarchies of the World.

1740.

 A Charles Clay Musical Clock.

Commenced by Charles Clay and completed by John Pyke.

 in the Rotunda at Kensington Palace.

 

Acquired by Princess Augusta after 1743.

 

https://www.royalcollection.org.uk/collection/search#/54/collection/1418/floor-standing-clock

 

Excerpt below from Tessa Murdoch, Apollo, November 2013

https://www.thefreelibrary.com/Time's+melody.-a0351262546







Bronze mounts by Louis Francois Roubiliac.

All photographs above from the Royal Collection.

The text below is lifted in its entirety from the Royal Collection website for which I can make no apologies. I coudn't do better. I have only created the paragraphs to make this information slightly more digestible.

see - https://www.royalcollection.org.uk/collection/search#/54/collection/1418/floor-standing-clock


A large square and elaborately decorated musical clock, the four dials painted with allegorical scenes - by Amigoni - and applied silver bas-reliefs - by Rysbrack - and a bronze group with Atlas - by Roubilliac - at the top and corners with applied double columns and four bronze sculptures representing four of the monarchies of the world at the base of the clock.

The four faces represent the foundation of the four great empires of antiquity - Assyria, Persia, Greece and Rome.













The creator of the clock, Charles Clay, came from Flockton in the West Riding of Yorkshire. First known when, in 1716, he petitioned the King for a Patent in respect of a repeating device for pocket watches. The application was ultimately unsuccessful following the opposition of the Clockmakers' Company - at a cost to the Company of the not inconsiderable sum of £74 17s. 11d. He arrived in London c. 1720 and set up in premises near St. Mary-le-Strand Church and by 1723 had been appointed Clockmaker to His Majesty's Board of Works in which capacity, in 1731, he made a clock for the gatehouse at St. James's Palace.

The 'Temple of the Four Great Monarchies of the World' was put on display shortly after his death; the clock had been completed by John Pyke, a clock and watch maker of Bedford Row who had been apprenticed in 1710 and admitted to the Freedom of the Clockmakers' Company in 1720.
A newspaper cutting of 31 December 1743 describes the clock 'A DESCRIPTION of a most magnificent and curious MUSICAL MACHINE, CALL'D The temple of the four Grand Monarchies of the World (viz. the Assyrian, the Persian, the Grecian, and the Roman) which were founded by Ninus, Cyrus the Great, Alexander the Great, and Augustus Caesar. Begun by the late ingenious MR CHARLES GRAY, and finish'd y Mr PYKE, Clock and Watchmaker, in Bedford-Row, London. The whole having cost upwards of 45000l. and is to be seen every day at the corner of Brownlow Street facing Bedford-Row, near Gray's inn, London, from ten 0'Clock in the Morning till Seven in the Evening..........
 'The Musick consists of an agreeable Variety of Pieces, composed by the three great Masters Geminiani, Handel and Corelli; and properly adapted to the machine by mr Geminiani. It performs not only in Concert, but alternatively on several Instruments, in a most surprising manner, exceeding the Performance of the best Hands.'

The advetisement continues with a description of the four faces:
'This Temple has four front avenues leading into it, through which you may see the Subjects relating to each Monarchy finely represented in Historical Painting. By Signor Amiconi.
'At the entrance of each Avenue is represented in Sculpture the Genii of the Arts and Sciences as Paintings, Sculpture, Geometry, Musick, Architecture, Arithmetick, and Astronomy, all which Sciences have been used in the building and adorning this Fabrick. They are made of Silver in Alto Relievo, by Mr. Rysbrack and are reposing on a Piece of Architecture in Basso Relievo, made of Brass, in true Perspective; by the Obelisks on which stand eight Deities in Silver, in their respective Attitudes, as having some Allusion to the Subjects of each Piece of Painting. These represent some remarkable Passage in the Lives of the before mentioned famous Founders of these memorable Monarchies.
'The first Piece of Painting represents Ninus setting up his Father's image and using it to be worshipped, making it an awful Asylum for all Sort of Malefactors and granting every Petition made to it, which proved the Beginning of Idolotary. The presiding Deities are Cybele and Saturn; Cybele represents the Earth and is call'd the Mother of all Gods; and Saturn, said to be the same with Noah, was the Ancestor of Nimrod, or Belus, who was the Father of Ninus.

 'The second Piece represents the Tragic Death of Cyrus, the Founder of the Persian Monarchy, by Thomyris, Queen of the Massigetes, a Nation of the Scythians, who having laid in Ambush for him and slain him, cut off his head and before her Attendance putting it into a Tub of Blood, said, Cyrus, now take thy fill of Blood, which thou has always thirsted afters. The Deities that preside here are Mars and Venus. Mars was particularly ador'd by the Scythians, who build him a Temple of Iron; and Venus was adored by the Persians under the Title of Venus Coelestis.

 'The third Piece is the Marriage of Alexander the Great, at Susa, with Statira, the Daughter of Darius. This Hero put an End of the Persian Monarchy, and established the Grecian. The Presiding Gods are Jupiter and Mercury; the former alludes to Alexander's pretending to descend from Jupiter Ammon, the other to the dexterous Genius of the Greeks, who excelled all other Nations at that Time in most kinds of Knowledge and Learning.


''The fourth Piece represents Augustus Ceasar giving Peace to Rome by the Deaths of Brutus and Cassius and the Overthrow of Mark Anthony, after which Augustus was peaceably acknowledge Emperor by the whole Roman People. Here are the images of Apollo and Diana; Apollo's Temple there being one of the riches and beautifullest of all Antiquity.' The original movement, including a musical mechanism, and stand missing. 























Scan of a drawing by Nathaniel Smith, c. 1759.

from an excellent Article by David Wilson entitled -

New Information from the society of Arts: Roubiliac's Model of Hercules and Atlas and Nathaniel Smith's model of St Andrew after Duquesnoy - in the Sculpture Journal volume 16.2 (2007).