Portraits of Frances Vandewall and her mother Mary Ingram by William Hoare of Bath.

 The Pastel Portraits of Mrs Frances Vandewall, 

and her mother Mrs Mary Ingram 

probably late 1730's.

by William Hoare of Bath (1706 -99).

(Post in preparation.)

I am extremely grateful to art historian Tancrède Hertzog for alerting me to the existence of these two portraits and providing me with the photographs.

Whilst not immediately relevant to the study of portrait sculpture in the 18th century, these two portraits help to place members of the wealthy Quaker Vandewall family into the artistic milieu of the mid 18th century.

I have previously written at some length on the Vandewall family in particular about Samuel and Martha Vandewall and ownership of the bust of Alexander Pope by Roubiliac.

From 1751 they lived at Lindsey House, Arch Row, Lincolns Inn Fields conversion designed by Isaac Ware - his family were pained by Reynolds, Hudson, Knapton Benjamin West and miniatures by Gervase Spencer.

http://bathartandarchitecture.blogspot.com/2014/02/samuelvandewall-1719-1761-and-his-wife.html

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For the most recent catalogue of the works of William Hoare by Neil Jaffares see -

http://www.pastellists.com/Articles/Hoare1.pdf

http://www.pastellists.com/Articles/Hoare.pdf

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Frances Ingram (d. 1765) married Joseph Vandewall (b. 1714 - 1739) older brother of Samuel Vandewall in 1737. 

Frances Ingram daughter of Joseph Ingram of Cheapside, Linen Draper, amongst those at the wedding were the apothecary Silvanus Bevan, Joseph Moore, and many of the Ingram family.

Joseph Vandewall died in 1739 at French Ordinary Court in the hospital of the Crutched Friars. 

He leaves to his dear wife Frances his personal estate and the reversion of an estate at Greenwich “settled on testator” by his father in law Joseph Ingram on his Marriage.

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

She later married Captain George Augustus Killigrew (1717-1757). He served in Col. Douglas' Regiment of Marines, and they were married in June 1753.

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Christies, London, Lot 123,  4 July 2023.

https://www.christies.com/lot/william-hoare-of-bath-eye-suffolk-1706-1799-6437452/?intObjectID=6437452&lid=1

61 x 45.7 cms.

A few notes - Frances Vandewall, nee Ingram, Widow of Joseph Vandewall.

After the death of Joseph Vandewall she married to Captain George Killigrew.

Captain George Augustus Killigrew was born sometime before 1719. He was the son of Thomas Killigrew.

He served in Col. Douglas' Regiment of Marines according to the 1740 Army list: Captain George Augustus Killigrew, commission dated 10 Dec 1739, Ensign 17 Dec 1735 on 10 December 1735.

Captain George Augustus Killigrew married Isabella Unknown before 1743.

Captain George Augustus Killigrew and Frances Vandewall obtained a marriage licence on 27 June 1753 at London.

Captain George Augustus Killigrew married Frances Vandewall after 27 June 1753.

Capt. George Augustus Killigrew to Sir R Wilmot. Scheme to dispose of his troop and retire on the half-pay of captain on the Irish establishment. Stewart Douglass willing to resign half-pay for him.
George died before 20 August 1757 at Bond Street, Soho, Westminster.

His will was proved on 20 August 1757 at the Prerogative Court of Canterbury. He was a Captain in the Regiment of Carabiniers.

From - http://www.linleyfh.com/oursecondsite-p/p453.htm

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

Mrs Joseph Ingram nee Mary Bellers.

Mrs Ingram, Cheapside - All Paid.

Mary Ingram (Mrs Joseph Ingram).

Joseph Ingram, Cheapside, Linen Draper.

The Martha Vandewall Gold Snuffbox.

 The Martha Vandewall Gold Snuffbox.

(Post in preparation).

Sotheby's London Lot 3, 25 May 2023.

With the miniature portrait by Gervase Spencer (d.1763).

Sotheby's description.

Of upright cartouche form, the lid inset with a panel of banded creamy grey agate within pierced and chased rocaille decorations, reeded gold rims and bow-shaped thumbpiece, the shaped sides also chased with rocaille ornament and flowers, the interior of the lid set with an enamel miniature of Mrs Vandewall, by Gervase Spencer, signed and dated: G. S 1757, wearing an ermine-trimmed blue dress, lace collar and baroque pearl earrings.

In a rose gold frame and plaited light brown hair border, the interior of the base later inscribed: Martha / Vandewall / Apl 1798, unmarked.

There are two possible Martha Vandewalls.

1. Daughter of Quaker merchant Thomas Goldney II - third wife of Nehemiah Champion m. 1742.

She was the bereaved wife of John Vandewall III d. 1731 (father of Joseph and Samuel Vandewall) -

.................. 

1728 - John Vandewall marries his third wife at the Friends Meeting House Bristol, Martha Goldney daughter of Thomas Goldney the elder, of Clifton, Bristol.

1731 – 5 January - John Vandewall III dies of a fever and is buried at the Friends Burial Ground at Whitechapel Mount, his executors are his brother in law Thomas Gouldney II of Bristol, maker of the famous grotto at Clifton, Bristol, his father in law from his second wife Joseph Moore and the Apothecary and amateur sculptor Silvanus Bevan.

2. Martha Vandewall, the daughter of Jonathan and Martha Barrow, was born in 1711 into a Quaker family. She first married Harris Neate, a West Indies merchant, in 1733. 

Following the death of Harris Neate, she married the wealthy merchant and prominent Quaker, Samuel Vandewall, in 1744.

On balance I believe this portrait to be that of Martha Goldney /Vandewall / Champion.

The gold box unmarked.

Length 5.7 cms.

https://www.sothebys.com/en/buy/auction/2022/gold-boxes-faberge-and-objects-of-vertu/a-gold-and-hardstone-portrait-snuff-box-english

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Miniature of Samuel Vandewall by Gervase Spencer (c.1715 - 63).

Sold Sotheby's Lot 1,  2003.

Signed with the initials of Gervase Spencer.

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http://bathartandarchitecture.blogspot.com/2014/02/samuelvandewall-1719-1761-and-his-wife.html

A Coade Stone Statue of William Shakespeare.

 

A Coadestone Statue of William Shakespeare.

1780's

Removed From the Theatre Royal Edinburgh.

Photograph above taken in the summer of 1981.

The Coadestone statue of William Shakespeare which advocate and writer Lord Henry Cockburn installed in the garden at Bonaly Tower, Edinburgh. 

It is in a curved recess in the boundary wall at west end of garden. It came from the Theatre Royal at Shakespeare Square at the east end of Princes Street after it was demolished in 1860. 

It was originally acquired by John Jackson in the 1780s, along with accompanying figures of tragedy and comedy, for the theatre which had its last performance on May 25th. 1859. 

It was acquired by the owner, John Jackson, in the 1780s, along with accompanying figures of tragedy and comedy, and it is included in a 1790 list of debts owed by Jackson to a range of creditors, where it is described as ‘never used’.

 It was eventually removed when the Theatre was remodelled in 1830.

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

Shakespeare flanked by Tragedy and Comedy.

Image from  Modern Athens, displayed in a series of views; or, Edinburgh in the nineteenth century; exhibiting the whole of the new buildings, modern improvements, antiquities, & picturesque scenery of the Scottish metropolis & its environs, from original drawings by Mr. T. H. Shepherd. With historical, topographical & critical illustrations [by John Britton].

Thomas Hosmer Shepherd London : Jones & Co, 1829.

The Theatre Royal Edinburgh.

The theatre Royal is on the left.

This engraving dated 1798 is by the amateur Scottish printmaker Aeneas Macpherson.

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The 1799 Coade Gallery Book.

see page XII.

https://books.google.co.uk/books?id=Q1ppAAAAcAAJ&pg=PR1&lpg=PR1&dq=Coade%27s+Gallery,+or+Exhibitions+in+Artifical+Stone,+Westminster-Bridge-Road&source=bl&ots=mPRaF1gRC9&sig=ACfU3U1tLL2rsdJfiFKkt-buSfmHlAYJiA&hl=en&sa=X&ved=2ahUKEwjq07XN-sX_AhXYQUEAHa7qA0sQ6AF6BAgvEAM#v=onepage&q&f=false

I will come back to this publication in due course.

____________________

http://www.arthurlloyd.co.uk/Edinburgh/TheatreRoyalShakespeareSquare.htm

Carved Wooden Statue of an Horse with Jamb Antiques.

 

A Carved Wooden Statue of an Horse 

with Jamb Antiques of Pimlico Road, London

June 2023.

Post in preparation.

An excerpt from "Ancient topography of London; containing not only views of buildings which in many instances no longer exist, and for the most part were never before published; but some account of places and customs either unknown, or overlooked by the London historians"

John Thomas Smith, 1766-1833.    Published 1810. at Great Mays Buildings, St Martin's Lane.

https://archive.org/details/b3045671x/page/n5/mode/2up?view=theater

"The next public carving in wood, of which I have been able to obtain any account, was the state Coach of Queen Anne. It was extremely heavy in its ornaments, but the pannels were beautifully painted by Sir James Thornhill. 

A friend of mine, Mr. Renton, is in possession of a part of one. The Earl of Carlisle, who did me the honour to shew me a representation of this coach, most excellently painted by Marco Ricci, has liberally given me permission to make an etching of it. This coach served Kings George the First and Second, and was used by our present King, when he first went to the House of Lords, and also on his marriage ; after which it was broken up; and Sir William Chambers recommended the late Joseph Wilton, Esq. R. A. and Mr. Pugello, to conduct the building of the present carriage, which was executed on the scite of the late Mr. Malone’s house in Queen Anne Street East, and is certainly in many parts highly deserving notice. 

The model was made from Sir William’s design by Lawrence Anderson Holme, a Dane, who in 1765 gained a premium from the Society of Arts of £147/. for the best statue in marble. The greatest part ofthe carving of the coach was executed by Nicholas Collett, a little man, and, from his superior abilities, was honoured by Mr. Waldron the actor, with the characteristic epithet of a“ Garrick of a carver.” (Mr. Waldron was originally a wood-carver.) 

Mr. Cipriani painted the pannels, and received the sum of £800/ for his performance. The bill for the coach was £9,000/., but it was taxed, and the real cost was £7,564/. 4v. 4 \d .; the odd pence arose from the ribbon-weaver’s bill. It was first used Nov. 15, 1762.

 

Mr. Collett was employed to carve a Horse for the late Mr. Hatchett, of Long Acre, as large as the life, for the purpose of shewing harness upon; and this he modelled by actual measurement, from one of the King’s Hanoverian stud, called Beauty. He also carved a portrait of the same animal, for the armory in the Tower of London. 

It stands by the figures of Queen Elizabeth and her Black Page, whose faces and hands were carved in wood by the same artist.

 Mr. Collett was born in Plumbtree-street, died 10th March, 1804, in Queen-street, Seven Dials, and was buried in the South Church-yard of St. Giles in the Fields, aged 76 years.

I received many of the above particulars from the artist’s son, Mr William Collett, who is also a wood-carver".

For the Equestrian statues and the Line of Kings at the Tower of London see -

http://english18thcenturyportraitsculpture.blogspot.com/2016/09/the-line-of-kings-tower-of-london.html

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Brief Biog of Nicholas Collett

https://gunnis.henry-moore.org/henrymoore/sculptor/browserecord.php?-action=browse&-recid=586

William Collett was a close friend of Thomas Gainsborough. His subjects ‘were chiefly selected from the domestic animal fables of Aesop, and now and then to be met with in the tablets of chimneypieces.’ One such was often repeated: ‘a shepherd’s boy, eating his dinner amidst his flock, under the shade of a tree, with his dog begging by his side’ (Builder 1854, 72).

Literary References: Marsden and Hardy 2001, 6, 12 fn 31, 33

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William Collett son of Nicholas Collett, Carver of St Martin, Middlesex apprenticed to Richard Price from 22 May 1770 for 7 years.

 

Source: Guildhall Library, MS 8052/7, f. 109. - Joiners' Company records, 1640-1821.

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I have posted many times on equestrian statues in the 17th and 18th Centuries see -

Equestrian Sculpture in England, Ireland and Europe. ….

https://bathartandarchitecture.blogspot.com/2016/08/giacomo-leoni-project-for-triumphal.html Project for a triumphal arch for George I

https://bathartandarchitecture.blogspot.com/2016/08/equestrian-statue-of-prince-frederick.html Cheere at Hartwell House.

https://bathartandarchitecture.blogspot.com/2017/10/george-i-marble-bust-by-michael.html George I at Stowe – lead by Cheere? Rysbrack?

http://english18thcenturyportraitsculpture.blogspot.com/2016/06/lord-chesterfield-etc-caricature.html  Caricature with wooden horse.

http://english18thcenturyportraitsculpture.blogspot.com/2016/07/the-equestrian-statue-of-george-i-john.html  Essex Bridge Dublin, van Nost

http://english18thcenturyportraitsculpture.blogspot.com/2016/07/equestrian-statue-of-william-iii-by.html Peter Scheemakers, Hull.

http://english18thcenturyportraitsculpture.blogspot.com/2016/07/equestrian-statue-of-george-i-by-van.html now in the Barber Inst formerly Dublin

http://english18thcenturyportraitsculpture.blogspot.com/2016/07/equestrian-statue-of-charles-i-by_22.html Charing Cross, Bronze by Hubert le Sueur

http://english18thcenturyportraitsculpture.blogspot.com/2016/07/two-equestrian-statues-of-charles-ii.html    Windsor Castle and College Green Dublin, Grinling Gibbons

http://english18thcenturyportraitsculpture.blogspot.com/2016/07/equestrian-statue-at-newby-hall.html  Formerly at the Stocks Market London, Anon Italian sculptor

http://english18thcenturyportraitsculpture.blogspot.com/2016/07/equestrian-statue-of-george-ii-formerly.html   Bronze St Stephens Green, John van Nost III

http://english18thcenturyportraitsculpture.blogspot.com/2016/08/equestrian-statue-of-george-i-in.html Lead, John van Nost II, Grosvenor Square.

http://english18thcenturyportraitsculpture.blogspot.com/2016/08/equestrian-statue-of-george-i-at-stowe.html  John van Nost II.

http://english18thcenturyportraitsculpture.blogspot.com/2016/08/equestrian-statue-of-george-i-formerly.html Leicester Square van Nost II – originally from Canons House.

http://english18thcenturyportraitsculpture.blogspot.com/2016/08/equestrian-statue-of-george-i-hackwood.html George I, Hackwood Park. John van Nost II

http://english18thcenturyportraitsculpture.blogspot.com/2016/08/equestrian-statue-of-william-iii.html   

John Cheere, Lead,  William III, Petersfield

http://english18thcenturyportraitsculpture.blogspot.com/2016/08/equestrian-statue-of-prince-frederick.html 

John Cheere, Prince Frederick, Hartwell House

 

http://english18thcenturyportraitsculpture.blogspot.com/2016/08/equestrian-statue-of-george-ii-by-john_3.html 

Lead. George II, Cork, John van Nost III.

http://english18thcenturyportraitsculpture.blogspot.com/2016/08/andrew-snape-equestrian-anatomy.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/08/rysbrack-plaster-equestrian-statue-of.html 

Equestrian William III, Rysbrack Plaster Model, Bristol Museum

http://english18thcenturyportraitsculpture.blogspot.com/2016/09/the-line-of-kings-tower-of-london.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/09/equestrian-statue-of-james-ii.html and Irish Equestrian Statues. 

James II, by Larson

 

http://english18thcenturyportraitsculpture.blogspot.com/2016/09/list-of-english-and-irish-equestrian.html

 

http://english18thcenturyportraitsculpture.blogspot.com/2016/09/two-equestrian-statues-by-joseph-wilton.html

 

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http://english18thcenturyportraitsculpture.blogspot.com/2016/07/regisole-pavia.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/07/equestrian-statue-of-william-iii-after.html 

Miniature equestrian bronze William III, Rijksmuseum

http://english18thcenturyportraitsculpture.blogspot.com/2016/08/the-torrie-ecorche-bronze-equestrian.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/09/horsemen-on-rearing-horses-survey_1.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/09/small-bronze-equestrian-statue-of-louis.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/09/the-equestrian-statue-of-louis-xiv-at.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/09/the-equestrian-statue-of-bartolemeo.html       

 Verocchio, Venice.

http://english18thcenturyportraitsculpture.blogspot.com/2016/09/equestrian-statue-of-gattamalata.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/09/equestrian-statue-of-heni-iv-on-pont.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/09/equestrian-statues-of-marcus-nonius.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/09/a-reduced-equestrian-statue-of-louis.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/09/roman-marble-equestrian-statue-of.html                

Caligula, British Museum.

http://english18thcenturyportraitsculpture.blogspot.com/2016/09/reduced-model-of-equestrian-statue-of.html            

Le Hongre, Dijon.

http://english18thcenturyportraitsculpture.blogspot.com/2016/09/equestrian-statue-of-louis-xiv-by.html                      

Coysevox, Paris.

http://english18thcenturyportraitsculpture.blogspot.com/2016/09/how-to-cast-equestrian-statue-in-bronze.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/09/jean-baltazar-keller-1638-1702.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/10/equestrian-statue-of-louis-xv-by.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/10/equestrian-statue-of-louis-xiv-by.html             

Martin Desjardin, Lyon.

http://english18thcenturyportraitsculpture.blogspot.com/2016/10/equestrian-statue-of-louis-xv-by_2.html      

Edme Bouchardon, Paris.

 http://english18thcenturyportraitsculpture.blogspot.com/2016/10/equestrian-statue-of-louis-xv-bordeaux.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/10/miniature-lead-equestrian-statue-of_15.html 

Model, John van Nost, at Dublin Castle.

http://english18thcenturyportraitsculpture.blogspot.com/2016/10/george-ii-st-stephens-green-dublin.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/10/henri-iv-on-pont-neuf-paris-done.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/10/equestrian-statuettes-of-louis-xiii-and.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/11/larson-equestrian-statue-redux.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/12/a-bronze-equestrian-statuette-of-gaspar.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/12/engravings-of-charles-ii-equstrian-and.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/12/a-general-on-horseback-hubert-le-sueur.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/12/pierre-hubert-archeveque-stockholm.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/12/saly-and-equestrian-statue-of-frederick.html

http://english18thcenturyportraitsculpture.blogspot.com/2016/12/small-iron-equestrian-statuette-at.html

http://english18thcenturyportraitsculpture.blogspot.com/2017/01/terracotta-equestrian-statuette-of.html

http://english18thcenturyportraitsculpture.blogspot.com/2017/05/how-to-make-equestrian-statue.html

http://english18thcenturyportraitsculpture.blogspot.com/2017/12/le-sueur-bronze-head-of-henri-de.html

http://english18thcenturyportraitsculpture.blogspot.com/2017/07/sir-john-hawkwood-niccolo-da-tolentino.html

Some more Vandewall stuff.

 

Some more Vandewall, Neate, Williams stuff.

This link below ref Mrs Martha Vandewall, Thomas Neate, Thomas Needham. John Williams of Pant Howell, and his wife Martha Neate (daughter of Mrs Vandewall, wife of Sam. Vandewall widow of Harris Neate).

The marriage settlement of John Williams and Martha Neate.

https://archiveshub.jisc.ac.uk/search/archives/b60fa140-359f-38af-ac1b-581992fe3b6c?component=3c084be3-d694-31ad-9e47-87bc8f60e135

The house of Panthowell, Trelech a'r Betws, Carmarthenshire, was owned by the Williams family for nearly three centuries. John Williams (d. 1773) was the last of the male line at Panthowell. 

The property passed to his daughter Margarette Vandewall Williams, who married the Rev. William Shippen Willes, of Cirencester, (d. 1822) in 1797; their son, William Willes, inherited the estate. 

By 1831, the estate consisted of Panthowell, Panthowell Mill, Crug y denyon and Ffynnon Sais. In 1834 the estate was sold to Lt-Col Thomas Samuel Nicholls (1787-1857), of Tenby, Pembrokeshire. In 1837, Nicholls adopted the name Trafford, his grandmother's family, and built a large mansion at Panthowell in c. 1850. His second wife, Maria, continued to live at Panthowell until her death in 1908. The property was then sold to local farmers.

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From the website of dealers Antique Jewellers Ltd.

An oval face set with three dazzling old-cut diamonds on a blue guilloche enamel background. A border of white enamel with ornate gold detailing is surrounded by 22 pearls.

 

The reverse of this 18th-century ring is inscribed with the words 'Martha Vanderwall Williams ob. March 19 1789 at. 18'. The shank of this ring appears to have been attached at a later date, though the style of the join suggests this work was done a very long time ago. This ring may have had a different shank in the past that required replacing, or it may have been a brooch which was converted to a ring in the early 19th century

https://antiquejewellers.com/products/the-antique-georgian-diamond-pearl-and-enamel-mourning-ring

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Mural Monument to Martha Vandewall Williams d. 1789..

Monument carved by C. Viner of Bath.

Died at the Hot Wells /on the 18th March 1789 /and in the 19th Year of her age /Martha Vandewall Williams /Eldest Daughter and Coheiress /of John Williams Esq'r /of Panthowell, /in the County of Carmarthen /and lies interred near this place.

https://bristol-cathedral.co.uk/the-cathedral/search-the-collection/collection-item/index1154.html?id=1240136&page=37

Samuel Vandewall (1719 - 61) and William Hogarth.

 Samuel Vandewall (1719 - 61) and William Hogarth.

(post in progress).

I have, on and off, continued to add biographical information on the Vandewall Family and William Seward in relation to the ownership of the marble bust of Alexander Pope by Roubiliac.

This bust was in the ownership of Mrs Martha Vandewall wife of Samuel Vandewall who gave it to William Seward (d.1799).

On his death William Seward left the bust in his will to banker William Morland.

This post repeats a previous post but adds the (poor quality) images of the subscription details of the engravings ordered by Samuel Vandewall from William Hogarth in June 1751.

So far there is no evidence as to where this bust originated before entering the possession of Mrs Vandewall. It is most likely that it was one of the two marble busts of Pope remaining in the studio of Roubiliac sold in his posthumous sale in 1762.

see - http://bathartandarchitecture.blogspot.com/2015/05/a-catalogue-of-posthumous-auction-sale.html

I have attempted to make links between the Vandewalls and the St Martin's Lane Academy set.

We know that a member of the group, the architect Isaac Ware was involved in the conversion of Lindsey House, Lincolns Inn Fields into two separate dwellings in 1750 - one of which became the home of the Vandewalls and the other by the Schiffners.

A portrait of Samuel Vandewall in van Dyck costume was painted by Thomas Hudson in 1744, his step children Thomas Neate and Charlotte Neate and his infant son who died were painted by Joshua Reynolds.

See my previous posts -

http://bathartandarchitecture.blogspot.com/2014/02/samuelvandewall-1719-1761-and-his-wife.html

http://bathartandarchitecture.blogspot.com/2014/01/the-william-seward-martha-vandewall.html

From the collection of the Christchurch Art Gallery, NewZealand.

https://christchurchartgallery.org.nz/media/uploads/2010_07/Survey12.pdf

https://christchurchartgallery.org.nz/media/uploads/2014_09/GuideToTheCollections.pdf