A Catalogue of the Posthumous Auction Sale of the studio Contents of Louis Francois Roubiliac.
Held by Langfords of the Piazza, Covent Garden.
12 May 1762.
From The life and works of Louis François Roubiliac by Katharine Esdaile, pub 1928.
Wednesday, 20 May 2015
Tuesday, 19 May 2015
Elizabeth Finch by Roubiliac
Bust by Louis Francois Roubiliac of Elizabeth Finch, Countess of Mansfield, wife of William Murray, Lord Mansfield, c.1740.
This post was updated 4 August 2023.
On 29 April 2015, I wrote in this blog about the bust of Lady Mansfield by Roubiliac. I illustrated the piece with the best photographs available to me at the time, but recently I had the opportunity to visit Kenwood House, Hampstead, North London and to take photographs of the Roubiliac bust of Lady Mansfield, the bust of Lord Mansfield by Nollekens of 1779 and the bust of Homer by Joseph Wilton.
Kenwood is administered by English Heritage - entrance is free and photography is allowed as long as flash isn't used. A very enlightened attitude. I am very grateful to English Heritage.
These photographs are not professional quality and taken with an iphone.
Photographs above by the author.
.................................
Recent photographs have been published on the ART UK website.
Here are a couple of profiles.
see -
........................
A bust of her husband had been started by Roubiliac and was in his studio when he died.
Lot 82, first day of the Posthumous sale of the contents of the Roubiliac Studio at 66 St Martins Lane, Westminster by Messrs Langfords of the Piazza Covent Garden, Wednesday 12 May 1762.
There is only one annotated copy so far recorded, now in the British Museum print room.
See my next post.
Her father Daniel Finch, 2nd Earl of Nottingham and 7th Earl of Winchelsea's bust was sculpted by Michael Rysbrack in 1723.
This portrait bust of the statesman Daniel Finch, 2nd Earl of Nottingham, 7th
Earl of Winchilsea (1647-1730), is an early work by Rysbrack, and it helped to
establish his reputation in England. It was probably commissioned by William
Finch, second son of the sitter, and displayed in William's house in Savile Row,
London. By 1774 the bust was in place at the foot of the Great Staircase of the
Finch family's country estate, Burley-on-the-Hill, Rutland. It remained in the
family until 1999.
Information Victoria and Albert Museum - http://collections.vam.ac.uk/item/O34734/daniel-finch-2nd-earl-of-bust-rysbrack-john-michael/
Elizabeth was the youngest of six sisters and four brothers.
- Daniel Finch, 8th Earl of
Winchilsea (24 May 1689 – 2 August 1769). He was first married
to Lady Frances Feilding, daughter of Basil Feilding, 4th Earl of
Denbigh and Hester Firebrace. He was secondly married to Mary
Palmer, daughter of Sir Thomas
Palmer, 1st Baronet Palmer. No known descendants.
- William Finch (d. 25 December 1766).
He married Charlotte Fermor, daughter of Thomas
Fermor, 1st Earl of Pomfret. They were parents of Sophia Finch
and her younger brother George Finch, 9th Earl of
Winchilsea.
- John
Finch (before 1743–1763), who left a daughter.
- Hon. Henry Finch (d. 26 April 1761), whose illegitimate daughter, Charlotte (d. 5 April 1810), married Thomas
Raikes, Governor of the Bank of England
- Edward Finch (MP) (c. 1697 – 16 May
1771). He was married to Elizabeth Palmer, another daughter of Thomas
Palmer, 1st Baronet Palmer. They had three children. He later took the
surname Finch-Hatton, and was the grandfather of George
Finch-Hatton, 10th Earl of Winchilsea.
- Essex Finch (d. 23 May 1721). She was
married to Sir Roger Mostyn, 3rd Baronet
of Mostyn. They were parents to Sir
Thomas Mostyn, 4th Baronet of Mostyn and two other children.
- Lady Henrietta Finch (d. 14 April
1742). She married William Fitzroy, 3rd Duke of
Cleveland, a son of Charles Fitzroy, 2nd Duke of
Cleveland and Anne Poultney. No known descendants.
- Mary Finch (1701 – 30 May 1761). Not
to be confused with her elder half-sister. She was married to Thomas
Watson-Wentworth, 1st Marquess of Rockingham.
- Lady Charlotte Finch (1711 – 21
January 1773). She was married to Charles Seymour, 6th Duke of
Somerset. They were parents to Lady Charlotte Seymour and Lady
Frances Seymour.
- Elizabeth Finch (1723 – 10 April
1784). She married William Murray, 1st Earl of
Mansfield. No descendants.
----------------------------------------------------------------------
William Murray, Lord Mansfield by Joseph Nollekens, 1779.
------------
Another bust of William Murray Lord Mansfield by Joseph Nollekens.
28" tall.
Executed for Sir James Marriott, Judge of the High Court of
Admiralty, who was Master of Trinity Hall 1764-1803, given by him to Trinity
Hall, Cambridge.
Image from the Paul Mellon Photo Archive.
.............................
Plaster bust of William Murray, Lord Mansfield.
At the Hurd Library, Hartlebury Worcestershire.
Probably after the original by Rysbrack of at Scone Palace.
The Hurd Library, housed in the former Bishop’s Palace at Hartlebury Castle, Worcestershire, is an outstanding survival of the Age of Enlightenment. Founded in 1782 by Richard Hurd, Bishop of Worcester from 1781-1808, it is the only example of an Anglican bishop’s library remaining on its original shelves in the room built for it. It holds the collections of four men: Alexander Pope (1688-1744), Ralph Allen (1693-1764), William Warburton (1698-1779) and Hurd himself.
Text and image from Hurd Library Blog -
............................
The Athenaeum Club Plaster bust of Lord Mansfield.
Supplied by Pietro Sarti in 1830.
This plaster
is a cast from another bust by Nollekens, undated but certainly authentic, at
Trinity Hall, Cambridge, which has slightly different drapery. J T Smith wrote
that the moulds of Nollekens’s busts of Johnson (No 4) and Mansfield were sold
in 1823 to James Deville, plaster worker and phrenologist in The Strand, and
Sarti may have used the same moulds.
http://www.victorianweb.org/sculpture/athenaeum/catalogue.html
-------------------------------------------------------
Bust of Homer by Joseph Wilton R.A. (1722 -1803).
Portrait of Lord Mansfield, 1775 by David Martin.
This portrait shows the Joseph Wilton bust of Homer left to him in his will by Alexander Pope, along with a bust of Isaac Newton by Guelphi.
Pope also left his marble busts of Spencer, Shakespeare, Milton and Dryden by Scheemakers given to him by Prince Frederick to Mr Lyttleton (of Hagley).
Pope believed it to be by Bernini. The current bust of Homer at Kenwood is a replacement for the original still at Scone Place, the Murray family home.
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Monday, 18 May 2015
28 Plaster Busts at Blickling Hall supplied by John Cheere c. 1745
Another page about the plaster busts of John Cheere.
A List of 28 Plaster Busts by John Cheere.
Formerly at Blickling Hall, Norfolk, supplied circa 1745 /7.
This list was very kindly supplied to me by Mike Southerill of the National Trust at Blickling Hall. I was first alerted to references to these busts by Emile de Bruijn of the National Trust in his blog which referred to Grisailles by Francis Hayman at Blickling.
For his website see https://nttreasurehunt.wordpress.com/about/
I am very grateful to both Mike Southerill and Emile de Bruijn for their assistance here.
This information came from Mark Purcell and he obtained it from a document (COL/13/34/35) in the Blickling archive in the Norfolk Record Office. The spelling and wording is that of the original document. I do not yet have the date of this document.
"a very beautifull
Library 132 x 20 x 18. & a rich Cieling, a charming Chimneypiece
design’d by Ld. Burlington. Sr. Rich’d Ellis who left the Book’s his
Busto is plac’d between the broken parts of a pediment
which turn into 2 scrolls, & from the middle Point of each one to
the other hangs a garland neatly executed in white marble quite detach’d
only pendant at each end. Over the Books are Heads of most famous
Poets, Homer &c stand in a window".
The bust of Ellys was
by Scheemakers, but apparently was removed from Blickling in 1802 and
sent to the Earl of Buckinghamshire’s townhouse in St. James’s Square.
The Felbrigg Plaster busts attributed to John Cheere.
I am very grateful to both Mike Southerill and Emile de Bruijn for their assistance here.
These busts have all disappeared. Unfortunately there is no indication of size, but the list shows a comprehensive selection of 21 classical busts and 7 (relatively) contemporary busts.
This list should be compared with those bust believed to be by Cheere at Blaire Castle, Arniston House and West Wycombe Park which have previously appeared in this blog and the Felbrigg busts below.
Apollo Plato Pope Vitruvius
Diana Socrates Shakespeare Carracalla
Homer Democritus Milton Venus
Seneca Aristotle Dryden Niobe daughter
Horace Hypocrates Newton Vestal Virgin
Cicero Agothocles Inigo Jones Antinous
Virgil Demosthenes Palladio Jupiter.
This information came from Mark Purcell and he obtained it from a document (COL/13/34/35) in the Blickling archive in the Norfolk Record Office. The spelling and wording is that of the original document. I do not yet have the date of this document.
Plus, there
was a marble bust of Richard Ellys (in the middle of the marble fire
place surround?), and one or two extra things (more busts or statues?)
in the window bays:
The Felbrigg Plaster busts attributed to John Cheere.
There are several busts at Felbrigg in Norfolk that can confidently be ascribed to John Cheere.
Sappho.
...................................
Antinous,
...............................
Seneca.
.......................................
Horace.
........................................
Horace.
Further lifesize versions is at Stourhead and in in Wren Library at Trinity College, Cambridge
I am including (below) a very low resolution image of the plaster bust of Alexander Pope which is a direct cast from the Roubiliac, Shipley Gallery / David Garrick marble bust of 1740, which is possibly another plaster version of Pope by John Cheere but could equally have come from the Roubiliac workshop.
All photographs above from the National Trust Collections website.
---------------------------------------------------------------
The Studeley Royal Plaster Library Busts.
Probably three quarter life size.
The Group of busts in the library possibly supplied by John Cheere.
Inigo Jones.
Fletcher.
Locke.
Alexander Pope.
Palladio.
Congreve.
Unidentified.
Shakespeare.
Studeley Royal, Yorkshire, the country house was destroyed by fire in 1946.
Image from Country Life Images.
...............................
Friday, 8 May 2015
Terracotta Bust of Tillemans by Rysbrack
The Terracotta Bust of Peter Tillemans (1684 - 1734),
and a Terracotta self portrait bust by Michael Rysbrack.
Incised on back of bust: "Mel/ Rysbrack f. 1727".
27 1/2 x 18 1/2 x 8 3/4 inches,
Yale Centre for British Art, Paul Mellon Collection, partial Gift of Cyril Humphris.
Formerly in the collection of Dr Cox Macro (1683 - 1767).
As far as I can tell this is the first use of English sculptors terracotta prototype busts which were displayed in someone's home as independent works of art.
This painting is very probably the work described in a MS catalogue of Cox Macro's collection, in Macro's own hand, as 'Dr Macro. Young Mieris made the Drapery & Hand & P. Tillemans some part of the Face' (Norwich Castle Museum, Macro A); and as the work recorded in a later catalogue as 'Van Mieris -- 79 A port. of Dr Macro on copper 6' (Norwich Castle Museum, Macro B).
He married, 9 Jan. 1678-9, Susan, only daughter and heiress of the Rev. John Cox, rector of Risby, near Bury, and great-granddaughter of Dr. Richard Cox, bishop of Ely. She died on 29 April 1743. Their son, Cox Macro, was born in 1683, and received his baptismal name from his mother's surname. His name provoked a friend to whom he applied for an appropriate motto for his family to suggest the punning device of 'Cocks may crow.' He was educated at Bury grammar school by the Rev. Edward Leeds, and the Latin speech which he made at the school before the Bishop of Norwich, on 15 May 1699, is still extant. He matriculated at Jesus College, Cambridge, but migrated to Christ's College on 19 Jan. 1701-2, in order, as the Latin entry in the books says, to enjoy better health (mutato cœlo), and to study medicine. On 3 Sept. 1703 he entered at Leyden University, where he studied under Boerhaave (Peacock, Index of Leyden Students, p. 64). He proceeded LL.B. at Cambridge in 1710, D.D. in 1717, and he was at the time of his death the senior doctor in divinity of the university.
He was chaplain to George II, but the possession of an ample fortune placed him above the need of further preferment. Richard Hurd was curate during 1742 - 3 of a parish near Norton, where he often saw Macro, and considered him 'a very learned and amiable man, the most complete scholar and gentleman united that almost ever I saw,' The doctor was 'master of most of the modern languages;' and he taught Hurd Italian. His house of Little Haugh contained many valuable paintings, a few pieces of sculpture, a choice collection of coins and medals, numerous manuscripts, and a library of books rich in old poetry and other rare works. The staircase was partly painted by Peter Tillemans of Antwerp, who died at Little Haugh in 1734, and was buried in the churchyard of Stowlangtoft, and the ceiling and dome were painted by Huysmans. A picture by Tillemans of the house, with Macro and the members of his family walking in front of it, was, with eleven other family portraits, in the possession in 1848 of the Rev. W. F. Patteson of St. Helen's, Norwich.
and a Terracotta self portrait bust by Michael Rysbrack.
Incised on back of bust: "Mel/ Rysbrack f. 1727".
27 1/2 x 18 1/2 x 8 3/4 inches,
Yale Centre for British Art, Paul Mellon Collection, partial Gift of Cyril Humphris.
Formerly in the collection of Dr Cox Macro (1683 - 1767).
As far as I can tell this is the first use of English sculptors terracotta prototype busts which were displayed in someone's home as independent works of art.
Peter Tillemans, c.1684–1734
A painter and draughtsman chiefly of topographical landscapes, Thames-side views and sporting scenes; he also
recorded are some decorative and scenery paintings, battle-pieces and a few portraits.
Born c. 1684 at Antwerp, the son of
a diamond-cutter, and trained there as a copyist; in 1708 was brought to
England by ‘Turner, a picture dealer’ for whom he copied battle scenes and
painted small genre pictures.
By 1711 had joined Kneller's newly founded Academy of painting; later joined the Society of St
Luke (and was its Steward, 1725). Lived chiefly in Westminster, but travelled
to execute commissions; by 1715 had acquired his most faithful patron, Dr Cox
Macro, of Little Haugh, Suffolk. In 1719, he was commissioned by the antiquary John
Bridges to make about 500 drawings for a projected history of Northamptonshire;
‘from this to drawing views of gentlemen's and noblemen's seats was a natural
step, and from topographical panoramas to enlivening them with strings of
horses was another’ (Waterhouse 1953, p.216).
Raines notes that the bulk of Tilleman's work was done after about 1720,
painting various country houses and the views from them; also painted
Thames-side views at Greenwich, Chelsea, Richmond and Twickenham. Several
paintings of racing at Newmarket and some hunting pictures are known; four of
them (three views of Newmarket racecourse and ‘The Fox Chase’), engraved by Claude du Bosc and published in 1723, are
among the most spectacular early sporting prints in England. He suffered from Asthma. Tillemans died at Little Haugh, Dr Cox Macro's house in
Suffolk, 19 November 1734.
_________________________________________
George Vertue notes his death, calls him 'the famous painter' and continues 'the model of his face by Rysbrack is very much like him, nothing more like unless his two daughters that he has left, he was a a member many years of the Grand Virtuosi club, London and had been steward(his picture painted by Mr Hysing at Mr Rysbrack's) Some of Macros papers are in the British Museum and amongst them is a letter from Rysbrack:
'Sir London ye 4 march 1734.
I ask theen Thousand pardons For Not Sending Soner the Bustow of our old Find Mr Thillemans. But havibg been very busy with the Kings Statue withs at present is up and finist at Geenwiths Hospital. I am informed out your letter from ye 14 Dec: about my own bustow withs I promis I Shall Do wan time parmits, but you do me a geat Daell of Honeur in to Heving my bust my prise is always 12 ginnes, But my old Frindt accound we shall Send the Same to mororow witht Mr Allen ye Bury Carier, Dereetit For you, an if you plst to Send your Servand wan the waggon comts at Bury he will find the same an I remain
Your most Humble, Servandt
to command Mich. Rysbrack.
(George II statue at Greenwich was erected in February 1735 and Tillemans died in December 1734).
There is an account book of Cox Macros at the Bodleian Library presented by Mrs Perowne a collateral descendant and this shows two payments to Rysbrack. They are undated, both payments are for £10.10.0. one entry is for 'the two models by Rysbrac', the other 'paid Rysbrac for his own bust'
This information transcribed from Michael Rysbrack Sculptor. MI Webb pub Country Life, 1954.
This is still the best source for an overview of the life and works of Rysbrack even if a little out of date.
________________________________________
LITERATURE Robert
Raines, ‘Peter Tillemans, Life and Work, with a List of Representative
Paintings’, Walpole Society, XLVII, 1980, pp.21–59
Published in:
Elizabeth Einberg and Judy Egerton, The Age of Hogarth: British Painters
Born 1675-1709, Tate Gallery Collections, II, London 1988.
Info from Tate Gallery.
--------------------------------------------------------------------------------------------
Cox Macro by Frans van Meiris
11.1 x 8.5cms
Purchased from the estate of Philippa and Charity Patteson through Sotheby's, 1991, with grant aid from the Museums and Galleries Commission (in lieu of inheritance tax), the National Heritage Memorial Fund, and the National Art-Collections Fund.
Provenance - Dr Cox Macro, until 1767; by descent to John Patteson, until 1833; by descent to Philippa and Charity Patteson.
The Suffolk antiquary Cox Macro (1683-1767) studied medicine at Cambridge and Leiden Universities. He was a keen collector and an important patron of the Flemish artist Peter Tillemans. This small oval portrait on copper shows Macro in a full early eighteenth-century wig and was probably painted in Leiden by Frans van Mieris around 1703. However, documentary evidence (see notes for this record) suggests that the face was repainted by Tillemans, probably around 1716, when the sitter also appeared in Tillemans's well-known painting The Artist's Studio. Frans van Mieris came from a family of successful painters that included his father, Willem, and grandfather, also called Frans. Dr Macro's extensive collection of paintings, including several works by Tillemans, was inherited through marriage by John Patteson, in 1781. Today, the heart of that collection, including this work, forms part of the Patteson Collection at Norwich Castle Museum.
The Artists Studio by Peter Tillemans c.1716.
It is believed that the standing man is Cox Macro.
MACRO, COX (1683–1767), antiquary, was eldest son of
Thomas Macro, grocer, alderman, and five times chief magistrate of Bury St. Edmunds, Suffolk
(d. 26 May 1737, aged 88). Thomas Macro lived and made his fortune in
the ancient house in the Meat Market, Bury, usually known, from the observatory
on its top, as Cupola House, and he purchased the estate of Little Haugh, in
the neighboring parish of Norton, for his country house.
He married, 9 Jan. 1678-9, Susan, only daughter and heiress of the Rev. John Cox, rector of Risby, near Bury, and great-granddaughter of Dr. Richard Cox, bishop of Ely. She died on 29 April 1743. Their son, Cox Macro, was born in 1683, and received his baptismal name from his mother's surname. His name provoked a friend to whom he applied for an appropriate motto for his family to suggest the punning device of 'Cocks may crow.' He was educated at Bury grammar school by the Rev. Edward Leeds, and the Latin speech which he made at the school before the Bishop of Norwich, on 15 May 1699, is still extant. He matriculated at Jesus College, Cambridge, but migrated to Christ's College on 19 Jan. 1701-2, in order, as the Latin entry in the books says, to enjoy better health (mutato cœlo), and to study medicine. On 3 Sept. 1703 he entered at Leyden University, where he studied under Boerhaave (Peacock, Index of Leyden Students, p. 64). He proceeded LL.B. at Cambridge in 1710, D.D. in 1717, and he was at the time of his death the senior doctor in divinity of the university.
He was chaplain to George II, but the possession of an ample fortune placed him above the need of further preferment. Richard Hurd was curate during 1742 - 3 of a parish near Norton, where he often saw Macro, and considered him 'a very learned and amiable man, the most complete scholar and gentleman united that almost ever I saw,' The doctor was 'master of most of the modern languages;' and he taught Hurd Italian. His house of Little Haugh contained many valuable paintings, a few pieces of sculpture, a choice collection of coins and medals, numerous manuscripts, and a library of books rich in old poetry and other rare works. The staircase was partly painted by Peter Tillemans of Antwerp, who died at Little Haugh in 1734, and was buried in the churchyard of Stowlangtoft, and the ceiling and dome were painted by Huysmans. A picture by Tillemans of the house, with Macro and the members of his family walking in front of it, was, with eleven other family portraits, in the possession in 1848 of the Rev. W. F. Patteson of St. Helen's, Norwich.
Macro died at Little Haugh on 2 Feb. 1767, and was buried on
9 Feb. in Norton churchyard, in an enclosure between the side of the vestry and
a buttress to the church wall. His wife was Mary, daughter of Edward Godfrey,
privy purse to Queen Anne. She died on 31 Aug. 1753, and was buried at Norton,
leaving one son and one daughter. The former, for some time at Emmanuel
College, Cambridge, with Hurd as his tutor, became a soldier, and died abroad
during his father's lifetime, whereupon his sister, Mary, became her father's
heiress. After his death — for he would not allow the union previously — she
married, on 8 May 1767, William Staniforth of Sheffield, and died without issue
on 16 Aug. 1775. Macro left a charitable bequest of 600l. to Norton
parish, to provide twelve coats for poor men and twelve gowns for poor women.
A catalogue of Macro's treasures was compiled in 1766. Among them were a bust of Tillemans by Rysbrack, one of Rysbrack himself, drawings by the old masters, which had belonged to Sir James Thornhill, many letters from protestant martyrs, descended to him through Bishop Cox, the great register of Bury Abbey, a ledger-book of Glastonbury Abbey, the original manuscript of Spenser's 'View of the State of Ireland,' all the collections of Dr. John Covel, and numerous charters. Many of his manuscripts had belonged to Sir Henry Spelman, others formed part of the library of Bury Abbey, and several of them had been obtained through Hurd. A part of Macro's literary collections were presented by the Staniforths to Mr Wilson, a Yorkshire antiquary, who was his nephew; and when the Wilson library was dispersed in 1844 they went to augment the store of Sir Thomas Phillipps at Middle Hill.
The Macro property ultimately came to John Patteson, M.P. for Norwich, who disposed of the old masters by auction in 1819, and sold the books and manuscripts for a trifling sum — no more than 150l., it is said — to Richard Beatniffe, bookseller in that city, who resold them at a very large profit.
The manuscripts were sold for him by Christie of Pall Mall in 1820, and were purchased — forty-one lots by Dawson Turner and the rest by Hudson Gurney — for 700l. The latter portion, now in the possession of J. H. Gurney of Keswick Hall, near Norwich, are described in the Historical Manuscripts Commission's 12th Rep. App. pp. 116-64. Macro's correspondence with eminent literary men and artists (1700-64) forms the Additional Manuscripts 32556-7 at the British Museum. Some of his biographical notes are inserted in the edition of Wood's 'Athenæ Oxonienses,' by Dr Bliss. The Rev. Joseph Hunter edited for the Camden Society in 1840 a volume of 'Ecclesiastical Documents,' containing, in the second part, twenty-one charters from Macro's library, and from a manuscript formerly in his possession there was printed in 1837 for the Abbotsford Club a 'morality' called 'Mind, Will, and Understanding.'
A catalogue of Macro's treasures was compiled in 1766. Among them were a bust of Tillemans by Rysbrack, one of Rysbrack himself, drawings by the old masters, which had belonged to Sir James Thornhill, many letters from protestant martyrs, descended to him through Bishop Cox, the great register of Bury Abbey, a ledger-book of Glastonbury Abbey, the original manuscript of Spenser's 'View of the State of Ireland,' all the collections of Dr. John Covel, and numerous charters. Many of his manuscripts had belonged to Sir Henry Spelman, others formed part of the library of Bury Abbey, and several of them had been obtained through Hurd. A part of Macro's literary collections were presented by the Staniforths to Mr Wilson, a Yorkshire antiquary, who was his nephew; and when the Wilson library was dispersed in 1844 they went to augment the store of Sir Thomas Phillipps at Middle Hill.
The Macro property ultimately came to John Patteson, M.P. for Norwich, who disposed of the old masters by auction in 1819, and sold the books and manuscripts for a trifling sum — no more than 150l., it is said — to Richard Beatniffe, bookseller in that city, who resold them at a very large profit.
The manuscripts were sold for him by Christie of Pall Mall in 1820, and were purchased — forty-one lots by Dawson Turner and the rest by Hudson Gurney — for 700l. The latter portion, now in the possession of J. H. Gurney of Keswick Hall, near Norwich, are described in the Historical Manuscripts Commission's 12th Rep. App. pp. 116-64. Macro's correspondence with eminent literary men and artists (1700-64) forms the Additional Manuscripts 32556-7 at the British Museum. Some of his biographical notes are inserted in the edition of Wood's 'Athenæ Oxonienses,' by Dr Bliss. The Rev. Joseph Hunter edited for the Camden Society in 1840 a volume of 'Ecclesiastical Documents,' containing, in the second part, twenty-one charters from Macro's library, and from a manuscript formerly in his possession there was printed in 1837 for the Abbotsford Club a 'morality' called 'Mind, Will, and Understanding.'
[Bury and
West Suffolk Archæol. Instit. ii. 210, 281-7, iii. 375-85; Nichols's Lit.
Anecd. ix. 359-65; Nichols's Ulustr. of Lit. vi. 524; Kilvert's Hurd, pp.
10-20, 245; Page's Supplement to Suffolk Traveller, pp. 799-800; Hunter's
Hallamshire, ed. Gatty, p. 423; information from the Rev. Dr. Peile of Christ's
College, Cambridge.]
This info lifted from the Dictionary of National Biography.
His collection of paintings had been sold in an auction conducted by Dr Macro on 19 and 20 April 1733 and included paintings by James Tillemans, probably a son or other relation, and by Arthur Devis, who, like Joseph Francis Nollekens, was one of Tillemans's pupils.
For more on Cox Macro see - below
Early Letters of Bishop Hurd - 1739 - 1762 - Richard Hurd and Sarah Brewer. 1995.
Little Haugh, Norton, Suffolk by Peter Tillemans
---------------------------------------
The Michael Rysbrack - Self Portrait - Terracotta.
Completed in 1735, from the collection of Dr Cox Macro.
Formerly in the Royal Museum of Fine Arts, Antwerp -
currently on display at the Bonnefanten Museum, Maastricht.
This info lifted from the Dictionary of National Biography.
His collection of paintings had been sold in an auction conducted by Dr Macro on 19 and 20 April 1733 and included paintings by James Tillemans, probably a son or other relation, and by Arthur Devis, who, like Joseph Francis Nollekens, was one of Tillemans's pupils.
____________________________________________
For more on Cox Macro see - below
Early Letters of Bishop Hurd - 1739 - 1762 - Richard Hurd and Sarah Brewer. 1995.
Master Edward and Miss Mary Macro c.1733
By Peter Tillemans
Norwich Castle Museum.
Mezzotint by John Faber 1734.
35.6 x 25.3 cm.
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