Saturday, 28 June 2025

Henry Cheere and the Monuments in Winchester Cathedral.

 


The Monument to Bishop Richard Willis d. 1734.

Bishop of Winchester.

Inscribed H Cheere Fect.

In the South Aisle of the Nave.

Photographs here taken by the author on the 6 November 2017.

I rather wish I had paid more attention to this monument

The quality of the carving is exceptional in particular his right hand and sleeve.



























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The Preparatory Drawing for the Willis Monument in the V and A.

https://collections.vam.ac.uk/item/O800171/design-cheere-henry-sir/
















https://georgiangroup.org.uk/wp-content/uploads/2020/10/GGJ_2015_05_Smith.pdf











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Monument to Charles Woodroffe d. 1726.

This monument is earlier than the Cheere monuments and not by him.

The Inscription in Latin: Nearby are buried Charles Woodroffe LLD, prebendary of this church and Elizabeth his most beloved wife. Dear souls, worthy to be buried with the highest honours; in as much as his serene and unwrinkled brow, his lofty and steadfast mind, his elegant and urbane manners, the severity of his theological and legal learning tempered with more pleasant studies and the charms of music, made him a great loss to his friends. Her charming appearance, humorous countenance, lively genius, well-born modesty, natural grace, her delicate virtue and her piety tempered by the sweetness of her character made her darling of her husband. He died 13th February 1726 at age 54. She died 6th September 1721 at age 33. 

RB. AW put up this stone to the happy pair. [Translation from "A Selection of Latin Inscriptions at Winchester Cathedral" by Pat Wagstaff, amended.]



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Another Earlier Monument.

Peter Mews the Warrior Bishop of Winchester.



Some Drawings of Funeral Monuments presumably by Henry Cheere in the Victoria and Albert Museum.





Henry Cheere was apprenticed to a member of the Hartshorne family, probably Robert I, in December 1718. 

By 1726 he had acquired two premises in St Margaret’s Lane, (later St Margaret.s Street) which ran between Old Palace Yard and New Palace Yard, Westminster, one of them a ‘shop’. 

The location was convenient for the Wharfs along the Thames for the transport of stone and marble and the finished works by river and also for commissions destined for Westminster Abbey. 

Within a year he was collaborating on monuments with the Flemish sculptor, Henry Scheemakers, brother of Peter who might be credited with introduceing him to Continental modelling and carving techniques. 

Their most ambitious work, signed conspicuously by both sculptors, is the memorial to the Duke of Ancaster, at Edenham, Lincolnshire which has an elegant life-sized effigy of a Roman general with cropped hair, set in a grand architectural frame. The partnership lasted 7 years, ceasing when Scheemakers left England in 1733.





 
















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The Monument to Mary Williams and Lady Williams d. 1754.

Clopton, Northamptonshire.

The monument to Thomas Kempthorne at Great Hamden Bucks is distinctly similar.

Image here courtesy The Conway Library Archive







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The Drawing Annotated 'Monument to Lord Carpenter'.

Lord Carpenter died in 1749.

The monument is at Owlesbury near Winchester.


https://georgiangroup.org.uk/wp-content/uploads/2020/10/GGJ_2015_05_Smith.pdf







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Ref. 893311










The Monument to Sir Francis Molyneux Bart d.1741 and Lady Molyneux d. 1718.


Teversall, Nottinghamshire.








Image below from





The Monument is inscribed.

"In a Vault in this Church are deposited the

Remains of Sr FRANCIS MOLYNEUX Bart of this

Place, & of Dame DIANA his Wife the Daughter of

JOHN HOWE Esqr. of Langar in this County : She had

by Him 7 sons & 3 daughters, & departed this Life

ye 8th day of January in the year of our Lord 1718,

 in the 60th year of her Age; Sr FRANCIS died the 12th

day of March 1741, Aged 86 years.

Happy in the Conjugal not unhappy in the Parental

State, They ended their Days in Peace, & in full

Assurance of a Blessed Resurrection.

Sr CHARLES MOLYNEUX Bart fifth Son

& Heir put up this Monument to the

Memory of the Best of Parents".


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Of Tangential interest Sir John  Molyneux monument at Teversall.











Two Designs for Mural Monument to Edward Atkyns by Henry Cheere.

Sold Sotheby's 25 April 1990. Lot 384.









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Design for the Monument to William Pole.

Put up 1746

Erected at Chute, Devon.




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Samuel Tufnell.

For the Monument at Pleshy, Essex.

1758.

V and A.

Image Conway Library.






















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Another unattributed drawing from Henry Cheere.

V and A.




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Another unattributed drawing but again Cheere.

 V and A.

Image courtesy Conway Library.








Friday, 27 June 2025

Sir Robert Taylor Rococo Sculptor, Part 2

  

Post under constructions.


The Chimneypieces of Sir Robert Taylor.


Sir Robert Taylor (1714–1788), 

Sculptor, Architect, and Founder of the Taylor Institution, Oxford.

William Miller (c.1740–c.1810) (possibly after).

Taylor Institution, University of Oxford.

The purpose of this website is to illustrate and discuss English sculpture of the 18th century - I will of course touch on the work of Taylor as an architect and property developer but here is not the place to go into detail - I will leave that to others.

Taylor is important as an architect and designer in that he commenced as a late Palladian working with Henry Cheere as apprentice and assistant, fully embraced the Rococo in the 1750's particularly with his designs for chimney pieces and graduated as an architect to the neo classical.

For much more on his architecture see - Thorncroft Manor, Leatherhead by Richard Garnier

Georgian Group Journal Vol XV1, 2008  pp 59 - 88.

https://georgiangroup.org.uk/wp-content/uploads/2020/10/GGJ_2008_06_GARNIER.pdf


Initially, he specialised in sculpture and funerary monuments, and he was chosen in a competition to carve the pediment of Mansion House, beating both Roubiliac and his old master Cheere to the commission. 

His most famous work in the field of funeral monuments was the monument to LT General Guest in Westminster Abbey, dated 1751. 


At the time of the building Act of 1774, Taylor was working on Ely House in Mayfair, Here he created shallow recesses between it and its neighboursa seemingly insignificant device but one that gives the house a sense of depth and detachment, allowing cornices to return unimpeded, and the string courses and stone blocks to be silhouetted.

 By repeating this visual trick in the upper sections, with increased gaps, he creates a taper, giving the building its sense of vitality and upward movement.

 

Taylor executed a number of commissions for the Duke of Grafton, including Grafton House in Piccadilly, which was demolished in 1966. Of the 14 houses he built in Grafton Street, Mayfair, four survive, early examples of his principles put into practice, with balanced and elegant frontages that belie the grand interiors within.

 

One of these was built for Admiral Lord Howe, for whom Taylor and his pupil Samuel Pepys Cockerell later designed Admiralty House off Whitehall. 

Taylor was knighted in 1784, having been appointed surveyor for a number of bodies and institutions, including the Admiralty, Greenwich Hospital and Customs and Excise.

In due course, Taylor’s own memorial would be placed in Poet’s Corner, the inscription pronouncing that ‘his works entitle him to a distinguished rank in the first order of British architects’.

 

 

 Marcus Binney (in the biography -  Sir Robert Taylor, From Rococo to neo Classicism  pub 1984) says that the other version/copy of this portrait held in the Royal Institute of British Architects is 'unsigned' but on the evidence of an engraving in the British Museum is by William Miller (c.1740–c.1810) and dates from c.1782/1783. 

Binney says Sir Robert became a Sheriff of London in 1783 and is wearing Sheriff’s robes in the portrait. The Oxford Dictionary of National Biography also attributes the painting to William Miller.









Much of his output has been lostin particular his Rococo chimneypieces. 


It appears that only six that we know of so far have survived. A further three are shown in photographs from 35 Lincolns Inn Fields taken during the Survey of London in 1912, the building was destroyed in the Blitz of 1940.  

Nonetheless, those black-and-white photographs reveal what they looked like. We know,  that there was was one pure English Rococo chimneypiece in the front room on the ground floor, one in the middle room on the first floor, and a large stone one in the basement kitchen?


























































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Two Anonymous Mid 18th Century Drawings 

Bound into a copy of Isaac Taylor's 

Designs for Chimney-Pieces with Mouldings & Bases at Large,

 Pub 1794.

 From an Album at the Victoria and Albert Museum

 Height: 24 cm size of sheet, Width: 30 cm.

 24 plates, with three on paper watermarked 1794, stitched in blue paper wrapper. The Publisher's list tipped-in the back cover. 

Also pasted in the volume are 15 sheets of drawings in pencil and ink of chimney-pieces etc. of which 5 are probably by Sir William Chambers





















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https://collections.soane.org/THES79738


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The Jamb Taylorian Limestone Chimneypiece.


Carved in a fine-grained limestone around 1750 by Sir Robert Taylor. Researches suggests this  chimneypiece was once in the dining room of 36 Lincoln’s Inn, one of two grand houses designed by Taylor on this street. These properties were designed as a pair.

This building was demolished in 1859, whilst number 35 was lost in the blitz.

Possibly from the dining room considering the Bacchic iconography.

 

 In the Survey of London in 1912 there is a record for a remarkably similar stone chimneypiece of this style in the basement of 35 Lincoln’s Inn, having been moved from the principal room when the building was reconfigured for office use.


https://www.jamb.co.uk/blog/a-highly-important-18th-century-chimneypiece-by-sir-robert-taylor/

































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The Westland and Co. Minto House, Taylorian Chimneypiece.

Width 225 cm. Height 172 cm.  Depth 30 cm.

https://www.westlandlondon.com/antiques/fireplace-period/rococo/view/14549.asp





























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The Jamb Taylorian Chimneypiece.

Jamb - Pimlico Rd, London.

https://www.jamb.co.uk/

White Statuary Marble with Sicilan Jaspar Inlay.

Internal height 48⅝in (123.5cm) width 48¾in (124cm).

Footblock to footblock 68⅞in (175cm).

Shelf depth 9½in (24cm).


The Jamb websiteAn almost identical chimneypiece was designed by Taylor for 35 Lincoln's Inn Fields in 1754, but which was later demolished.


https://www.jamb.co.uk/fireplaces/antique-chimneypieces/georgian/g497/







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For more on Taylor with particular reference to Trewithin, Cornwall see -

Christopher Hussey, ‘Trewithen Cornwall – II’, Country Life Magazine, 9 April 1953, p. 1073.


https://www.artandthecountryhouse.com/essays/essays-index/the-dining-room-at-trewithen-collection-and-display





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For the catalogue of Taylor's Architectural books see -

 https://libguides.bodleian.ox.ac.uk/ld.php?content_id=29949118

 for more on Taylor and his architectural books and library hear the podcast on:

 http://podcasts.ox.ac.uk/special-lecture-art-architects-books-and-buildings-sir-robert-taylor-his-collection-taylor