The post updated and edited 10 September 2024.
Inigo Jones (1573 - 1652).
A Plaster Bust.
Unattributed Sculptor.
At The Soane Museum, Lincoln's Inn Fields, London.
Date of acquisition unknown.
This bust appears to be a unique version.
It is close to the monogrammed Scheemakers marble bust recently sold by Sotheby's London
Unfortunately no size is given on the website - presumed to be life size.
NB. Seven buttons on the waistcoat. Also the seams on the skull cap which are not visible on the Sotheby's Scheemakers marble bust (see below).
With the very unusual green man socle which appears on a lead bust of George I and a bust of Dryden (see below).
It is difficult to tell from the photographs - it would be useful to obtain higher resolution images - I have not yet had the opportunity to inspect it closely - but it appears to be quite a fine bust underneath the usual thick coats of paint - in my experience it was much easier to repaint these busts than to clean them and many existing 18th and 19th century busts are very thick with paint obscuring their finer details.
Inigo Jones Marble by Scheemakers sold by Sotheby's alongside the Soane Museum Plaster Bust.
for the Sotheby's bust see - https://www.sothebys.com/en/auctions/ecatalogue/2015/old-master-sculpture-art-l15233/lot.408.html
These two busts are obviously related but the similarities beg the question - which came first?
It is possible that the Soane bust is a reworked copy or cast taken from a version of the Scheemakers bust perhaps by John Cheere, but equally it is possible that Scheemakers copied an earlier version.
Special note should be taken of the very unusual socle on the Soane plaster.
So far I have only located two other busts with this socle with the "green man" on the front.
It appears on a bust of Dryden on the Monument to him at Titchmarsh Parish Church, Northamptonshire.
It might be a coincidence but the bust of Dryden in Westminster Abbey was sculpted by Scheemakers
Painted wooden? Monument to the poet John Dryden.
Put up in 1722.
The bust of Dryden is believed to have been carved of wood - most unusual this needs to be confirmed!
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This socle is repeated is on a lead bust of George I currently in a private collection.
see my blog post - https://bathartandarchitecture.blogspot.co.uk/2016/08/unrecorded-lead-bust-of-george-i.html
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Bust of Inigo Jones by Edward Marshall.
The first mention of a bust of Inigo Jones is that by Edward Marshall (1598 - 1675).
Marshall whose address was Fetter Lane who according to John Aubrey made the bust for the monument to Inigo Jones in St Benets Church, Pauls Wharf. City of London which was damaged in the Great Fire of London and rescued by James Marshall - since disappeared.
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William Kent and his Busts of Inigo Jones and Palladio etc.
His will dated 13 October 1743.
I give and bequeath unto my friends here-after named as follows.. unto Lady Catherine Pelham the head of Edward VI a busto.... my Lord Lovell (Thomas Coke) Inigo Jones and Palladios Bustos with wooden terms.....unto Mr Brian Fairfax the two bustos of Shakespeare and Butler ... to Lady Isabella Finch, four heads bustos Newton, Clarke, Lock, and Woolaston to Mr Thomas Brian Milton and Dryden bustos with wooden terms, to Mr Alexander Pope, Raphael head busto and the wooden term and the Alabaster vase. To Mr Thomas Ripley the busto of Michael Angelos with wooden term.
In a codicil dated 10 April 1748 to this will he states again I also bequeath unto the Right Honourable Lady Isabella Finch..... together with my for models of Newton, Lock, Woolaston, and Dr Clark.
Some Notes.
The bust of Edward VI given to Lady Catherine Pelham must surely be a version of the Rysbrack terracotta in the Royal Collection made for Queen Caroline's Library dated 1738. see -
The Inigo Jones and Palladios bustos given to Thomas Coke Lord Lovell are perhaps versions of the Rysbrack busts but it is possible that they are versions of a pair of busts by Guelfi. This is unlikely given that the busts by Guelfi have a distinct style usually characterised by the long necks of the subjects.
The original terracottas for Inigo Jones and Andrea Palladio were sold at the Rysbrack Sale
see - English Heritage Historical Review Vol 9. 2014 - (below) The Statues of Inigo Jones and Palladio at Chiswick House by Richard Hewlings, where he illustrates the article with a photograph of an Invoice from Guelfi to Lord Burlington for the busts of Palladio and Inigo Jones for £50.
It is hard to believe given the evidence of the indifferent quality of Guelfi's production that the two marble busts of Inigo Jones and Palladio are by Guelfi.
The busts of Milton and Dryden are perhaps versions of those by Scheemakers now at Hagly Hall
The models for the busts of Newton, Lock, Woolaston, and Dr Clark, must refer to original terracotta busts made for the Queen Caroline Hermitage busts by Guelphi.
For my notes on the Guelphi busts and Queen Caroline's Hermitage see -
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A bust of Inigo Jones was supplied to the Barber Surgeons Company on 9 August 1750 by James Gheys, Statuary (d. 1752), in exchange for the Skeleton?
Gheys was apprenticed to Samuel Roussett of St Martin in the Fields in 1730.
in 1752 he was working from an address in Mayfair probably at Hyde Park Corner.
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Portrait of Peter Scheemakers by Francis Hayman.
Royal College of Surgeons.
It depicts the bust of Inigo Jones on the floor beside him.
A very interesting little painting showing Scheemakers with the bust of William Harvey (1568 - 1657) now in the Royal College of Physicians, Regents Park, London.
He is shown holding an engraving of Harvey by Houbraken for Birch's Heads of 1739.
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The Sotheby's Bust of Inigo Jones by Peter Scheemakers.
Peter Scheemakers.
Marble.
Height with socle 76 cms.
The nose has been restored and the surface is weathered consistent with it being outside for a considerable length of time.
Monogrammed on the back PS.
Lot 48 Sotheby's London, 10 Dec 2015.
Irish provenance.
A marble bust of Inigo Jones was sold at the posthumous sale of Peter Scheemakers.
Lot 56 on 11 March 1756 for £14 14s.
see Peter Scheemakers by Ingrid Roscoe, Walpole Soc Journal. 1999.
The Socle follows the same form as those on the busts in Trinity College Library, Dublin.
These busts at Trinity are assumed to be a combination of the work of Scheemakers and Roubiliac but I believe that the involvement of John van Nost III should also be considered.
Van Nost III had been apprenticed to Henry Scheemakers in 1726 - he was working in Dublin by 1750 when he executed the lead statue of George II for the Guild of Weavers.
Eight of the fourteen busts at Trinity are signed by Peter Scheemakers, seven with the monogram PS Ft and the Shakespeare signed Peter Scheemakers. Usher, Homer, Demosthenes, Cicero, Milton, Locke, and Pembroke.
The six unsigned busts - of Aristotle, Socrates, Plato, Bacon, Newton, and Boyle are currently believed to have been provided by Roubiliac.
Whilst I currently have no proof, I think it is possible that John van Nost III was involved with providing the sculpture and setting up of the Dublin Trinity Library busts.
At first glance the Trinity busts appear to be of very good quality but comparison with the Cambridge Wren Library busts shows that the latter busts are far finer.
I would suggest that John van Nost III was working with both Scheemakers and Roubiliac in the 1740's.
see - http://english18thcenturyportraitsculpture.blogspot.co.uk/2016/07/brief-biography-of-john-van-nost-younger.html
All the busts at Trinity share the same form of socle indicating that hey might have been carved after the busts had arrived in Dublin.
All the busts at Trinity share the same form of socle indicating that hey might have been carved after the busts had arrived in Dublin.
This form of socle with a block on the front for the name was also used on the bust of Isaac Newton by Louis Francois Roubiliac in the Wren Library at Trinity College, Cambridge.
for an introduction to the trinity Library busts see - http://burlington.org.uk/media/_file/generic/886825.pdf
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The Portland Stone Bust of Inigo Jones at Philip Serrell auctioneers.
Inigo Jones.
Life Size Portland Stone bust.
Perhaps by Scheemakers
Height 22 inches.
with Philip Serrell Auctioneers.
Lot 94 - 8 Sept 2016.
With the sash and six buttons as on the Sotheby's Scheemakers Marble bust.
For another different Portland Stone bust of Inigo Jones in the Temple of British Worthies at Stowe House, Buckingham by Michael Rysbrack see my next post.
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The Wedgwood Medallion of Inigo Jones.
The Wedgwood Medallion of Inigo Jones.
Inigo Jones.
Wedgwood.
c 1769 - 80.
Black Basalt 8.3 x 6.7 cms.
Metropolitan Museum.
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Inigo Jones.
van der Hagen after Rysbrack.
Ivory Relief.
9.5 cms tall.
Victoria and Albert Museum.
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A group of four ivory reliefs.
Jones Cromwell Milton after Rysbrack. Shakespeare after Scheemakers.
After Rysbrack.
Gaspar van der Hagen.
Height of Each 11.5 cms .
Sold Christie's Lot 68 - 8th July 2010.
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Inigo Jones.
Ivory relief perhaps after Rysbrack but clearly showing the relationship with the van Vorst engraving.
Soane Museum.
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Inigo Jones.
The original painted in the early 1630's.
641 x 533mm.
Copy of the van Dyck original formerly in the collection of Sir Robert Walpole at Houghton, sold in 1779 to Catherine the Great, now in the Hermitage, St Peterberg.
NPG.
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Inigo Jones.
William Dobson (1611 - 46).
1642.
Oil on Canvas
369 x 305 mm.
National Maritime Museum, Greenwich.
Study for the portrait at Chiswick House
see - http://collections.rmg.co.uk/collections/objects/14282.html
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Inigo Jones.
William Dobson (1611 - 46).
Oil on canvas.
59 x 59 cms.
Chiswick House.
Low resolution image from a commercial website.
Low resolution image from a commercial website.
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Inigo Jones.
William Hogarth
915 x 710 mm.
1758.
Commissioned for Teddesley Hall, Staffordshire by Sir Edward Littleton (1725 - 1812) in 1758.
The National Maritime Museum ( Manuscript Collection) holds two letters from Hogarth to Littleton relating to the delivery of this portrait - 19 May and 7 September 1758.
From the engraving by van Vorst (see below). The original red chalk drawing is at Chatsworth (9.5 x 7.75 inches) it was acquired from a Dutch collector by the 2nd Duke of Devonshire who gave it to the 3rd Earl of Burlington.
National Maritime Museums Greenwich.
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Inigo Jones.
probably 19th Century.
after the van Dyck van Vorst engraving.
24.1 x 19.1 cms.
Donated 1952.
Bowes Museum, Barnard Castle, Durham.
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Inigo Jones.
Robert van Vorst (Voerst).
After van Dyck.
1635
Engraving from van Dyck's Iconographiae or Book of Heads published in 1641.
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Inigo Jones.
Brown wash.
251 x 187 mm.
Probably copied from the van Vorst engraving above.
NPG.
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Inigo Jones.
Wenceslas Hollar.
after Anthony van Dyck.
mid 17th Century.
etching.
126 x 87 mm.
NPG.
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Frontispiece ........... for the complete two volume work see -
Inigo Jones.
after van Dyck.
Paul Foudrinier.
1727.
Engraving.
125 x 153 mm.
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Inigo Jones.
Michael Rysbrack.
acquired some time shortly before 1954.
see Michael Rysbrack MI Webb. pub. Country Life, 1954.
National Maritime Museum. Greenwich.
Purchased for the Museum by Sir James Caird in late January 1948 from the dealers London Colnaghi's the source being an unidentified Somerset Country House Sale 'earlier that month' ??.
This bust has been rather over cleaned and given a coating of modern wax.
the marble has a bad flaw across the left (proper) cheek and bridge of the nose which would have been disguised in the 18th century - an example of "leave well alone" - usually a simple wash with very week soapy water is enough to revive pieces like this.
Inigo Jones.
Michael Rysbrack
Marble Bust
749 x 508 mm.
National Maritime Museum Greenwich.
The Rysbrack bust of Inigo Jones at Greenwich bust here shown with the Portland Stone bust from the Temple of Worthies at Stowe.
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Notes on the Rysbrack Bust of Inigo Jones.
Henry Hoare Accounts -
An agreement between Rysbrack and Henry Hoare 10 October 1727 ' A bustow of Inigo Jones in Statuary Marble £35-0 -0. 'a Pedestall' £2-10-0 and two figures of Inigo Jones and Palladio in Plaster £1-10-0.
Langford's Rysbrack Sale 24 Jan. 1766. Two Figures of Palladio and Inigo Jones the original models for the figures of Lord Burlington at Chiswick. This entry suggests to me that they were of terracotta.
see Roman Splendour.....Jervis and Dodd.
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Inigo Jones.
Michael Rysbrack.
Chatsworth.
NB. The lack of seams on the skull cap.
Another rather poor photograph of the Chatsworth marble bust of Inigo Jones by Rysbrack
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Richard Boyle, 3rd Earl of Burlington.
George Knapton.
1743.
Oil on canvas.
Showing a bust of Inigo Jones in the background.
In the Green Satin Bedroom at Chatsworth, Derbyshire.
The bust depicted is looking in the opposite direction to the Chatworth Rysbrack Bust.
suggesting that the bust here is perhaps not the same one currently at Chatsworth paired with that of Palladio.
Richard Hewlings has presented irrefutable evidence that Giovanni Battiste Guelfi was paid for providing busts of Inigo Jones and Palladio.
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The Soane Museum lead Bust of Inigo Jones paired with a bust of Palladio.
The website suggests Henry Cheere but I suspect this is a very old description which needs to be updated.
The provenance is Unknown. the two busts were in John Soane's collection by the mid-1820s when it
is shown on the east side of the Dome Area, fixed to panelling above the
opening to the Colonnade (and easily identifiable from the drapery) in a
Detail of a pencil preparatory drawing for Plate VI in Britton’s Union, 1827
(in Copy of the Union, Soane Case 66).
For Inigo Jones see - https://collections.soane.org/object-m317
For Palladio see - https://collections.soane.org/object-m685
These photographs are good for reference but make a comparative study with other lead and plaster busts rather difficult.
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The Sir Albert Richardson Lead Bust of Inigo Jones paired with a bust of Palladio.
A very rare and very fine life size lead bust of Inigo Jones.
after Michael Rysbrack.
Paired with a bust of Andrea Palladio (see below).
Offered for sale from the collection of Sir Albert Richardson by Christie's, London Lot 50, 18 / 19th September 2013.
no size available
The website catalogue entry no longer exists? very punchy estimate - they didn't sell and probably disposed of at a much reduced price later
Christie's suggest that they were cast by John Cheere which seems a reasonable assumption.
I have written a little on Mid 18th Century lead busts. Given the nature of the material very few have survived.
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The Plaster Busts of Inigo Jones.
After Michael Rysbrack.
Original plaster busts for copying were supplied to Wedgwood by Oliver and Hoskins in 1774.
Inigo Jones.
after Michael Rysbrack.
18th Century Wedgwood Bust.
Model supplied by Oliver and Hoskins in 1774.
Image above from the Albertina Vienna.
The plaster busts below could all have been made by London manufacturers from the 1730's. The workshops of John Cheere at Hyde Park Corner were capable of an early form of mass reproduction from 1737 and versions of these plaster busts were definitely being made by Charles Harris of the Strand in 1777.
Inigo Jones.
Plaster bust after Michael Rysbrack
Plaster.
The Soane Museum.
The form of the eared socle would suggest a later 18th or early 19th century cast.
Perhaps by Shout of Holburn.
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Inigo Jones.
After Michael Rysbrack.
Worcester College, Oxford.
Another example from the same mould as the Soane bust of Inigo Jones (see above).
NB Socle.
This form of socle was widely used by the Shouts of Holborn.
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Excerpts below from Catalogue of Portraits in the Possession of the University, Colleges, City and County of Oxford - Mrs Reginald Lane Poole pub. Oxford at the Clarendon Press in 3 Volumes, 1925
all available on line.
This publication is an invaluable resource for making some sense of 16th, 17th and 18th century Portraits and Portrait Sculpture.
It is basically a Catalogue with information on each portrait with no value judgements and no unnecessary commentary - unlike much of the work of Katherine Esdaile which should be taken with a large pinch of salt particularly the early work.
That said we should be thankful for the invaluable work that she undertook and for inspiring the future work of Rupert Gunnis.
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Inigo Jones.
After Michael Rysbrack.
Plaster Bust.
Royal Institute of British Architects.
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Inigo Jones.
After Michael Rysbrack
Plaster.
Height 64 cms.
Date of Acquisition unknown - old Ministry of Works
Currently in the Banqueting House, Whitehall.(designed by Inigo Jones).
Government Art Collection.
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Another bust of Inigo Jones after Rysbrack
Location unknown.
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Inigo Jones.
Sketch attributed to van Dyck.
Musee des Beaux Arts, Agen, France.
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The Chiswick House Full length Portland Stone statue of Inigo Jones.
Paired with that of Palladio.
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There is a full size lead figure of Inigo Jones after Michael Rysbrack at Holker Hall in Cumbria.
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Plaster Statue after Michael Rysbrack.
Staircase 4, St James Square Westminster.
A full length plaster statue of Inigo Jones, a version of the Chiswick statue (which is not an exact replica) was noted by Horace Walpole in 1761 in a niche on the Staircase at 4 St James Square, Westminster.
Built for Anthony Grey, the Earl of Kent and remodelled after a fire 1724 by his son Henry Grey subsequently the Ist Duke of Kent.
All the wall
decoration below a band marking the level of the first floor is modern,
including the plaster enrichment to the skirting which was formerly plainly
moulded. The band itself is original and is ornamented with groups of three
acanthus buds and festoons with drops: it forms the sill to the two
round-arched windows in the north wall which have an impost-band decorated with
a wave moulding and archivolts with enriched mouldings (Plate 137b, fig. 12).
Between them is a niche, framed by an egg-and-dart moulding, with an arched
head containing a shell above an ornamented impost.
In the niche stands a
version of the statue of Inigo Jones by Rysbrack, at
Chiswick Villa: it is not an exact replica but is said to be of plaster
and to be from the sculptor's workshop. (fn. 31) Above the main impost-band is a large
rectangular panel, framed also by an egg-and-dart moulding and containing a
shell with two festoons and drops tied by ribbons.
The foregoing discussion of the possible architectural authorship of No. 4 has
been superseded by the discovery of other archives pointing to Edward Shepherd
as the architect. The Duke of Kent's account at Hoare's Bank, opened ten days
after the fire in December 1725, evidently comprised a 'House account' and the
payments include £367 to the builder and architect Edward Shepherd, though in
what capacity is not stated. Shepherd's role as architect is made more explicit
in an agreement, dated 21 April 1727, between the Duke and the joiner David
Anderson to lay the floors etc at the Duke's house in St James's Square (copy
in the Nottingham County Record Office, DDR 215/60), which states that Anderson
is to 'be derected by Edward Shepard surveyor in all the aforesaid work'.
Other
payments in the Duke's account at Hoare's Bank (perhaps partly for work at
Wrest) include: some £1,000 to builders' merchants; £1,146 to Alexander
Rouchead, probably a mason; sums of £305, £130, £118 and £100 to Thomas Knight,
James Jenner, James Slater and 'Sparke and Co.', perhaps joiner, bricklayer,
plumber and brazier respectively;
and some £644 to the sculptors Cheere,
Delveaux, Nost, Rysbrack and H Scheemakers (Henry brother of Peter who after a sale of his possessions in 1733 went to France) and the woodcarver John Boson (1696 - 1743).
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17 x 9.3 cms
17.9 x 10.2 cms.
Two drawings above for statues of Inigo Jones and Palladio.
William Kent.
V &A say 1727.
Victoria and Albert Museum.
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Inigo Jones.
Ivory Statuette.
James Francis Verskovis,
1743.
On the Walpole Cabinet.
Victoria and Albert Museum.
see my blog post -
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After William Kent.
Engraving
I Audran.
40.5 x 26.4 cms.
Undated.
Victoria and Albert Museum.
William Kent.
Chiswick House.
The Genius of Architecture holding the portrait of Inigo Jones.
The pose of Architecture as used on the Craggs Monument in Westminster Abbey and the later statue of 1740 of William Shakespeare by Scheemakers in Westminster Abbey.
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V and A Carved Relief.
Carved limewood relief.
8 ins diam.
Victoria and Albert Museum.
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Cabinet in the Royal Collection with relief of Inigo Jones in profile - with the same profile as portrayed on the limewood carving in the Victoria and Albert Museum (see above).
Photographs from the Royal Collection.
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I am including below the article by Richard Hewlings - Architectural Historian
Formerly with English Heritage.
This article from The English Heritage Historical Review, Vol II. 2007.
Publication of this journal has sadly ceased.
Here is the record of the payment of invoice from Guelfi for the busts of Inigo Jones(above).
It should be noted that Michael Rysbrack had signed an agreement with Henry Hoare to supply him with his bust of Inigo Jones on 1October 1727 ' a bustow of Inigo Jones in Statuary Marble £35 - 0 -0' and two figures of Inigo Jones and Palladio in plaster for £1 - 10s.
First day of Rysbrack's sale by Langford of the Piazza Covent Garden included Two figures of Palladio and Inigo Jones the original models for the figures of Lord Burlington at Chiswick.
Info from Roman Splendour ..... Jervis and Dodd pub 2015.
To Be Continued...............
