The model for all versions is perhaps van Dyck's drawing of Jones (now at Chatsworth) or alternatively van Dyck's similar painting (now in the Hermitage Museum) but formerly at Houghton. This version is unusual in that Jones looks to his left, following both van Dyck's original drawing and painting. All other known busts look right, as in Robert van Voerst's engraving after the van Dyck drawing.
Monday 14 August 2017
The Soane Museum Plaster Bust of Inigo Jones
The Iconography of Inigo Jones.
(continued from my previous posts).
with some further examples of busts and statuettes.
An interesting bust with a "Green man" socle which appears on early bust.
The Marble bust of Inigo Jones at Tradegar House.
520 x 345 mm.
Half life size approximately.
Tradegar House. Newport, Gwent.
Photographs by the Author.
Bust of Inigo Jones.
Slightly over life size.
Temple of British Worthies, Stowe, Buckinghamshire.
Photographed by the Author
The nose has had some restoration.
see my previous blog post -
Photographs above by the author.
Temple of British Worthies, Stowe.
Undated Photograph showing the damaged nose
by John Piper.
Photograph Pre 1980.
Here shown with the Royal Museums Greenwich marble bust of Inigo Jones by Rysbrack for comparison.
For the Greenwich bust see -
The Plaster Statuettes of Inigo Jones.
after Michael Rysbrack.
The Plaster Statuette on the Chimneypiece in the Ante Room at Wilton House.
From the English Fireplace by L.A.Shuffrey pub. Batsford. 1912.
M Webb in Michael Rysbrack 1954 notes that this statuette was gilded.
Another version of the Cheere Statuette was at Kirkleatham Hall. (see below).
In 1727 Rysbrack sold Henry Hoare of Stourhead a bust and statuettes of Inigo Jones and Palladio now disappeared.
Agreement between Rysbrack and Henry Hoare 10 October 1727 'a bustow of Inigo Jones in Statuary marble' £35 0 0d, a pedestal £2 10s and two figures of Inigo Jones and Palladio in plaster £ 1 10s.
In Langford's sale of 1766 for Rysbrack p.4 First day lot 69. Two figures of Palladio and Inigo Jones the original models for the figures of Lord Burlington at Chiswick House.
info from Roman Splendour ..... Jervis and Dodd, pub. 2014.
Plaster Statuette of Inigo Jones by John Cheere.
Inscribed Cheere Fct 1749
Approximately 18" tall.
Supplied to Chumley Turner at Kirkleatham Hall.
Rysbrack did not provide plaster casts himself and probably supplied Cheere with an original terracotta from which this statuette and others such as the Stourhead model were subcontracted to be cast.
After 1753 he used Peter Vanina of St James Street to cast versions of his productions in plaster.
This low res image from York Museum Trust
A very poor low resolution photograph of the Kirkleatham Statuette.
For much more on the plaster busts and statuettes supplied to Kirkleatham see -
approx. 17" tall.
This statuette is a cast of a plaster cast believed to have been taken from the terracotta statuette in the RIBA collection.
This statuette was cast from a plaster cast of the original terracotta by Mark Latrobe of Plasterworks in Cross Street in Islington, for the late Ben Weinreb in about 1995.
The story told to him was that the RIBA terracotta was damaged in the Blitz of WWII and had been restored and cast by staff at the British Museum although Charles Hind of the RIBA casts doubt on this.
The original at the RIBA and a 4 or 5 of these 1990's plaster casts are to my knowledge the only versions of this statuette extant.
Katherine Esdaile published on the statuette in the RIBA Journal Vol 38 of 7 Feb 1931.
I'm afraid that very little of what Mrs Esdaile wrote can be entirely relied upon. She states the RIBA statuette is of plaster when I am reliably informed by Charles Hind that it is of terracotta. She also states that the figure of Inigo Jones on the Walpole Cabinet is the same as this statuette (see below).
Photograph from the RIBA Journal Vol 38. 7th Feb. 1931.
The Walpole Cabinet from Strawberry Hill. c. 1747.
with Ivory Statuette of Inigo Jones (top right).
by James Francis Verskovis.
Victoria and Albert Museum.
A Statuette of Inigo Jones is listed in the 1777 Plaster Sculpture Catalogue of Charles Harris of the Strand
Size 1' 10".
They also sold busts of Inigo Jones 'Large as Life' and 24" which could be paired with busts of Palladio.
see - http://english18thcenturyportraitsculpture.blogspot.co.uk/2016/01/charles-harris-catalogue.html
18th Century Engravings of portraits of Inigo Jones in Architectural Settings.
Bust of Inigo Jones.
Frontispiece to The Chimneypiece Makers Daily Assistant.
John Crunden. 1766
Engraving from The Temple Builders Most Useful Companion.
Thomas Collins Overton.
Frequently paired with Palladio.
Taken from a plaster bust supplied by Grant and Hoskins in 1774.
Hoskins and Grant were former employees of John Cheere.
and refinished by William Hackwood (c.1757 - 1839).
see Wedgwood Correspondence (below).
Wedgwood bust in the Albertina, Vienna.
Letter from Wedgwood to Bentley 24 June 1774
Wedwood to Bentley 16 August 1774
James Hoskins, Samuel Euclid Oliver and Benjamin Grant.
Hoskins was apprenticed to John Cheere in 1747. He seems to have progressed in his employment at some speed: a note in the London Evening Post of December 1751 concerning the successful treatment of William Collins’s leg ulcer with ‘Iron Pear Tree Water’ described Hoskins, a witness to the recovery, as ‘Foreman to Mr Cheere’ (Friedman and Clifford 1974, appendix C).
By 1770 Hoskins had set up in business with Samuel Euclid Oliver, and together they supplied works for Mersham Hatch (1, 2) and a good many reliefs, busts and other works for Wedgwood (4, 8-11). Hoskins also held the post of ‘moulder and caster in plaster’ to the Royal Academy from its foundation. In July 1773 he provided two casts of lions for the Academy (3). A group of academicians, including Agostino Carlini, George Moser and Benjamin West went to Slaughters coffee-house to inspect the casts, which they found acceptable.
By 1775 he had entered into partnership with Benjamin Grant, another of John Cheere’s apprentices. They together supplied Wedgwood with more items (5, 6). An invoice in the Wedgwood archives for a large number of moulds, dated 16 January 1773, came to 11s 6d. Another invoice of March 21, 1774, from Hoskins and Grant, was for ‘plaister casts prepaird to mould’ which included busts of Zeno, Pindar, Faustina, Inigo Jones and Palladio, at what appears to be a standard price of a guinea a bust, and moulds of antique stone. The whole bill came to £29 13s 2d.
Another Hoskins and Grant invoice of January 1775 notes the supply of many more busts, including a Galen and Hippocrates, and British worthies such as Ben Jonson, ‘Sir W Reigle’, Fletcher and Beaumont, Harvey and Newton. This bill came to £23 17s 4d, and was signed ‘for self and partner Benj Grant’.
In 1779 they were paid £26 6s 6d for items including figures of Zingara and Chrispagnia at £2 2s (Meteyard 1866, 1, 324-5). Hoskins was still active in 1790, when he provided small works for Lord Delaval (12).
Literary References: Meteyard 1866, 1, 324-5; Gunnis 1968, 211; Pyke 1973, 70; Friedman and Clifford 1974, appendix H; Clifford 1992, 58
Archival References: RA Council Minutes, 1, ff160-1 June 1773; Wedgwood/Hoskins
see - http://liberty.henry-moore.org/henrymoore/sculptor/browserecord.php?-action=browse&-recid=1388&from_list=true&x=11
Wedgwood Catalog for 1777.
Edward Burch (1730 - 1814).
Intaglio and wax impression.
23 x 20 mm
Victoria and Albert Museum
Screenshot of a biscuit ware mould for a Wedgwood Intaglio of Inigo Jones - Wedgwood Museum.
Obviously based on the intaglio by Burch.
Small Wax Relief of Inigo Jones.
Perhaps by Samuel Percy.
Collection of Peter Hone.
A modern cast of the Domenico Brucianni plaster cast of Inigo Jones from the Rysbrack Chatsworth type bust, made by Master Plaster Caster Peter Hone - available from the mid 19th century and still available now.
A bust of Inigo Jones was provided to the Carpenters Hall, City of London by John Bacon d.1799.
This was probably a cast of the Rysbrack version.