Sunday 30 December 2018

Lead Bust of John Locke attributed to John van Nost redux.

A Lead Bust of John Locke 
attributed to John van Nost.

Yale Centre for British Art.

I have already posted at great length on the busts of Locke see:

But I return to this bust after discovering a photograph of it in the house of John St Loe Strachey, the Editor and Proprietor of the Spectator, photographed in 1915.

Lead on stone base.


The bust of Locke shown in situ in the First Floor room at 14 Queen Anne's Gate, Westminster in 1915.

Home of John St Loe Strachey, Editor and Proprietor of the Spectator

Offices of Sir Clough Bertram Williams Ellis in 1919.
who had married Amabel Strachey in 1915

see The Museum by the Park, Max Bryant, pub Paul Holberton, 2017.


The van Nosts were a family of sculptors of Flemish descent. 

The eldest, John van Nost, is first recorded working at Windsor Castle, circa 1678. 

Foreman to Arnold Quellin whose widow Francis he married. She was daughter of the Landscape painter Jan Siberechts. She died in 1716.

He had his own property and yard by circa 1687 in the Haymarket, which remained in family ownership until the death of his wife in 1716 and there manufactured 'Marble and Leaden figures, Busto's and noble Vases, Marble Chimney Pieces and Curious Marble Tables'.

In the 1690's he produced life size wooden horses for the Line of Kings in the Tower of London

In 1695 he made statues of William and Mary for the Royal Exchange.

After his death in 1710, the workshop near Hyde Park Corner was continued by his cousin, also John van Nost (b.1686), possibly with his nephew, Gerard.

A sale was held on April 17, 1712 a sale of John Nost’s effects was held ‘at his late Dwelling House in Hyde-Park-Road (near the Queen’s Mead-house)’.


"A CATALOGUE OF Mr. Van NOST's COLLECTION OF Marble and Leaden Figures, Busto's and Noble Vases, Marble Chimney Pieces, and Curious Marble Tables, to be Sold by AUCTION, at his late Dwelling House in Hyde-Park-Road (near the Queen's Mead-house) on Thursday the 17th of this Instant, April, 1712, the Sale will begin exactly at Five in the Afternoon, and are to be seen Monday, Tuesday and Wednesday before the Sale. N.B. As this Collection is the most Valuable that ever was Exposed to Sale in this Kingdom, a great deal of Money in making, and are of Intrinsick Value, as well in the Performance as to the Marble and Metal, there is a small price set to every thing, to be advanced on by the Buyers. The Statues are to be fetch'd away in 4 days after the Sale. Conditions of Sale as usual, and Catalogues had Gratis at the place above named."

After the sale, there was an advert in the Daily Courant, 23 April 1712 (cit. stating that the items that didn't sell were available for sale from his widow: "Whereas Mr. Van Nost's Collection of Figures and Vauses was last Week exposed to Sale, and some part of the same are unsold; this is to inform the Curious, that there are most Noble Figures and Vauses for Gardens, Curious Antique Heads proper to adorn Libraries, to be sold under the prime Cost, Mrs. Van Nost being resolved to dispose of the whole; and are to be seen at his late Dwelling-House in Hide-Park-Road, near the Queen's Mead-House; where Attendance is given."

Included in this sale were Lot 49, a bust lead of Mr Locke and  Lot 62, Dr Locke as big as the life.

Info from - Getty research -

For much more detail of the life and works of John Nost I see -

John van Nost II produced the equestrian figure of George I, now at the Barber Institute, Birmingham, another version is at Stowe.

John the second died in 1729, the business then being taken over by his widow ?

A sale of his effects held by his widow was advertised in the Guardian (No.60, 20 May, 1731) ..several extraordinary fine things"

John van Nost III assistant to Roubiliac was working in Dublin after 1748.


From An Antiquarian Ramble in the Streets of London: with Anecdotes...Vol. 1.

by John Thomas Smith, pub. 1846.

This John van Nost is obviously John Nost III (1730 - 87), who went to Ireland in about 1750.
see my posts



The reservoir in Green Park looking North to the Stone Bridge area of Portugal Row at the western end of Piccadilly, with the entrance to Half Moon Street to the left.


Horwood's map of London 1817.

This crop shows the reservoir opposite Half Moon Street.
By this time the statuary business had left the area.



Friday 28 December 2018

John Vanderstein at Queen's College,Oxford - Part 12, The Upper Library Doorcase - with some notes concerning the Orrery by Benjamin Cole

John Vanderstein at Queen's College, Oxford.
(Joannes Vander Stein)
Part 12, 

The Queen's College Upper Library Doorcase.

with the Arms of Queens College.
by John Vanderstein.

Included here are a few notes on the decoration of the library and the Benjamin Cole Orrery.

See my previous and following blog entries for the other seven statues in this series. I am very much indebted to Dr Graeme Salmon, Curator of Pictures at Queen's College, Oxford for making me welcome at Queen's and for making this work possible.

This blog entry is part of a much larger work investigating and recording the 17th and 18th Century portrait sculpture at Oxford. This project was suggested to me by Dana Josephson of the Bodleian Library, Oxford, who is currently in the process of cataloguing the portraits at the Bodleian and to whom I extend my heart felt thanks.


There is documentary evidence in the Account Books where an entry on 4 April 1694 states: ‘Received then of Wm Rooke Bursar five pound for frett worke in ye new Library 5.0.0. Joannes Vander Stein’. 

The next entry, which claims on 6 April ‘Received then in full of Wm Rooke for worke done by me to this day two pounds and one shilling’ signed again by Vander Stein.


 Timothy Halton (1632 - 1704), College Provost's accounts show a payment to Vanderstein of £178 - 1s for works in the library.

For an excellent overview of the history of Queens College see - The Queens College, by John Richard Magrath, 1921. For the Library see pages 257 - 80.

available online and fully searchable

Group of figures of the Arts and Science, the College’s Coat of Arms and Provost Halton’s coat of arms in the pediment, attributed to Joannes Vanderstein.


The Plaster Ceiling decoration by James Hands 1695.

The inner plaster panels put up by Tomas Roberts in 1756.

The entry in the College Register for 12 June 1756 records that ‘it was agreed at a meeting of the
Provost and Fellows, that ‘1st That Thos Roberts shall be employed to clean and beautify the
Stucco Work, Festoons and Sculptures in the Library; to new-coat the Ceiling, to add new Ornaments in the Oval Space in the Middle, and the Compartments at the Ends’

The doorcase top and stucco frieze of Garlands by John Vanderstein
who was paid for the "fretwork"

Photographs above by taken the author.

For the plaster ceiling see -


Catherine of Braganza.
Painted Glass Portrait.

Charles II
Painted Glass Portrait
Queen's College.

These panels have recently been restored and moved to the South West end of the Upper Library

Photographs by the Author.

From Catalogue of the Portraits ......., Poole, 1912



Orrery commissioned for the College.
Benjamin Cole 

The orrery in the Upper Library was given to the Queen’s College by a Group of Gentleman Commoners of the College in the late 18th century. Edwyn Francis Stanhope, William Guyse, Edmund Thomas, George Mowbray, Oldfield Bowles and Richard Symonds

An entry in the Benefactors’ Book and an inscription within the lunar calendar scale records their names and gift.

This type of instrument was christened an Orrery by John Rowley, who built one for his patron Charles Boyle, the fourth Earl of Orrery, (1676 - 1731) in about 1712. 

Entry concerning the orrery in the Queen's College Benefactors’ Book.

For another fine example at Dumfries House see -


The Description and the Use of the Globes and Orrery.
Joseph Harris

Joseph Harris’s Description and Use is described as a ‘puff’ piece that was written for orrery, globe, and instrument manufacturer, Thomas Wright in the mid-18th century.

Fundamentally, the book is an instruction manual on how to use your orrery or globe.

 Fortuitously you can buy one – as depicted in the frontispiece – from Wright’s apprentice and successor, Benjamin Cole (1695-1766). At the rear of the book is a list of items available for purchase at Cole’s ‘Orrery, near the Globe Tavern, in Fleet-street’.


Thomas Wright Trade Card.
Thomas Wright d. 1767.

Advertisement for orreries cut from the 9th edition of Joseph Harris's The Description and Use of the Globes and the Orrery. Names four of Mr Wright's customers.

Pen and Ink drawing.

A planetary model made by Thomas Wright of Fleet Street, London. 

Thomas Wright made such extensive modifications in 1733 that this model has since been referred to as Wright's Grand Orrery.


Benjamin Cole

Benjamin Cole Freemason and Engraver as well as instrument maker made a wide range of instruments. He was apprenticed to Thomas Wright and was free in the Merchant Taylors' Company. The firm of Wright & Cole operated until 1748 when Cole succeeded Wright. Cole & Son conducted their business between 1751 and 1766 from the Orrery adjoining the Globe Tavern, in Fleet Street, London. This address became 136 Fleet Street about 1760 and 200 Fleet Street in later years. The business was taken over by John Troughton in 1782, surviving as Cooke, Troughton & Sims in the twentieth century.

Trade card: Benjamin Cole, Royal Exchange and Ball Alley, George Yard, Lombard Street. 
The Grand Orrery, And all other Mathematicl Instruments made and sold by Benja[mi]n Cole. 

An engraving of the Grand Orrery. [c.1750].

Image Courtesy The Science Museum.


Poor quality image from:



John Rowley (1668 - 1728).

120 x 120 mm.
c. 1715 - 28.

Image courtesy Victoria and Albert Museum via Science Museum website


Trade card of Benjamin Cole & son, scientific instrument makers

© The Trustees of the British Museum

British Museum say:

Trade cards in Heal Collection. Heal,105.26 advertises "The Great Orrery Four Feet in Diameter Made by Tho: Wright Mathematical Instrument-maker to His Majesty For the Royal Academy at Portsmouth Now B. Cole at the Same Shop. Who makes Orrery's [sic] of different sorts as may be seen at his Shop in Fleet-Street. Where is sold a Lrge Print of the Orrery with the Explanation on a Sheet of Imperial Paper.."

Heal's annotations on mount: "Benjamin Cole succeeded Thomas Wright at the Orrery & Globe in Fleet Street in 1751. Compare trade card in A.H. collection of Benjamin Cole when his sign is given as The Orrery next the Globe Tavern in Fleet Street.

A price-list in A.H. collection published by 'Benjamin Cole at his shop, the sign of the Orrery, No. 136 in Fleet Street'. See billhead in A.H. collection of Benjamin Cole & Son at the Orrery, next the Globe Tavern in Fleet Street dated 1753. Benjamin Cole junior succeeded to his father's business in 1766 & carried it on until his retirement in 1782 when he was succeeded by John & Edward Troughton." Heal,105.25 advertises "The Orrery Made by Cole and Son. Mathematical and Optical Instruments of all Sorts, Are accurately made according to the Best & latest Improvements; By Benjamin Cole; At the Orrery..."

Heal's annotations on mount as above except: "Benjamin Cole advertised from above address 'Whitehall Evening Post' 17 Dec. 1748. Benjamin Cole advertised from above address 'Daily Advertiser' 6 March 1749. Benjamin Cole advertised from Ball Alley, Lombard St in 'Daily Advertiser' 5 May 1747." Heal,105.24 advertises "A Catalogue of Mathematical, Philosophical, and Optical Instruments, Made and Sold by Benjamin Cole, At his Shop, the sign of the Orrery, No.136, in Fleet-street, London..." Heal's annotations on mount: "This gives 'The Orrery' at No.136 Fleet Street." Heal,105.23 is a bill-head stating: "Bought of Benjamin Cole & Son At the Orrery..." The bill is dated "London Jany. 17, 1753." Heal's annotations on mount similar to above. Heal,105.22 advertises "Cole's New Sea-Quadrant. With such Improvements as effectually takes off the Ship's Motion... N.B. The above Quadrant is made Four different Ways by the inventor B. Cole, Mathematical-Instrument-Maker, at the Orrery, Two Doors above the Globe Tavern, and between Two Picture Shops, in Fleetstreet [sic], London, late the Shop of Mr. Thomas Wright, Instrument-Maker to his Majesty..."

Heal's annotations on mount as above except: "1748. Thomas Wright at the Orrery & Globe near Salisbury Court 1732 - See H.P.'s 'Signs of Fleet St.' R.T. Gunters Early Science in Oxford, Part II, says B. Cole continued the business of Thomas Wright in Fleet Street, London, 1751."

© The Trustees of the British Museum

image © The Trustees of the British Museum.


Trade Card John Bennet.

Trade Card of Dudley Adams

Dudley Adams was the son of the famous instrument maker George Adams (1704-1773) and brother of George Adams the Younger (1750-1795). He took over the family business in Fleet Street and in turn became optical and mathematical instrument maker to George III (1738-1820) as well as his post as optician to the Prince of Wales. 

The advertisement depicts compasses, quadrants, orreries or planetariums, telescopes, globes, thermometers and sun dials. The portrait is of the Danish astronomer Tycho Brahe (1546-1601), widely held to be the greatest pre-telescope observer.


Trade card of John Bennet.

John Bennet (also spelt Bennett) was royal instrument maker to the Dukes of Gloucester and Cumberland. By the 1780s, his business, based at the Globe at Crown Court, between St Ann's Soho and Golden Square, had been taken over by his apprentice James Search. 

The card advertises optical and philosophical instruments: those which are represented, include telescopes, spectacles sun dials, quandrants, a globe and an orrery, a demonstration device to show the motions of the Earth and Moon around the Sun, popular during the 17th century


Forerunner to the Orrery
The Trade Card of Nicolas de Fer

Included here as an early representation of an Orrery 
and also as depicting a Library with busts on bookcases.

DRAFT Trade card of Nicolas de Fer, geographer; scene inside a library with groups of figures including two monks, a large orrery on a pedestal at the centre with two putti at the side using various geographical instruments, ceiling with a dome illustrating the constellations; lettering below listing large maps and books published up to the year 1705. 

Etching with engraved lettering

Image British Museum.


The Compleat Orrery, 
Described By S. Dunn
Author: Dunn, Samuel-m. 1794, Wilkinson, Robert-m. ca. 1825

 London Published as the Act directs, by R. Wilkinson, No. 58 Cornhill, 1780

Image from Biblioteca Digital Hispánica:


William Pether
After the original oil painting by Joseph Wright of Derby 1766.
485 x 583 mm.

A Philosopher gives a Lecture on the Orrery 
Jos, Wright Pinxt, ; J Boydell, Exct, ; Wm, Pether fecit 1768. - [2nd state]. - 1print: mezzotint [cut to] platemark 48.5x58.3cm, image 45x58.3cm. in wood veneer and gilt frame, 76x85.5x4cm. - 

After the oil painting by Joseph Wright of Derby, 1766.  

A transparent orrery, the light source within it from a lamp replacing the sun; wonders of the universe demonstrated to a lay audience including a woman and three children, foreground nephew to scientist 5th Earl Ferrers; to L standing taking notes, cartographer Peter Perez Burdett; philosopher / lecturer stylised, variously suggested as Ferguson, Whitehurst or Newtonian ideal.

An anonymous review from the time called Joseph Wright "a very great and uncommon genius in a peculiar way". 

The Orrery was painted without a commission, probably in the expectation that it would be bought by Washington Shirley, 5th Earl Ferrers, an amateur astronomer who had an orrery of his own, and with whom Wright's friend Peter Perez Burdett was staying while in Derbyshire. 

Figures thought to be portraits of Burdett and Ferrers feature in the painting, Burdett taking notes and Ferrers seated with a youth next to the orrery. 

Ferrers purchased the painting for £21


Provost Timothy Halton (1632 - 1704) Provost (1677 - 1704).
James Maubert ( 1666 - 1746).
Oil on Canvas
126 x 100 cms.
Gift from Provost Joseph Smith (1670 - 1756) (Provost 1730 - 1756).
Queen's College.

Provost Timothy Halton
Michael Burghers.
288 x 174 mm.

c 1704
British Museum


Monday 24 December 2018

John Vanderstein at Queen's College, Part 11, Charles II.

John Vanderstein at Queen's College, Oxford. 

Part 11. 

The Eight Statues on the West Front of the Library. 


Charles II.

I am very much indebted to Dr Graeme Salmon, Curator of Pictures at Queen's College, Oxford for making me welcome at Queen's and for making this work possible.

This blog entry is part of a much larger work investigating and recording the 17th and 18th Century portrait sculpture at Oxford. This project was suggested to me by Dana Josephson of the Bodleian Library, Oxford, who is currently in the process of cataloguing the portraits at the Bodleian and to whom I extend my heart felt thanks.

All photographs above taken by the author.

John Vanderstein at Queen's College, Oxford Part 10. Philippa of Hainault (1314 - 69).

John Vanderstein at Queen's College, Oxford. 

Part 10. 

The Eight Statues on the West Front of the Library. 


Queen Philippa of Hainault (1314 - 69).
Wife of Edward III.

I am very much indebted to Dr Graeme Salmon, Curator of Pictures at Queen's College, Oxford for making me welcome at Queen's and for making this work possible.

This blog entry is part of a much larger work investigating and recording the 17th and 18th Century portrait sculpture at Oxford. This project was suggested to me by Dana Josephson of the Bodleian Library, Oxford, who is currently in the process of cataloguing the portraits at the Bodleian and to whom I extend my heart felt thanks.

Queen's College is named for its first patroness, Queen Philippa of Hainault, the wife of King Edward III). Established in January 1341 'under the name of the Hall of the Queen's scholars of Oxford' (sub nomine aule scholarium Regine de Oxon), the college was subsequently called the 'Queen's Hall', 'Queenhall' and 'Queen's College'. An Act of 1585 sought to end this confusion by providing that it should be called by the one name 'the Queen's College'.

For a useful biog see:

All photographs above taken by the Author.


The Wooden Statue of Queen Philippa.
Queen's College Library.

A full-length wooden effigy of Philippa in Queen's College, Oxford.

First documented in 1658–9. (See below).

It does not appear that the timber of this statue has yet been investigated by any dendrochronolical testing or paint analysis.

“Hall of the Queen’s Scholars at Oxford” was founded in 1341 by Robert de Eglesfield, a chaplain in the household of Queen Philippa, who named it in her honour. He envisaged an establishment of fellows, chaplains, ‘poor boys’ and various officials and servants, headed by a Provost. Membership was to be open, but with a preference for inhabitants of Cumberland and Westmorland.

Initially Queen’s was poor, but the endowment slowly grew. Crucially, in 1343, Philippa secured for Queen’s a small hospital in Southampton with its lands, destined to be the basis of much of the College’s prosperity in the nineteenth and twentieth centuries as Southampton Docks expanded and surrounding farmland was developed.

After 1400 the preference for people from Cumberland and Westmorland became a monopoly, making Queen’s a community of north-westerners. During the fifteenth and sixteenth centuries it prospered, and in Elizabeth’s reign, when it became one of the most popular Oxford colleges, there is growing evidence for the development of the tutorial system. Benefactions continued, notably those of Bishop Thomas Barlow (Provost 1658-77); Sir Joseph Williamson (Charles II’s Secretary of State); and Lady Elizabeth Hastings (died 1739), whose endowment of exhibitions from twelve schools in Cumberland, Westmorland and Yorkshire extended the College’s normal catchment area.

Meanwhile Queen’s was expanding. Williamson gave a building in 1671-2, and the magnificent Library, one of the finest in England, was added during 1693-6 to house Barlow’s books.

Around 1700 the crucial decision was taken to rebuild the medieval College entirely, so that by the 1730's Queen’s was the only Oxford college to be housed entirely in Baroque buildings. The Front Quad has been called ‘the grandest piece of classical architecture in Oxford’,

Text above adapted from:

Photographs above by the Author

Photograph of the statue of Philippa of Hainault in the Library at Queen's College
Photographed by Henry Taunt.
From Historic England website


The king died of a stroke at Sheen Palace on 21st June 1377. A torch lit procession accompanied the coffin which first stopped at St Paul's cathedral. His funeral took place in the Abbey on 5th July and he was buried near his wife's monument in the chapel of St Edward the Confessor. His bones lie in the tomb chest

The full length wooden effigy, which was carried at his funeral, is preserved in the Abbey collection and the face (a plaster mask fixed to the wood, slightly distorted on the left side of the mouth) is thought to be taken from a death mask.

On his Purbeck marble tomb is a gilt bronze effigy, with long hair and beard, which is possibly by John Orchard. He wears his coronation robes and holds the handles of two sceptres (the rest being broken off). He has small buttons on his cuffs and decoration on his shoes. On the flat tomb top are niches, some of which still hold small gilt angels. The pillow below the king's head is a replacement from 1871 (given by Queen Victoria), the original having been lost. The lion at his feet (shown in an engraving of 1677) has now gone. The inscription can be translated:

Here is the glory of the English, the paragon of past kings, the model of future kings, a merciful king, the peace of the peoples, Edward the third fulfilling the jubilee of his reign, the unconquered leopard, powerful in war like a Maccabee. While he lived prosperously, his realm lived again in honesty. He ruled mighty in arms; now in Heaven let him be a king.

Originally there were bronze weepers (or statuettes) of twelve of his children round the tomb but only six of these now remain on the south side - Edward the "Black Prince", Edmund of Langley, William of Hatfield, Lionel of Antwerp, Mary of Brittany and Joan of the Tower. (Those that are now missing were to Isabel, Dame de Couci, William of Woodstock, John of Gaunt, Blanche of the Tower, Margery Countess of Pembroke and Thomas Duke of Gloucester, with their enamelled coats of arms below).

Above the tomb is an elaborate wooden tester by Hugh Herland. The arches terminate in half-angels as pendants. The soffit has a rich ribbed vault of six bays with cusping and bosses carved with human and beast-heads, many of which are missing. Four large enamelled shields (showing the cross of St George and the arms of France and England quarterly) remain on the south side of the tomb chest.

A state sword, seven feet long, was traditionally associated with this king and was kept near his tomb for many centuries. Also a shield covered with canvas and black leather, now much mutilated.

Text above from:

Image above from The Monumental effigies of Great Britain.
by Hollis, Thomas, 1818-1843; Hollis, George, 1793-1842.

The alabaster tomb in Westminster Abbey stands to the east of Edward III's monument on the south side of the Confessor's chapel and was commissioned in 1367, during Philippa's lifetime, from Jean de Liège of Brabant. 

The bronze figures of angels, however, were cast by John Orchard in 1376. Philippa's effigy represents a 'realistic' rather than an idealised image of the ageing queen. This was an innovation in English tomb sculpture. Jean de Liège had already worked for the French court. He had executed on the orders of Charles V the effigies of Blanche and her sister, the king's baby daughters. He later carved the effigies of Charles IV (d. 1328) and his widow, Jeanne d' Evreux (d. 1371), for the French royal mausoleum of Saint-Denis.



Tomb of Queen Philippa at Westminster Abbey, her effigy lying under a canopy with head to coat of arms below at centre; letterpress on verso;
Wenceslaus Hollar

illustration to Sandford, 'A Genealogical History of the Kings of England' (London, 1677, p.173).

281 x 176 mm.

British Museum.


Tomb of Edward III and Queen Philippa, 
From Ackerman 1812.

Westminster Abbey Alabaster

She died at Windsor Castle on 14th August 1369. The king was devoted to her and spent about £3,000 on her tomb in the Confessor's chapel at the Abbey, in which her bones lie. The queen's alabaster effigy, by Hennequin (Jean) of Liège, is undoubtedly a portrait as it shows her plump figure and kindly face. She originally held the string of her cloak in one hand and a sceptre but the hands are now broken. She wears a reticulated head dress, tight bodice laced in front, buttoned sleeves and a loose cloak. Her bones lie in the tomb chest below the effigy.

The tomb has been much mutilated over the centuries and most of its decoration has disappeared and there is now no inscription. But this short Latin inscription was recorded in 1677, translated as "Queen Philippa. Wife of Edward lies here. Queen Philippa. Learn to Live" on the base below the shields. The railings which once protected the tomb on the south side were removed in the early 19th century.

Only two of the many weepers (statuettes) around the tomb still survive (the original scheme of figures is recorded in the Abbey's Liber Niger cartulary, together with statues above the tomb ie. St Louis (king), St Louis (bishop), St John the Baptist and St George). The weepers, including one thought to be Blanche of Lancaster holding her pet monkey, are protected by a grille. The headless one has the arms borne by Philippa herself below it. When the Chantry Chapel of Henry V was built this encroached on the eastern end of her tomb. Two shields of arms remain on the south side of the tomb, two are hidden at the east end and three are on the north side (behind the protective grille).

Tomb dimensions in metres: length 2.74. width 1.34. height 1.55.

Text above from:

See also for the making of the  bronze effigy of Edward III  -The Archaeology of the Medieval English Monarchy
By John Steane, 1993

Philippa of Hainault.

by Elkington & Co, 
Cast by Domenico Brucciani, after Jean de Liège.
Electrotype, 1873, 
based on the Alabaster on the tomb at Westminster Abbey of circa 1367.
438 mm. high

Purchased, 1872.

National Portrait Gallery

For the Electrotyping process see -


John Faber 1695 - 1756.
after Thomas Murray.
The Effegy

34.9 x 27.3 cms.

Scottish National Portrait Gallery

Queen Philippa (1314 -1369),
Thomas Murray (1663 - 1735).
Oil on Canvas.
241 x 150
Gifted to the College by Stephen Green MA in 1710.

Photo credit: The Queen's College, University of Oxford.

Image courtesy Art UK

The artist, Murray possibly used the wooden effigy in the college as a template. He follows the hairstyle and cut of the dress of her tomb effigy at Westminster Abbey. Through the archway Philippa is pointing to the medieval buildings of the College.

Philippa (1314?–1369), Queen Consort of Edward III.

Unknown artist.
Early 18th Century
oil on canvas laid on panel

Measurements: 76 x 59 cm.

In the background is a view of the ruins of the gatehouse and chapel of the old college, seen from the west, as around 1750. It is identical with a view form an engraving made by J. Green in 1751, shortly before the buildings were demolished.

Photo credit: The Queen's College, University of Oxford

Image Courtesy Art UK