Saturday 9 March 2019

A Miniature Bust of Alexander Pope by or after Roubiliac


Alexander Pope.

A Miniature Marble Bust 

by or after Roubiliac.

Private Collection.

This little bust is a version of the first dated bust of Pope by Louis Francois Roubiliac of 1738 at Temple Newsam.

There are three distinct versions of the inscribed and dated Roubiliac busts of Pope.
see images below for comparisons.

see -

The first version is the 1738 Temple Newsam Bust, repeated with the William Seward Bust and now with this miniature bust. There appears to be no terracotta prototype surviving.

The second type is the Milton / Fitzwilliam marble bust dated 1740 originally with Lord Mansfield at Kenwood House - again no prototype appears to have survived. The Roger Warner bust of Pope is of this type. There are several plaster versions of this bust including those at Holkham and Hughenden. The Sotheby bronze and the miniature at the Victoria Art Gallery, Bath are also versions of this bust.
Nollekens used this bust for his two versions in marble paired with his bust of Sterne.

The third version is the Barber terracotta type, which is the prototype or original modell for   the Shipley / Garrick marble dated 1741, (a plaster at Felbrigg), the Saltwood Castle marble bust, the Windsor Castle bust, the Victoria and Albert Museum, the bust now in the Rosebery / Rothschild Collection and the bust now in the Yale Centre of British Arts.  The slightly smaller British Museum Plaster and the smaller Stourhead plaster are also versions of this bust.


The Temple Newsam bust is inscribed and dated.

L.F. Roubiliac
Sc. ad vivum

Alexander Pope.

Temple Newsam


For the Vandewall / William Seward marble bust:


The Miniature bust compared with the signed and dated Temple Newsam Bust of Pope.

The Barber Terracotta Bust, the Temple Newsam Bust and the Miniature Bust for comparison.

The Miniature Bust, the Seward Bust and the Temple Newsam Bust for comparison.

Friday 8 March 2019

Marble Bust of Lord Chief Justice Raymond

Sir Robert Raymond (1672 - 1732).

Made Lord Chief Justice of the Kings Bench in 1725.

Marble Bust.

This bust has in the past been attributed to both Roubiliac and Henry Cheere.

c. 1732.

Victoria and Albert Museum.

This was knocked from its pedestal in 1975, resulting in a large chip under the right shoulder, which has been repaired.

Inscribed 'ROBERTUS D.nus RAYMOND.Capital./Justic. Anglice, obiit XVIIIo. Martii/MDCCXXXII/Aetat. LX.'

Height: 60 cm

Purchased by H.M. Calmann from the Filmer family of East Sutton, Kent at an unrecorded date.

For the Filmer family see :

Purchased by Dr. W.L. Hildburgh F.S.A. from H.M. Calmann for £25. Given by Hildburgh in 1947 as a New Year gift.

Bibliographic References (Citation, Note/Abstract, NAL no)

Bilbey, Diane and Trusted Marjorie. British Sculpture 1470 to 2000. A Concise Catalogue of the Collection at the Victoria and Albert Museum. London, 2002. pp. 112-113. cat. no. 153
Baker, M. Figured in marble. The making and viewing of eighteenth-century sculpture. London, 2000. p. 82.
Whinney, M. Sculpture in Britain 1530 to 1830. 2nd ed. London, 1988. p. 453. note. 8 (1).
Whinny, M. English sculpture 1720-1830. London, 1971. p. 64.
[Entry] In: Colvin, H. M. A biographical dictionary of British architects.
Craske, M. The silent rhetoric of the body. New Haven, 2008. pp. 405-409.


Educated Eton College and Christ's College, Cambridge
called to the Bar in 1697.

Married Anne Northey  (1677 - 17 daughter of Sir Edward Northey

In 1710 Robert Raymond was appointed solicitor-general and in that same year became Member of Parliament for Bishop's Castle, Shropshire. Soon afterwards he was knighted. On the accession of George I in 1714 he was replaced as solicitor-general. He then became, successively, MP for Yarmouth on the Isle of Wight, Ludlow and Helston, whilst continuing his legal career. 

He became a judge in 1724 and flourished when Sir Robert Walpole became Britain's first Prime Minister, being appointed Lord Chief Justice in 1725, a position he held for eight years - . Anne died in 1720 and Robert was elevated to the peerage in 1731. 

He died at his home in Red Lion Square, London on 18 March 1733, leaving his estate of Langleybury, Abbots Langley, Hertfordshire to his and Anne's only surviving son, also Robert. Three other boys died within a few weeks of birth and were buried with their paternal grandmother.


Langleybury House, Abbots Langley, Hertfordshire.

The estate was purchased in 1711 by Robert Raymond, then Solicitor General and later Attorney General. 

In 1720 he demolished the original house, of which little is known, and built the mansion which still stands on the site today. A park was laid out around the house in the later eighteenth century. His cipher, a griffin in a crown, can still be seen on the building.

Beversham Filmer 1756–1838.

On the death of his son, Robert Raymond, 2nd Baron Raymond, without issue in 1756, the manor was left to Sir Beversham Filmer, 5th Baronet, of East Sutton in Kent. He, dying without children in 1805, bequeathed it to his nephew, Sir John Filmer, 7th Baronet. It then descended in the family till 1838. The Filmers were absentee landlords.

This explains the connection between Raymond and the Filmer family and it is likely that the bust remained with the Filmer family until sold in the 20th century.

All photographs above taken by the author.

For a reasonably good biog of Robert Raymond see:


Monument to Robert Raymond in Abbots Langley Church of St Lawrence
The monument Inscribed Henry Cheere.
Designed by Westby Gill.

Abbots Langley Church
Platinum Print
George Scamell

Victoria an Albert Museum.

Abbots Langley Monument
Platinum Print 
George Scamell 
Victoria and Albert Museum.


Robert Raymond.
c. 1725
John van der Vaart (1653 - 1727).

Oil on canvas
127 x 102.2 cms.

Sold Lot 13, May 2010 by Doyles, New York.


Robert Raymond
John Simon after James Maubert
Mezzotint c. 1730's
350 x 247 mm

British Museum


Robert Raymond
George Vertue
National Galleries of Scotland.

Robert Raymond
368 x 260 paper size.

John Simon after Jonathan Richardson 1727

National Portrait Gallery

Robert Raymond.
Attributed to John Vanderbank (1694 - 1739).

Oil on Canvas.
238.8 x 137.3 cms.

Examination Schools, University of Oxford.
Gift of Uriah Shudall, 1735.

Image courtesy Art UK


Monument to 2nd Lord Raymond (1717 - 1756).
Erected 1756?

Abbots Langley Church
by Peter Scheemakers.

Photographs above from the website of Bob Speel.

Charity or Abundance
Peter Scheemaker (1691 - 1781).
Model for the monument of the second Lord Raymond.
41.9 cms.

At Christie's, London, 11 December 1984, lot no. 20, sold to Cyril Humphris for £432. Purchased for £1000 from Cyril Humphris, London, 1985.

Victoria and Albert Museum.

Peter Scheemakers (1691-1781) was born in Antwerp and trained under his father, the sculptor Peter Scheemaekers the Elder (1652-1714). Scheemakers was in London by 1721, where he first collaborated with Pieter-Denis Plumier (1688-1721) and Laurent Delvaux (1696-1778) on the monument to John Sheffield, 1st Duke of Buckingham, for Westminster Abbey. Scheemakers continued in partnership with Delvaux, carving funerary monuments as well as garden statuary. They went together to Rome in 1728, where Scheemakers remained for two years before returning to England in 1730 and setting up an independent workshop. He spent the rest of his working life in England, concentrating on monuments and portrait busts

Sunday 3 March 2019

Maynard Monument by Charles Stanley

Maynard Monument by Charles Stanley (1703 - 61).

St Mary, Little Easton, Essex.



Monument to William Maynard (d. 1742).
by Charles Stanley
Hoxne, Suffolk.


A Danish-born sculptor and stuccoist, he spent two decades working in England. Stanley was born in Copenhagen on 12 December 1703 to an English father and a Danish mother. He was apprenticed in 1718 to the Danish court sculptor Johann Adam Sturmberg (1683-1741), who entrusted care of the young apprentice to one of his assistants, Peter Scheemakers. Stanley worked under Sturmberg on the elaborate stuccowork in Fredensborg Castle, 1720-22, and on two angels at the cornice of Sturmberg’s monument to the statesman, Otto Krabbe, (†1719) in Roskilde Cathedral.

After completing his apprenticeship Stanley visited Germany and Holland before coming to London in 1727, where he spent a year as an assistant to Scheemakers and Laurent Delvaux at their Millbank workshop. When Scheemakers went to Rome in 1728, Stanley also considered making the journey south, but he decided instead to remain in London when he received a lucrative commission from Lord Wilmington to provide sumptuous stucco decorations in the state bedrooms at Compton Place, near Eastbourne. Among the ornaments provided for Wilmington was a ceiling panel with a characterised medallion portrait of the architect Colen Campbell (Whinney 1988, 255, repr).

On 21 May 1730 he married Mrs Anne Allen, the daughter of his landlord at Eastbourne, Sussex, where he lived whilst working on plaster ceilings at Compton Place. She died five years later and a second marriage took place on 2 August 1737 to Magdalene Margrethe Lindemann, the sister of the German chaplain to the Court of St James. The couple had a son, Carl Frederick Stanley (c1738-1813), who trained as a sculptor with his father and later had a successful career in Denmark, where he became a professor at the Copenhagen Academy.

Shortly after 1730 Stanley set up independently as a sculptor and plasterer in London, advised by Scheemakers, who had recently returned from Rome. A stream of decorative commissions and a few for sculpture followed. Working principally with the plasterer, Thomas Roberts of Oxford, he provided rich stucco ceilings at Langley Park, Norfolk (1740), the Radcliffe Camera (1744), Okeover Park, Staffs (c1745), Kirtlington Park, Oxon (c1745) and probably a number of other houses. In 1738, whilst living in the parish of St John the Evangelist, Westminster, ‘Charles Stanley … plasterer’ took an apprentice, John Dauson, at a fee of £10 (Apprenticeship Tax Roll index).

For Langley Park see my blog post

Stanley was responsible for two major monuments for the aristocratic Maynard family, who had large estates in Suffolk and Essex. The towering memorial to Thomas Maynard has a life-size standing effigy of Maynard in vigorous classical draperies, his left arm resting on an urn, while his right hand holds a book. His head recalls Scheemakers’s work and on the pedestal is a large relief (1). The success of this commission led to a second, the monument to Charles, Lord Maynard and his ancestors (3). It also has a standing effigy garbed all’antica and grouped around him are three busts, three portrait medallions and a weeping putto. On the pedestal below is a fine high-relief tablet of three Cardinal and Christian Virtues, each attended by lively cherubs. Lord Maynard’s response to the sculptor’s work was expressed in an undated letter sent to Conyers Middleton: ‘I can’t say but I place a good deal of confidence in him’ (Maynard /Middleton). 

Around 1744 Stanley also carved, though he did not sign, the monument in Ely Cathedral to Humphrey Smith, which has a naturalistic portrait bust of a heavy middle-aged subject, in a foliate oval frame, attended by a weary, standing cherub (2).

In the summer of 1746 he accepted an invitation from Frederick V to return to Copenhagen as court sculptor, a post he held until his death. He departed hastily for Denmark leaving his affairs in a confused state. Letters to Leeke Okeover from Joseph Sanderson, who was responsible for building work at Okeover, relate that Stanley left ‘without settling with several of his acquaintances’ and that he had failed to show Sanderson a bust, a chimneypiece (4, 6) and a gilt picture frame with ribbon and flowers, all prepared for Okeover (Sanderson/Okeover, 25.10.1746). A later letter adopted a more philosophical tone: ‘One thing we must allow him [Stanley], is your ceiling is well done and cheap’ (Sanderson/Okeover, 9 December 1746).

Soon after returning to Copenhagen Stanley began work on the elegant marble group, Vertumnus, Pomona and Cupid, c. 1749, derived from Delvaux’s group for Wanstead (Copenhagen Stat Museum). 

When the Royal Danish Academy of Arts was founded in Copenhagen in 1752 he was appointed professor of sculpture. In his later years he continued to produce sculpture inspired by classical mythology. He was also responsible for a number of monuments.

Stanley had many skills. Whilst in England he probably become acquainted with the novelist Henry Fielding, a number of whose works he subsequently translated into Danish. In addition to his literary activities, Stanley composed various pieces of music including an oratorio. He also became a director of the Copenhagen porcelain factory.

Literary References: Buesching 1754-7, I, 527, II, 193-9, III, 193-9; 
Anecdotes 1937, 144; Esdaile 1937, 348-53, 608-11; 
Gunnis 1968, 365-6; 
Beard 1981, 285; 
Hare 1990, 144; 
Grove 29, 540-1 (DBL)

Archival References: GPC (transcribed letters from Joseph Sanderson to Leake Okeover, 1745-46)

Text above from:

Biographical Dictionary of Sculptors in Britain on line version


Saturday 2 March 2019

Monument to Thomas Winnington, Stanford, Warwickshire, with Roubiliac Bust

The Roubiliac Bust of Thomas Winnington (d. 1746).
On the Monument at Stanford, Warwickshire.

Post updated and edited 15 Feb 2021.

With a few notes on the monument and busts of Sir Andrew Fountaine, the monumen to John Merick and the monument of John Bamber, The Monument attributed to John Cheere, the bust by Roubiliac.

Winnington's Bust has the same drapery as Roubiliac's busts of Sir Andrew Fountaine, and the bust on the monument to John Bamber at Barking.

Malcolm Baker suggests  the monument possibly by Benjamin Palmer.
see Church Monuments Society Journal vol X, 1995.

Bakere also points out the similarities of the feet supporting the sarcophagus to those on the monument to John Merrick in Norwood Church - it should also be pointed out that they are also very close to those on the monument of John Bamber in St Margarets Church, Barking (see photograph below).

A letter of the 22 February 1749/50 in the Lewis Walpole Library that was discovered by Todd Longstaff Gowan, from Henry Fox to Charles Hanbury Williams who had the monument erected.
The letter asks that Hanbury Williams retainer Richard Evans should:

"write a line to Mr Eckar (John Giles Eccardt - see image below) to deliver your picture of Mr Winnington done by Vanlo to my order. from that and Goussets (Isaac Gossett) Bas Relive of him Rouvilliac is to make a bust which may be plac'd upon a monument something like that set up to the primate Boulter (by Henry Cheere) in Westminster Abbey. You please to write in verse or prose or both shall be there inscribed, and I beg you will intend to do it now whilst You are at Colbrook".

This confirms that Roubiliac sculpted this bust using the portrait and a wax relief by Isaac Gosset.

This wax relief appears to have remained with Roubiliac and was put up for auction (Mr Winnington in Wax) at the posthumous sale of Roubiliac First day, Lot 68.

Although by no means clear this suggests that there was a link between Henry Cheere and Roubiliac as contractor and sub contractor.

Information above from the Roubiliac and Cheere in the 1730's and 40's Collaboration and subcontracting in 18th Century English Sculptors' Workshops by Malcolm Baker in the Church Monuments Society Journal Vol X. 1995.

The Boulter monument in Westminster Abbey by Henry Cheere.


Thomas Winnington
Louis Francois Roubiliac
Marble Bust

The drapery on this bust was used by Roubiliac on his busts of Andrew Fountaine - Terracotta now in Norwich castle Museum, Marble at Narford church, another marble at Wilton House, a plaster bust at Yale Centre for British Art, and another plaster in a private collection in Cambridge.

see photographs of the Winnington monument below.

I will post again in more depth on these busts once I have photographs of the Roubiliac Marble busts at Wilton House.

In the meantime see my post -


Bust of Andrew Fountaine on the Monument at Narford Church, Norfolk.

Perhaps a replacement - this needs to be confirmed.

The 1753 inventory of Narford described the marble bust as ‘the highly finished Busto in marble of Sir Andrew Fountaine, done after the life and very like him by Roubiliac.’ 

The inventory also recorded Roubiliac’s terracotta bust, the source for the marble versions, which was acquired from the Fountaine collection by Norfolk Museums Service in 1992.

The Narford monument is signed by the little known N. Powley of Wells by Sea.

On 9th July 1757 The Norwich Mercury reported - We hear from Wells that last week was erected in the Parish church of Narford in this county a monument to the memory of Sir Andrew Fountaine consisting of various colour'd marble with a swelling statuary tabled and ornamented with the bust of Sir Andrew, upon the top of a pyramid highly finished is a statuary urn in a chased antique manner. The whole polished and completed to entire satisfaction by John Powley of Wells next the Sea.

Harris Powley is noted in an advertisement in the Norwich Mercury 6 April 1776 as a stonemason of Wells next the Sea  making marble, Portland stone and freestone chimney pieces, monuments tombs and gravestones.

At the Church of All Saints, Sculthorpe, Norfolk, on the South West external wall of the church there are two  mural monuments to members of the Matthew family. Both set under a triangular pediments. One is inscribed Powley, which must be Harris the son of John Powley, as the latest date is 1786, and John Powley had died at Wells in 1774. (facts need checking).


The Monument to Thomas Winnington.

"Stanford – a parish in the hundred of Doddingtree, upper division, 8 ½ miles W.S.W. from Stourport, and 122 from London. The church, which was erected in the year 1768, is a handsome Gothic structure, with an elegant tower built of stone dug out of a quarry close by, which was discovered just as the foundation of the church had been laid; the interior is neatly fitted up, and contains several monuments of the Winnington family, one of which is ornamented with a bust of the Right Hon. Thomas Winnington, formerly M.P. for Winchester, Lord of the Admiralty, and paymaster-general of the forces, &c. He died in 1746". 

The living is a rectory, in the diocese of Hereford and archdeaconry of Salop; Rev. Edward Winnington Ingram, incumbent; instituted 1807; patron, Sir Thomas Winnington, Bart. Population, 1801, 140 – 1811, 122 – 1821, 194.

From - Worcestershire Delineated by C. and J. Greenwood pub.1822.

The monument shown in the course of restoration by SSH conservation see -


Thomas Winnington.
by John Giles Eccardt (1720 -79).
after the original by van Loo.
70 x 60 cms.
Oil on canvas.

On loan to the National Trust at Lyme Park, Cheshire from Mr N Hanbury - Williams.

Image courtesy Art UK.


Monument to John Merick (d. 1749).
Norwood Church


by John Cheere

Included here because the style of the lions paw feet matches those of the Winnington Monument above.

Tomb of John Merick (d.1749) Norwood Church.

Drawing attributed to Daniel Lysons, 1762–1834, British for The Environs of London.

Drawn between 1796 and 1811

Pen and black ink, watercolour and gouache over graphite on medium, slightly textured, cream wove paper.

37.8 × 27.3 cm

Inscribed in pen and black ink, upper left: Norwood Vol IX page 322"; inscribed, upper right: "172"

Yale Centre for British Art, Paul Mellon Collection

Monument to John Merick of Norcutt.


Church of  St Mary the Virgin.
Tentelow Lane.
Norwood Green.

Attributed to Benjamin Palmer by Malcolm Baker
in the Church Monument Society Journal vol X 1995


The Bust on the Monument of Dr John Bamber 
by Louis Francois Roubiliac.
Note the drapery as on the busts of Sir Andrew Fountaine and Thomas Winnington (see above)

John Bamber (1667 - 1753).
St Margarets Church, Barking Essex.

The monument is inscribed

Hic jacet Johannes Bamber, M.D.
Reg. Soc. Colleg. Medic. Lond. Socius,
qui per multos annos medicinam
cum multâ laude feliciter exercuit.
Reipublicæ utilis suisque non inglorius vir;
maritus, parens optimus,
sociis charus, omnibus benevolus;
egenis arte atque re suâ liberalis.
Occidit eheu! Flebilis
occidit morte subitâ nec inopinatâ,
senectute gravi, non valetudine,
Novembris die septimo, anno salutis 1753,
æt. suæ 86.

For a brief biog of Dr John Bamber see -


Crisp Gascoyne  married Margaret, daughter and co-heiress of Dr. John Bamber, a wealthy physician of Mincing Lane, who purchased large estates in Essex and built the mansion of Bifrons at Barking.A drawing of this house as it appeared in 1794 is preserved in the Guildhall Library copy of Daniel Lysons's Environs (vol. iv. pt. i. p. 88). 

Gascoyne had four surviving children—Bamber, Joseph, Ann and Margaret. His wife was buried in Barking Church 10 October 1740.

Portraits of Crisp Gascoyne and Dr. John Bamber are displayed in Hatfield House.