Bust of King Charles I by Roubiliac at the Courtauld

 The Terracotta Bust of Charles I (1600 - 1649).

Painted to simulate bronze.

Louis Francois Roubiliac,

at the Courtauld Institute.

These photographs below were recently added to the Art UK website.

This post under construction.

https://courtauld.ac.uk/highlights/workshop-of-roubilliac/

They say workshop of Roubiliac?

Given the evidence it is possibly one of the two bust from the Roubiliac posthumous sale by Langfords at the Roubiliac premises in St Martins Lane, either lot 79 on second day's sale, 13 May 1762, or lot 74 on third day's sale, 14 May 1762. 

The other is definitely that at the British Museum purchased at the sale by Dr Matthew Maty.

Typical Roubiliac technique of the hollow head to prevent cracking in drying and firing.

Rysbracks busts were usually solid and  fissures appeared after firing

Height 82.5 x Width 64 x Depth23.5 cms.

Bequeathed by Lord Lee of Fareham, Arthur Hamilton (1st Viscount), 1947.

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Three images above from Flikr.

https://www.flickr.com/photos/calotype46/22427859897/in/photostream/

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The British Museum Terracotta Bust of Charles I.

https://www.britishmuseum.org/collection/object/H_1762-0528-6

Presented by Dr Matthew Maty, 1762, who purchased it at Roubiliac's sale, either lot 79 on second day's sale, 13 May 1762, or lot 74 on third day's sale, 14 May 1762.

Height: Height: 70 centimetres.

Width: Width: 60 centimetres (max.).

Trustees' Report 13 July 1833, the Principal Librarian, Sir Henry Ellis, describes how the Attendant of the Print Room while endeavouring to open the Bulls Eye window in the Department, dislodged the Roubiliac bust of Charles I which broke into 'numberous pieces'. Ellis applied to Westmacott to repair it. (information from Hugo Chapman, April 2013).

 

Remains of surface coating; some areas of discoloration after cleaning (this terracotta was severely blackened by pollution from coal fires etc until conservation in anticipation of catalogue photography and display in gallery 46 in 1994.

 

A note (probably by Hugh Tait) records that the bust was cleaned in the V&A 6.9.49

Joseph Wade (c.1664 - 1743) Sculptor

 Joseph Wade (c.1664 - 1743) Master Ships Carver

Sculptor.

Joseph Wade the master carver, shown in the portrait below in undress,  holding a bust of Hercules, as a decorative mason  he collaborated with Richard Chichley ( another ships carver) on the continued building and elaboration at Greenwich Palace. 

There is a reference to a Benjamin Wade carver, possible the father of Joseph Wade - Joseph Helby, Carver at Deptford and Woolwich. Asks for protection - Navy Papers, National Archives.

In Figureheads of the Royal Navy by David Pulvertaft 2011 it states that in about 1720 Wade was made Master Carver at the Royal Dockyards in Deptford and Woolwich and was paid hansdomely for the refurbishment of six royal yachts between 1724 and 1742 as well as the carved works on several new build warships.

See also - Ship Decoration, 1630–1780 by Andrew Peters 2013.

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There are numerous references to Joseph Wade in the ADM (Admiralty Royal Navy etc) records at the National Archives Here is a selection:

31 March 1718  Folio 129: Joseph Wade, Master Carver. Asks for protections for the men on the enclosed list, Carvers he employs at Deptford and the Watermen who carry his goods to that yard.

Reference:         ADM 106/723/129

Mar  1718,  Unsigned. A list of 19 named men employed by Joseph Wade, Master Carver.

Reference:   Folio 130: enclosed with folio 129.      ADM 106/723/130 National Archives

1 Oct 1718 Folio 354: Robert Jones, Joseph Wade, Richard Chichly, Carvers. Regarding the payment of their bills.

Reference:         ADM 106/717/354 Nat. Archives

14 March 1722,  Folio 50: Joseph Wade. Will send a bill for stone carving.

Reference:         ADM 106/752/50 Nat. Archives.

15 April  1724  Folio 235: Joseph Wade. Asks for an order for the Woolwich Officers to pay him more for his carving work.

Reference:         ADM 106/767/235 Nat. Archives

4 May 1724 Folio 191: Woolwich Officers. Concerning the payment for the carved works done by Joseph Wade.    ADM 106/767/191

12 May 1724 Folio 194: Woolwich Officers. Bill for the carved work on the Kent, Ludlow Castle, Weymouth, Looe and Rose by Joseph Wade.

Reference:         ADM 106/767/194

14 April 1727 Apr 14 Folio 81: Joseph Wade. Asks for protections for 14 named men.

Reference:         ADM 106/795/81 Nat Archives

Apr 19 1732  - Joseph Wade, Sr., Joseph Wade, Jr., Richard Chicheley, Master Carvers, Deptford, Woolwich and Chatham. Petition on behalf of William Smith and Widow Reed, Master Carvers of Portsmouth and Plymouth. They are suffering hardship because their bills are 4 years in arrears. In the time of King Charles the Second, Master Carvers had money advanced to them by the Government in proportion to how the work was progressing. Ask for payment.

Ref. ADM 106/843/157 Nat Archives

25 May 1741 - Joseph Wade, Rotherhithe. Encloses an account of carved work done to a model of a first rate built at Deptford (not now attached). Request for an order for it to be surveyed and valued

Reference:         ADM 106/949/113 Nat. Archives

20 June 1746     

Woolwich Officers. A bill for carved work on a model of a first rate by Joseph Wade.

Reference:         ADM 106/1038/185

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1719 - 20. Carved work with Richard Chichley (the elder) at St Paul's Church, Deptford. 

Between 1726 and 1728 Joseph Wade worked in partnership with fellow-sculptor Richard Chichley on the ornamentation of the West Middle Front at Greenwich Palace. This work was very well paid. In 1729 he was paid £101 for his solo work on the South Pavilion of Queen Anne's Court - a sum including £8 per face for Corinthian Capitals, £21/107- for forty three modilions and £3 each for two scrolls, carved to a depth of two feet.

In 1725 he was working in partnership with Thomas Darby for St George in the East Wapping and presented bills for -

7 Cartoozes carved 2ft by 9 by 9 in costing £10 10s

4 Scrolls uner the pulpit carved 4.2 by 1.2 girt £6 8s

7 Leaves carved at head of said scrolls 1.3 by 4ins £2 12s 6d.

9 Brackets at end of steps carved 8 by 5 ins £1 11s 6d.

8 Festoons carved 3.5 by 5 ins Embost £6

8 Faces of capitals carved after the Corinthian order at £7

4 Capitals to pillars carved after the Corinthean order 12 ins diameter at £16

as well as £5 5s for 21 days spent on patterns

Destroyed in the blitz 1941.

Information above from ORATORIAL MACHINES FOR FURNITURE HISTORIANS

by Terry Friedman Furniture History, Vol. 33 (1997), pp. 84-10.

 In December 1728 Joseph Wade, King's Carver was paid £40 for having carved twenty shields for the great hall at Fishmongers Hall -

Image from the journal of the Society of Heraldic Craftsmen, no 88, April 2015

Wade was paid £10 15s for two posts? in front of the Chapel porch at the Mercers Hall - I do not have the date; info from The Mercers Hall by Jean Imray pub. 1991.

Records for St Alphage's Church Greenwich at Lambeth Palace record  22 October 1725, a petition by Joseph Wade, carver, for payment for work left undone by Mr. Jones (f.147).

 

In 1740 Wade recieved £121 9s 1d for carvings on the Duke of Kingston's new yacht 'Mary'

On 29th of September 1741, in the Deptford Yard letter books, preserved at the Public Record Office, (ADM/106/3357) it gives an account of the charges of the not inconsiderable sum of £77 18s 4d for carving for a model of a 1st Rate ship by Mr. Joseph Wade. 

Further research might be able to pin down which ship - this entry would perhaps suggest that there were several of these ship models constructed by Joseph Wade

info above from https://liverpoolnauticalresearchsociety.org/wp-content/uploads/2019/03/Transactions-New-Vol-09-1955-61.pdf

Wade died 22 November 1743 aged 79.

16 June 1746 - Samuel Wade, London. Request for a bill for carved work done by Joseph Wade, his late father.

From the National Archives - Reference:         ADM 106/1038/391

1746 June 20 Woolwich Officers. Are enclosing an account of the late Joseph Wade's carved work of a model of a 1st Rate for use of the Admiralty.

From the National Archives - Reference:         ADM 106/1038/184

  

 

see - A Biographical Dictionary of British Sculptors 1660 - 1851.. Pub Yale 2009

Portrait of Joseph Wade (c.1664 - 1743) 1720's holding a bust of Hercules

James Parmentier

Oil on canvas

Mid 18th Century

35 3/4 x 27 3/4 inches 91 x 70.5 cm.

James (Jacques) Parmentier was born in Paris and commenced his career as a pupil of his uncle, Sebastain Bourdon. He was later to work with Charles Delafosse and collaborated with him on their major commissions for Montagu House. He painted two altar pieces for  Holy Trinity Church in Hull and St Peter's Church in Leeds. Thomas Howard, the Eighth Duke of Norfolk, commissioned him to work at Worksop Manor where he painted the staircase.

Image Courtesey Philip Mould. see -

http://www.historicalportraits.com/Gallery.asp?Page=Item&ItemID=1074&Desc=Joseph-Wade-|-James-Parmentier

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Mrs Catherine Wade 

Parmentier

The images above from 

Paul Mellon Centre Photographic Archive

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The Rococo Monument to Joseph Wade at St Mary's Rotherhithe, London.

Note the portrait rondel held by the putto.

Anonymous sculptor.

I think it is too florid for Henry Cheere and suggest that is possibly by Charles Stanley

see - http://bathartandarchitecture.blogspot.com/2019/03/maynard-monument-by-charles-stanley.html

http://english18thcenturyportraitsculpture.blogspot.com/2019/02/the-huntington-marble-bust-of-oliver.html

I will post more on Stanley in due course

The inscription suggests that it was erected shortly after the death of Samuel Wade son of Joseph Wade  in 1743.

This fabulous monument is perhaps unique in its high Rococo, asymetrical style - a cursory trawl through the the Church Monuments Gazeteer website fails to bring up anything quite like it. Making it very difficult to suggest an author.

The design shows clearly the influence of Henry Copland and Matthias Lock 

see http://www.churchmonumentsgazetteer.co.uk/Gazetteer.html

Photographs courtesey the website of Bob Speel

see - 

http://www.speel.me.uk/chlondon/rotherhithestmary.htm

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This remarkable monument has recently (2020) been cleaned by Charlotte Okparaeke BA (Hons) Conservation. of the City and Guilds of London Art School.

For Rococo Ornament in England see -

https://www.riha-journal.org/articles/2014/2014-jan-mar/special-issue-art-design-history/puetz-drawing-from-fancy/#__RefHeading__388999_623944600

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This is probably not the place to go into the emergence of the Rococo in England and the influence of the earlier French and German engraved sources, but the works of Thomas Johnson, William Delacour Henry Copland and Matthias Lock have obviously influenced the design of the Wade Monument.

William De La Cour

One of the earliesRococo pattern books pulished in England

Catherine Street, Strand, London (1747)

Mr Read's, Grocer, at the Sign of the Ship, Great Russell Street, Covent Garden (1752)

The Green Door, Winchester Street, New Broad Street (1753)

Biography

Portrait, decorative and scene painter, and ornamentalist. Presumably French origins; 1740, first documented as a scene painter for London theatres; published eight books of ornament between 1741 and 1747, engraved by himself, Vivares or Robert White;1752, calls himself 'portrait painter in oils and pastels'; 1753, in Dublin; in Edinburgh by 1757 where he was still working as a scene painter; 1758, working for John Adam as a decorator (see correspondence in Saltoun papers, NL Scotland); 1760, first director of School of Design set up by Lord Kames; 1761, executed large wall paintings at Yester; many portraits in Scottish collections dating from 1758-65; d. Edinburgh 1767.

Info from British Museum website -

https://www.britishmuseum.org/collection/term/BIOG24718

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Pierre - Edme Babel 

1735

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Johan George Hertel (1719 -68

Engraving probably a little late to have influenced the design of the Wade monument

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The website of St Mary's, Rotherhithe suggests that the raredos in the church was also carved by Wade

see http://www.stmaryrotherhithe.org/index.php?option=com_content&view=article&id=7&Itemid=9

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Unfortunately I have had to rely on external web sources for the photographs but I hope to visit the church and take my own photographs in due course.

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The Will of Joseph Wade of Rotherhithe

Currently available free from the National Archives

He leaves the majority of his estate the considerable sums of £100 to his grandson and £500 and the residue of his estate to his grand daughter.

https://www.nationalarchives.gov.uk/

Monument to Henry Hoare (d.1724) Stourton, Wiltshire.

This post under construction.

The Monument to Henry Hoare (d. 12 March 1724).

Church of St Peter. 

Stourton, Wiltshire.

The bust and monument are unattributed but I would suggest possibly Rysbrack.

The bust is of very high quality.

All photographs by the author

Not an easy monument to photograph, particularly it was difficult to obtain good photographs of the bust.

Parts of the church of St. Peter date from the early 1300s, but it has been restored and altered throughout the centuries. The earliest documentary evidence for a church on this site is in 1291 when Ralph de Sturton held the right of presentation of the living. The arcading in the north of the nave dates from this time, and it is possible that the tower was built then.

Sir John Stourton was created Lord Stourton in 1448. The Stourtons were all patrons of the church and were buried in a family vault which is in the present north aisle. In 1553 the churchwardens presented that the nave of the church was in decay. It is not known what building work was carried out to correct this.

The Hoare family bought the estate in 1717 and by 1720 Henry Hoare had applied for a faculty to improve the church. The work was carried out during 1722-3. The screen and rood loft were removed, a new altar erected and an altar piece built to cover the whole east wall. The pulpit was moved from the north aisle to its present position. Lastly, the chancel was newly paved and a family vault was built.

The next alterations took place in 1848 when the south aisle was added to provide more seating. The Hoare family pew was also created at this time.

Further restoration took place in 1878. A new east window with stained glass was built. Three large Hoare family monuments were moved from the chancel to the south aisle. A new oak roof, tiled, was built over the chancel. The gallery at the west end was removed and the tower arch was opened out and restored. An oak screen was built between the tower and the nave. An organ chamber and vestry room were added on to the south side of the chancel. The floor was re-tiled, new nave furnishings provided, an oak lectern and a new stone font with an oak cover. The entire cost of the work was £1,000. In 1880 the project was completed when the whole church was decorated.

Alterations continued into the 20th century when improvements to the chancel and sanctuary were undertaken by Sir Henry and Lady Hoare to commemorate their Golden Wedding in 1937. The work included removing the wooden reredos and altar; the provision of a new altar comprising a single stone slab on wooden legs, so that it could be removed at any time; a figure of Christ to replace the reredos and east window; a new altar cross, candlesticks and altar rail.

More recently, the old box pews were removed from the north aisle and in 1974 the east end of the north aisle was made into a baptistry. The present font replaced the Victorian font and is late Norman. It came from the now redundant church at Monkton Deverill. 

www.flickr.com/gp/52219527@N00/3nq5D3 at Walton on Thames which cost £1000 (the contract specified a monument 7 foot wide and double that in height). The £500 did not include the cost of railing and repairs to the church incurred.

Francis Nicholson (1753 - 1844).

watercolour 

British Museum

The album from which this sheet was extracted is described in the posthumous catalogue of Sir Richard Colt Hoare's library as: 'Rural Scenery of Stourhead, consisting of 33 Magnificent Drawings, by P. Nicholson. Atlas size, bound in whole russia. A most Splendid Volume.' ('Catalogue of the Hoare library at Stourhead, co. Wilts. to which are added an account of the museum of British antiquities, a catalogue of the paintings and drawings, and a description of the mansion', London, 1840, p. 412).

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Queluz, and the Statues of John Cheere

Under construction.

The Palace at Queluz, near Lisbon, Portugal,

and the Lead Statues created by John Cheere (1709 - 87).
The Statues supplied in 1755 and 1757.

Introduction.

My intention is to put together a series of posts on each statue or group supplied by John Cheere for King Pedro III to the Royal Palace at Queluz, Portugal and to attempt give as much background information that is currently available on the life and works of John Cheere - the format will inevitably change and have to be readjusted as I proceed. 

I visited Queluz in April of 2018 and took many photographs but because of other projects, not least moving house and organising the restoration of our new property, I have had to wait until now to put these pieces together. 

I will use my own photographs as much as possible to illustrate the statues still in the garden but will attempt to find illustrations of the types of those that have gone missing over the centuries.

Samson slaying the Philistine.

Sometimes refered to as Cain and Abel

For the World Monuments Fund Queluz website see -

https://wmf.org.uk/Projects/the-john-cheere-sculptures-at-queluz-national-palace-portugal/

For an excellent introduction to the history and works at Queluz see the WMF book The Gardens of the National Palace of Queluz Conservation Intervention published in 2012 and available in PDF format -

https://www.wmf.org/sites/default/files/article/pdfs/Queluz%20Garden%20ENG%20%281%29.pdf

For a brief overview from Google Arts and Culture see -

https://artsandculture.google.com/partner/national-palace-of-queluz?hl=en-GB

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Two invaluable general works on the subject of Lead Statuary are English Leadwork, ..... by Lawrence Weaver, pub. 1909 and available on line at -

https://archive.org/stream/englishleadworki00weav#page/n9/mode/2up

and Antique Garden Ornament by John Davies, pub Antique Collectors Club, 1999.

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Rupert Harris Conservation Ltd were the main contractors to the World Monuments Fund for the exemplary restoration and conservation of the lead statues at Queluz.

https://rupertharris.com/

https://rupertharris.com/collections/featured/products/the-palace-of-queluz-aeneas-and-anchises

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https://www.wmf.org/project/queluz-palace-garden

https://wmf.org.uk/Projects/technical-case-study/

https://wmf.org.uk/Projects/the-john-cheere-sculptures-at-queluz-national-palace-portugal/


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For Lead Sculpture at Wrest Park, Bedfordshire.

http://leadrestoration.co.uk/h-a-r-l-e-q-u-i-n-a-n-d-c-o-l-u-m-b-i-n-e

https://commons.wikimedia.org/wiki/File:Aeneas_and_Anchises_by_John_Cheere,_1700s_-_Wrest_Park_-_Bedfordshire,_England_-_DSC08325.jpg

http://www.english-heritage.org.uk/visit/places/wrest-park/history/collection

https://historicengland.org.uk/listing/the-list/list-entry/1113789


https://artsandculture.google.com/asset/statue-of-the-young-adonis-at-wrest-park/IAGV4fdMEWYITw





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For the Giambologna marble version of Samson slaying the Philistine (Cain and Abel) at Buckingham House at the time, from which the Cheere lead version derives, and which is now in the V and A, see -

http://www.vam.ac.uk/content/articles/s/giambolognas-samson-and-a-philistine/

Richard Boyle Viscount Shannon Monument, Roubiliac.

Under construction.

The Monument to Richard Boyle, Viscount Shannon.  

Louis Francois Roubiliac.

North Aisle,

St Mary's Church.

Walton on Thames,

Surrey.

TO THE MEMORY/ OF RICHARD BOYLE LORD VISCOUNT SHANNON/ VOLUNTEER, WHEN A YOUTH/ AT THE GLORIOUS BATTLE OF THE BOYNE/ BY HIS PERSONAL BRAVERY/ DISTINGUISHED AT THE BATTLE OF LANDEN:/ IN THE FIRST YEARS OF QUEEN ANNE, COLONEL OF PRINCE GEO: OF DENMARK'S REGIMT OF MARINES/ AND AT THE MEMORABLE ATTACK OF VIGO IN 1702, BEING APPOINTED TO COMMAND ON SHORE/ HE RENDER'D HIMSELF CONSPICUOUS/ BY REPULSING A SUPERIOR BODY OF THE ENEMY'S TROOPS,/ AND FORCING THEIR OUT-WORKS AT THE HEAD OF THE GRENADIERS/ BY EMULATION EXCITED BY A SOLDIER/ BY EXPERIENCE MATURED INTO A COMMANDER;/ HIS BIRTH ADDING LUSTRE TO HIS PRETENSIONS;/ HIS PRETENSIONS AUTHORIZ'D HIS MERIT;/ PROMOTED SWIFTLY, NOT UNDESERVEDLY/ TO THE COMMAND OF VARIOUS CORPS/ OF FOOT, HORSE AND HORSE GUARDS/ AND TO THE SUCCESSIVE RANKS OF GENERAL OFFICER/ DURING A LONG AND CONTINUED PEACE/ HE ATTAIN'D/ BY ROYAL REGARD AND JUST FAVOUR,/ WHAT HE WAS AMBITIOUS TO ACHIEVE BY SERVICE:/ (RIGHT SIDE): AND HAVING DISCHARG'D A VARIETY OF COMMANDS AS A SOLDIER/ HIS DUTY AS A BRITISH SENATOR,/ AND AS ONE OF THE LORDS JUSTICES OF IRELAND/ WITH EQUAL ZEAL FOR THE HONOUR OF THE CROWN/ AND FOR THE WELFARE OF HIS COUNTRY/ DY'D UNIVERSALLY BELOV'D AND ESTEEMED/ CAPTAIN AND COMMANDER IN CHIEF,/ OF HIS MAJESTY'S HORSE AND GRENADIER GUARDS/ GENERALISSIMO OF HIS MAJESTY'S FORCES IN IRELAND/ AND FIELD MARSHAL OF ALL HIS MAJESTY'S FORCES/ OBIIT DECEMBER 1740. ETAT 65 (LOWER LEFT): THIS MONUMENT/ WAS ERECTED BY HIS ONLY DAUGHTER/ GRACE COUNTESS OF MIDDLESEX/ (JUSTLY SENSIBLE OF THE INEXPRESSIBLE LOSS/ OF HER RESPECTABLE PARENTS)/ IN OBEDIENCE TO THE WILL OF HER MOTHER/ GRACE, DAUGHTER & CO-HEIRESS/ OF JOHN SENHOUSE OF NETHERHALL/ IN THE COUNTY OF CUMBERLAND ESQ./ WHOSE ASHES TOGETHER WITH THOSE OF HER BELOV'D LORD/ ARE HERE DEPOSITED.

Grace Viscountess Shannon, widow of Richard Boyle, 2nd Viscount Shannon 1740, who died 10th May 1755 sits on the monument to husband Richard Boyle 2nd Viscount Shannon 1740

Grace born in 1695 was the co-heiress daughter of John Senhouse of Nether Hall Cumberland.

She left in her will "the sum of £1000, part of my personal estate to be laid out and expended by my executrix in setting up and erecting a monument in the parish church of Walton upon Thames in memory of my late dear husband and me in such a manner as she my executrix shall think proper"

Her executrix was her only child Grace (1723-1763) who married in 1744 Charles Sackville (d.1769) Earl of Middlesex who 2 years after her death became 2nd Duke of Dorset with £30,000.

Roubiliac used the same effigy holding an urn (with different face) for his 1760 monument commissioned by Ann Bellamy Lynn d1767 to her husband George Lynn 1758 at Southwick.

All photographs above by the author.

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Monument to George Lynn

Church of St Mary The Virgin

Southwick, Northamptonshire.

Roubiliac

Photograph above courtesey Flickr

https://www.flickr.com/photos/52219527@N00/26435571816/in/photostream/

"Sacred to the memory of George Lynn esqr who departed this life on the 6th day of May 1758 aged 51 years

Well vers'd in the laws of his country, he might have been distinquish'd in the profession, but early quitting these severer studies for the calm pleasure of a rural life, he greatly improved by a most elegant taste this his paternal seat of Southwick. Nor was he a stranger to the politest arts being well skill'd in music and philosophy, his mind always equal tender and benevolent render'd him a most affectionate husband, a sincere friend and delightful companion.

This marble rais'd - see where the mourning fair amidst her griefs breathes forth this fervent pray'r., when next we meet may out past bliss improve by holy raptures of mysterious love"

1760 Monument placed by Ann Bellamy Lynn d1767, by  Roubiliac who charged £500 - a lesser amount than usual as Ann's effigy is a copy, except for the face, of Grace Viscountess Shannon