Saturday, 29 June 2024

John Thomas Smith The Illustrated Hogarth, 1817.




 John Thomas Smith. (1766 - 1833).

 The (Unpublished) Illustrated Life of Hogarth, 1817.

see my posts

https://bathartandarchitecture.blogspot.com/2024/06/john-thomas-smith-perambulation-up-and.html


Nathaniel Smith (1738 - 1809). was the father of JT Smith, he was a former assistant to the sculptor Louis Francois Roubiliac (d. 1762). 

 

He resided and ran his business at the Rembrandt's Head, Great May's Buildings, St.Martin's Lane, London (in 1792-3, 1795, 1797-8). 8 May's Buildings, St Martin's Lane, London.





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No 1.







Inscribed in graphite, verso, center: "No 1 | Hogarth carrying his Master's | sick child round Leicester fields | The Spot of ground | Leicester house"


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No 2.










Inscribed in pen and black ink, upper left: "W H"; inscribed in graphite, verso, center: "No 2. | Hogarth engraving his Master's | Shop-bills the sign of the Angel"


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No 3.






Inscribed in pen and brown ink, upper center: "THE GENTLEMAN'S GARDEN" inscribed in graphite, verso, center: "N.3 | Hogarth being out of his time | draws his companion's figure on | the door of a certain place to | the great admiration of all his friends"







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No 4.





Inscribed in graphite, verso, center: "No 4 | Hogarth declaring his love | to Miss Thornhill."


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No 5.





Inscribed in graphite, verso, center: "No 5 | Hogarth after his wife had | put on a new night shift, Ties | up her things to send to sir James | Thornhill with a letter in which | she told him "He took his Daughter | without a Smock to her a--e"


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No. 6.





Inscribed in graphite, verso, center: "No 6 | Hogarth has made breakfast | and sends up a cup to his wife | at the same time ordering the | little dog to be admitted to her | mistresses bedchamber"

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No. 7.





Inscribed in graphite, verso, center: "No 7 | Hogarth drinking the first | glass of wine with his wife | ---their dogs keeping | respectful distances"

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No. 8.





Inscribed in graphite, verso, center: "No 8 | Sir James Thornhill's boy entering | his Master's painting room to | deliver the bundle and a letter in | the presence of Lady Thornhill"

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No 9.




Inscribed in graphite, verso, center: "No 9 | The Smock exposed"

 

 

 

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No 10.






Inscribed in graphite, verso, center: "No 10 | The reconsiliation".


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No 11.




Inscribed in graphite, verso, center: "No 11 | Hogarth drawing Sarah Malcolm".

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No 12.







Inscribed in graphite, verso, center: "No 12 | Hogarth painting in Vauxhall | gdens in the presence of | Jonathan Tyers"

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No 13.






Inscribed in graphite, verso, center: "No 13 | Hogarth painting his | picture of Capt Coram for the | Foundling Hospital"

 

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No 14.





Inscribed in graphite, verso, center: "No 14 | Hogarth solicits his Patron | Bishop Hoadley to look over | his M.S of "Analysis of beauty"

 

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no 15.





Inscribed in graphite, verso, center: "No 15 | Hogarth making up a portrait of H. Fielding, | for a Bookseller, from the features of | Garrick who borrowed one of the Author's | wigs for that particular purpose there | being no genuine portrait of him".

 

 

 

 

 

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No 16.






Inscribed in graphite, verso, center: "No 16 | Hogarth painting "The Ladys last stake" | in the presence of Lord Charlemont."

 

 

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No 17.





Inscribed in graphite, verso, center: "No 17 | Hogarth sitting to Ronbeliac (Roubiliac) for | his Bust".

Note the model of Trump. Smith will have known the bust and model of the dog which had been owned by his father Nathaniel Smith and sold at auction in 1805


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No 18.







Inscribed in graphite, verso, center: "No 18 | Hogarth at Old Slaughter's | hobbing with Highmore | the painter."



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No 19.




Inscribed in graphite, verso, center: "No 19 | Hogarth having been followed by | Barry and a friend was caught | backing a boy to fight-purposely | to catch his fearful countenance".

 

 

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No. 20.








Inscribed in graphite, verso, center: "No 20 | The Eleventh hour".



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JT Smith.

From a drawing by Skelton.




The author had been a studio-assistant of the sculptor Joseph Nollekens from 1779 to 1781.

 

Commercially unsuccessful as a draughtsman and engraver of London views, he took the post of Keeper of Prints and Drawings at the British Museum in 1816; and in 1828 published the first edition of this biography. His account is less an appreciation of the sculptor than a 'warts-and-all' biography, with anecdotes of the London art-world at the end of the eighteenth century. (A supplementary account of Nollekens was published by A. Cunningham in 1830.)

 

A list of the published works of John Thomas Smith  -

JT Smith, Nollekens and his Times. Published  London, by Henry Colburn, New Burlington Street, Octr 1828'

A must read for anyone interested in 18th and Early 19th Century Sculpture.


The author had been a studio-assistant of Nollekens from 1779 to 1781. Commercially unsuccessful as a draughtsman and engraver of London views, he took the post of Keeper of Prints and Drawings at the British Museum in 1816; and in 1828 published the first edition of this biography. His account is less an appreciation of the sculptor than a 'warts-and-all' biography, with anecdotes of the London art-world at the end of the eighteenth century. (A supplementary account of Nollekens was published by A. Cunningham in 1830.)

 The text records Nollekens's training in London under P. Scheemakers, W. Shipley and W.H. Spang and in Rome under Cavaceppi (1762-1770), where he produced his portrait-busts of Garrick, Sterne and Piranesi, and his career in London (1771-1823). In London his admired portrait-busts of George III, Samuel Johnson and Charles J. Fox and his funeral-monument to Lady Henrietta Williams-Wynn (1771) brought him many commissions.

 Most of the second volume (pp. 85-494) is taken up by 'Biographical Sketches And Anecdotes Of Several Artists And Others, Contemporary With Nollekens' - who were Roubiliac, Scheemakers, Rysbrack, Liart, Ceracchi, Locatelli, Procter, Zoffany, Sherwin, Gainsborough, Bacon, Wilton, Banks, Carlini, Dr. Burney, Ware and his companions at Old Slaughter's, 'public characters sometime inhabitants of St. Martin's Lane', Strange, Vivares and Woollett, Zuccarelli, Laroon, Macklin, Patterson the auctioneer, Cussans, Opie, Reynolds, Keate, Deare, Major, Morland, Wilson, Hogarth, Hayman, Barry, Legat, Humphrey, West, Hall, Cosway, Harlow, Fuseli, Flaxman and Blake.

 

 

 

Smith, John Thomas, A Book for a Rainy Day or Recollections of the Events of the Years

 1766-1833, ed. by W. Whitten, (London: Methuen & Co., 1905).

 

Smith, John Thomas, Ancient Topography of London; containing not only views of buildings, which in many instances no longer exist, and for the most part were never before published; but some account of places and customs either unknown, or overlooked by the London Historians, (London: J. McCreery, 1815).

 

Smith, John Thomas, Antiquities of London and its Environs; by John Thomas Smith:

 Dedicated to Sir James Winter Lake, Bart. F.S.A. Containing views of Houses, Monuments, Statues, and other curious remains of Antiquity; engraved from the original subjects and from Original Drawings, Communicated by several Members of the Society of Antiquaries: With Remarks & References to the Historical Works of Pennant, Lysons, Stowe, Weaver, Camden, Maitland etc., (London: [1791-1800]).

 

 Smith, John Thomas, Antiquities of Westminster; The Old Palace; St Stephen’s Chapel, (Now the House of Commons) &c. &c. Containing Two Hundred and Forty-Six Engravings of Topographical Objects, of which one hundred and twenty-two no longer remain. By John Thomas Smith. This work contains copies of manuscripts which throw new and unexpected light on the ancient history of the Arts in England, (London: T. Bensley, [1800-1807]).

 https://archive.org/details/antiquitiesofwes00smit/page/n9/mode/2up

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 Smith, John Thomas, Tag, Rag and Bob-Tail! being Portraits of Sixteen Notorious Personages, (famous and infamous,) chiefly about Cromwell’s time; Copied, with Accuracy, from very scarce Original Prints; and now First Published; For I. T. Smith [sic].

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The Antiquities of London, (London: J. Jones, 1800).

 

 Smith, John Thomas, The Cries of London: Exhibiting several of the Itinerant Traders of Antient [sic] and Modern Times. Copied from Rare Engravings or Drawn from the Life, with a Memoir and Portrait of the Author, ed. by J. Nichols, (London: John Bowyer Nichols and Son, 1839).

 

Smith, John Thomas, Vagabondiana; or, Anecdotes of Mendicant Wanderers through the Streets of London; with Portraits of the most Remarkable, Drawn from the Life by John Thomas Smith, Keeper of the Prints in the British Museum, (London: Published by the Proprietor: and sold by Messrs. J. and A. Arch, Cornhill; Mr. Hatchard, Bookseller to The Queen, Piccadilly; and Mr. Clarke, Bond-Street, 1817).

 

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SMITH, John Thomas. Remarks on Rural Scenery with twenty etchings of cottages, from nature; and some observations and precepts relative to the pictoresque. June MDCCXCVII. printed [by Joseph Downes] for, and sold by Nathaniel Smith ancient Print seller at Rembrandts-Head May’s Buildings, St. Martin’s Lane, and J. T. Smith, at No 40 Frith Street Soho, 1797.




John Thomas Smith, A Perambulation up and down St Martin's Lane in 1828, Part 5.

  


John Thomas Smith, A Perambulation up and down St Martin's Lane in 1828, Part 5.

post under construction.




























John Thomas Smith, A Perambulation up and down St Martin's Lane in 1828, Part 4.



 John Thomas Smith, A Perambulation up and down St Martin's Lane in 1828, Part 4.

post under construction.




























John Thomas Smith in St Martin's Lane, Part 3.



 John Thomas Smith in St Martin's Lane, Part 3.

Post in preparation. 





























Laurent Delvaux

 

Laurent Delvaux (1696 - 1778).


Posted here as an aide memoire. I have been researching another life size marble group of Vertumnus and Pomona in a private collection with as yet no success.




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Laurent Delvaux.

By Georges Willame.

Pub. 1914

https://archive.org/details/laurentdelvaux1600willuoft/page/n5/mode/2up?q=Statue&view=theater


Delvaux probably trained in his native Ghent under the local sculptor J. B. van Helderberghe. At the age of 18 he went to Brussels to study under Pierre-Denis Plumier from Antwerp and attended the local drawing academy.

 


He went to London in 1717 where he collaborated with his compatriot Peter Scheemakers. When they were joined by Plumier in 1721 they worked together on a number of marble funerary monuments, including that of John Sheffield, duke of Buckingham (1721–22, London, Westminster Abbey. 

After Plumier died soon after his arrival in 1721, Delvaux and Scheemakers are believed to have collaborated with Francis Bird on the marble monument to John Holles, 1st Duke of Newcastle, also in Westminster Abbey. Scheemakers and Delvaux entered into a formal partnership and set up a workshop in Millbank, Westminster, in 1723.. The partners sold their stock in the partnership and travelled to Rome in 1728.


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Vertumnus and Pamona.

Victoria and Albert Museum.


Height 129.5cm.  Base length: 80cm, width: 63.5cm.

https://collections.vam.ac.uk/item/O127111/vertumnus-and-pomona-statue-group-delvaux-laurent/





The Museum website states -

Formerly at Canons, near Edgware, Middlesex, the seat of James Brydges, Duke of Chandos (1673-1744). Whinney suggested that the present piece together with the Venus and Adonis group executed by Peter Scheemakers, was almost certainly commissioned by the Duke of Chandos specifically for Canons: Scheemakers and Delvaux were at this point working in partnership. 

However in 1747, the drain of hereditary tax on an already spent fortune resulted in the demolition of Canons, and the sale of its contents. The two groups were probably bought by Lord Cobham for Stow House, Buckinghamshire at the Canons sale. 

They are first recorded at Stowe in 1773. Both were also recorded to have been in the Dining Room, but later removed to the garden. 

The two groups were clearly viewed as a pair, displayed together whilst at Stowe House, and appearing as consecutive lots in the sales. 

The present group was offered as lot 782 on 21 August 1848, when it was described as being in the South Portico, noted in Forster's catalogue as sold to 'A. Robertson, Esq.' for 86 2s 0d (82 guineas). In the 1921 Stowe sale held by Messrs Jackson Stops, it was again in the South Portico, along with Scheemaker's 'Venus and Adonis'. 

In the third and last Stowe sale catalogue of 1922 the present group is listed, though the 'Venus and Adonis' is not. However, the accompanying illustration in the catalogue is of the Venus and Adonis, suggesting that the present piece had already been sold at the 1921 sale, and its inclusion in the catalogue an error. 


The location of Vertumnus and Pomona is not recorded from 1921 until 1948, when it was acquired by Dr W.L. Hildburgh F.S.A. from Bert Crowther, Isleworth, Middlesex, towards the end of 1948. It was given by Dr Hildburgh to the Museum as customary New Year gift in 1949.


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On 26 March 1889, the Duke of Buckingham and Chandos passed away at his London residence. Having three daughters meant the title died with him and has never been revived.

 

The estate was burdensome on the family finances and his eldest daughter Lady Kinloss chose to rent Stowe out to the Comte de Paris, the French pretender to the throne (many of his exiled family lived in Buckinghamshire), whilst she and her family lived in Biddleston Park.

 

After the Comtedied in 1894, Lady Kinloss placed an advert in the first issue of Country Life magazine in an attempt to sell Stowe. However, it would not be until 1921 that it was finally sold. Lady Kinloss and her family lived locally at Maids Moreton in order to reduce living costs but returned to Stowe for a short while a few years later in 1899. 

 

The Stowe estate was inherited in 1908 by her eldest son, the Master of Kinloss. who died in action in the First World War. His brother inherited the house, but although he had married locally, had neither the financial resources nor passion to maintain Stowe. It was then sold in 1921.  

















Tuesday, 25 June 2024

Anonymous Marble bust in Kansas City Museum.



 Anonymous 18th Century Marble bust in Nelson Atkins Museum Kansas City .

Who is this and who is the sculptor?

The coloured marble socle suggests a French or Italian origin.

from the website -

https://vsco.co/gretahay/media/5c6a2b6bd3fddd3d225e6587

Can anyone help?









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The Photograph of the bust below from The Nelson Atkins Museum, Kansas City.

Many thanks to Amelia Nelson of the Director, Library and Archives Spencer Art Reference Library at The Nelson-Atkins Museum.



Marble bust of an Anonymous Man.

Anonymous Sculptor

suggested as Italian by the Museum.


Overall: 32 3/4 inches (83.19 cm).



Suggested (perhaps fancifully) as a Bust of Sebastiano Conca (?).

Former Title: Bust of an Artist or Virtuoso.

Provenance - With Lampronti Gallery, London, by 1979.

 Purchased from Lampronti Gallery by Heim Gallery, London, stock no. 76/79, as by Louis-François Roubiliac, by April 1979 [1];

 Purchased from Heim Gallery by The Nelson-Atkins Museum of Art, Kansas City, MO, 1979.

 NOTES:

[1] Getty Research Institute, Los Angeles, Special Collection, Heim Gallery Records, box 202, Commission book 1970-1985.

See -

Bust of a Man – Works – The Nelson-Atkins Museum of Art


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Signore Sebastiano Conca, Neapolitan Painter  ·

by  Pier Leone Ghezzi.

Ailsa Mellon Bruce Fund, National Gallery of Art.







Sebastiano Conca (1680 - 1764)

Engraving in the British Museum


Print made by: Silvestre Pomarede

Intermediary draughtsman: Domenico Campiglia