The Life of Josiah Wedgwood: From His Private Correspondence and Family Papers ... with an Introductory Sketch of the Art of Pottery in England, Volume 2. Hurst and Blackett, 1866.
https://books.google.co.uk/books?id=KpxGAAAAMAAJ&dq=%22Hoskins+and+Grant%22+London&source=gbs_navlinks_s
Signed to the underside 'R.Parker/Strand. c 1770's.
................
The Richard Parker Letterhead.
Undated - prior to 1776 when Parker was made bankrupt.
I am very grateful to Lucy Lead of the Wedgwood Archives for supplying the image below.
On the bill is the printed heading.
‘Scagliola;/or Plaster casts of Elegant subjects/ proper to introduce into the decoration of rooms, staircases, halls etc/ Richard Parker/ Opposite the new church in the Strand/ having obtained from Joseph Wilton Esq. statuary to his majesty,/ various moulds of bas reliefs and bustos, made upon his original models / has the honour to acquaint the nobility and gentry, that they may be accommodated with casts at the shortest notice, Sundry samples of which with/ their prices may be seen at the above RICHARD PARKER’S /
N.B. These original casts can be had at no other place; and although it may happen/ that some figure makers may clandestinely make moulds of any of those casts, they can / produce at best but an impression void of every original touch’.
The reference to the various moulds .... Joseph Wilton is instructive. This might have include moulds etc purchased at the posthumous Roubiliac sale at St Martin's Lane in May of 1762.
Harris was still trading at the Strand address in 1794
Flaxman Snr's was living in King St Covent Garden between 1773 and 1776 his shop was by 1766 in New Street, Covent Garden, and he then
moved to larger premises on the north side of the Strand.
Ann Clark of St Mary-le-Strand, widow of Edward Clark decd.
Richard Parker of St Mary-le-Strand, statuary.
Edward Clark died intestate and letters of administration were granted to his widow. The lease of 26 Jun 1769 is now assigned to Richard Parker.
Enclosed 1770: Fire Insurance Policy issued to Richard Parker 25 Jun 1770 and thereafter assigned Jun 1770 to John Hotley of The Strand, baker and subsequently 23 Apr 1774 by ....Hotley to William Cobb of Duke Street, Lincoln's Inn Fields.
22 Dec 1769.
.................
2. Their ref. 1366/05/03.
Richard Parker of St Mary-le-Strand, Strand, statuary.
John Hotley of St Clement Danes, baker.
Mortgage in the sum of £150 of the lease dated 26 Jun 1769 of premises in The Strand abutting Somerset House.
.......................
3. Westminster Archives their ref. 1366/05/04.
3.1. John Hotley of St Clement Danes, baker.
2. Richard Parker of St Mary-le-Strand, statuary
3. William Cobb of St Giles, gentleman.
Assignment of the mortgage of £150, all interest to date having been paid.
4. Their ref. 1366/05/05.
1. William Cobb of St Giles, gentleman
2. Richard Parker of St Mary-le-Strand, statuary
3. Henry Hoare junior of the Royal Terrace, Adelphi, Esq
Further asignment of the mortgage debt, now in the sum of œ172. 9s.
ENCLOSED 31 Jan 1777:
Fire insurance policy issued in the name of Charles Harris on 162 The Strand stating that the two adjacent houses are now intercommunicating. On the reverse is a memorandum stating the policy shall be for the benefit of Henry Hoare junior as consideration for a loan based on the security of utensils and stock.
Flaxman Snr moulded and sold plaster casts from a shop in New Street, Covent Garden, had moved to 420 Strand in 1775.
At the time, Flaxman Junior(1755 - 1826), then twenty, began working for Wedgwood and was already noted for his precocious talent and conceit (conceited coxcomb I believe is how Wedgwood described him).It appears that he was living in (27) Wardour St until he went to Italy in 1787.
In the autumn of 1794, Flaxman Jnr and his wife Nancy returned from their seven-year stay in Rome.
They lodged, temporarily, with Flaxman’s father in his house at 420 Strand, between Bedford Street and where the Adelphi Theatre (built in 1806) now stands - the couple later moved to 6 Buckingham Street, Fitzroy Square.
Flaxman Snr's shop was first in New Street, Covent Garden, and he then
moved to larger premises on the Strand in 1775.
It was said that he had ‘kept a large shop in
the Strand, for the sale of plaster figures, which was not then so hackneyed a
trade, as it has now become by the large importation of Italians’ (Gentleman’s
Magazine, vol. 97, 1827, p. 273)
Mrs. Mary Landré (fl 1766 - 74) - Plaster Figure Maker.
A few notes.
See Metyard extract above for objects supplied to Wedgwood
Wife of John Landre (d.1765) of St Giles Parish. .
Will proved - 23 December 1765. The National Archives' reference -PROB 11/914/414 - he left his house in Dublin to his wife and after her decease to the two daughters of his brother Francis.
..........................
Mary Landre - In 1766, supplied ornamental figures and vases to Duke of Bedford (Poole/Woburn Abbey).
from - https://www.northernceramicsociety.org/wp-content/uploads/2022/11/DEALERS-LIST-November2022.pdf
The Trade Card of John Landre.
Image courtesy British Museum.
prior to 1765.
https://www.britishmuseum.org/collection/object/P_Banks-106-18
For more on John and Mary Landre see -
http://english18thcenturyportraitsculpture.blogspot.com/2024/09/mrs-mary-landre-figure-maker.html
..........................
For the possibility of two plaster busts of Caracalla and Marcus Aurelius being supplied to the Foundling Hospital by Roubiliac see -
Robert Shout must have been born around 1760, for in 1835 he gave his age
as 75 (Shout/Peel) and he was probably the son of John Shout (1738-81), a mason
of Stockton-on-Tees, and his wife Mary (†1814).
By 1785 Shout was working in partnership with his uncle,
Benjamin Shout. Their tradecard, printed that year, describes them as
‘Sculptors and Masons’. Shout married his first wife, Lucy, in or around 1794
and their child, Charles Lutwyche Shout, was christened at St Andrew, Holborn,
in December that year. Benjamin and Robert’s business was run from 18 High
Holborn, where Robert lived, and from 13 Eagle Street, St Andrew’s, Holborn.
They remained in partnership until Benjamin’s death in 1811.
Robert’s earliest known design, for an unidentified
wall-monument with a sarcophagus in relief, dates from May 1795. The surviving
drawings are all signed by Robert Shout alone and he may have been chiefly
responsible for the firm’s designs. Neither they nor the works themselves are
particularly noteworthy. Most are well-carved wall-monuments with the standard
motif of a woman grieving over an urn or column and they often incorporate
familiar neoclassical features, such as a sarcophagus with lion’s feet, strigil
decoration or a tabula ansata (or winged board) .
By 1798, when Shout published his bust of Nelson (41), the
partners were supplying works in plaster for the popular market. The venture
appears to have been successful, despite competition from John Flaxman I, and
later Humphrey Hopper. Among Shout’s products in plaster were architectural
ornaments, particularly lamp-stands (52, 54-6), and busts, sold singly or as a
series (43).
Benjamin Shout died in 1811, leaving instructions in his
will that his half-share in the business should be sold to Robert, to provide
financial support for his own widow and son. The enforced purchase does not
appear to have had an adverse effect on Robert’s business, which he probably
conducted alone until around 1820. He continued to produce monuments and casts
of works by famous sculptors. In 1819 the Annals of the Fine Arts published a
puff for the casts which Shout had recently produced of works by Antonio Canova
(37-40). These were said to have been taken from the original works and were
praised for the ‘delicate precision’ with which every detail had been
reproduced. The article concluded by suggesting that Shout had given Canova’s
admirers an ‘opportunity of gratifying themselves at a moderate expense’
(Annals of the Fine Arts 1819, 632).
variously marked 'made by R. Shout/Holborn' and variously
dated '1800[?]' and '1820.
An ornamental plasterer, nothing is known of his early life or training, except that he took a wife, Elizabeth, before 1722, when his first son, Joseph Wilton was born.
In 1737 he worked with Thomas Carter I providing plasterwork for a building belonging to William Pulteney in Chandos Place, London and he was also responsible for the elaborate rococo plasterwork ceilings of the Foundling Hospital
By the 1740s Wilton must have been relatively affluent since
he paid for an expensive Continental training for his son in the Nivelles
workshop of Laurent Delvaux. Delvaux and Wilton may have had business dealings
for in his notebooks of 1740-1 the Flemish sculptor refers to ‘Mr Wllm.
Wilton,’ then living in Margaret Street, near Cavendish Square (Jacobs 1997,
58).
Wilton founded a highly-profitable factory producing
papier-mâché ornaments for chimneypieces and mirror frames. J T Smith wrote
that the workshops employed ‘hundreds of people, including children’ (Smith
1828, 2, 167). In addition to his Cavendish Square premises, Wilton also had
works on the south-west corner of Hedge Lane, Charing Cross. He later retired
to Wanstead, Essex, and he was buried in Wanstead parish church, Essex on 27
January 1768.
In his will he left three residential properties in
Cavendish Square jointly to his friend, the architect William Chambers, and to
his son Joseph. From the profits made on leasing them, the beneficiaries were
instructed to pay an annuity of £50 to another son, William Wilton II, and to
support the education of Wilton’s three grandchildren, Frances Wilton, and two
boys. He also left three guineas to his nephew and former pupil Thomas Collins
to buy a ring. Administration of the trust occasioned some spirited
correspondence between Chambers and Joseph Wilton.
MGS
Literary References: Builder 1859, 849; Survey of London
1970, vol 36, 264; Allen 1983, 196; Coutu 1996, 175-85
Archival References: Chambers’s Letter-Books Add MS 41133,
fols, 94
Miscellaneous Drawings: Three designs for unidentified
monuments VAM E 1185-87-1965
Will: PROB 11/935/316-318
and much more info on the Sarti family see -
http://217.204.55.158/henrymoore/sculptor/browserecord.php?-action=browse&-recid=2361
For the group of plaster busts in the Athenaeum Club written by Kenworthy Brown see -
http://www.victorianweb.org/sculpture/athenaeum/catalogue.html
De Ville set up a plaster works in Soho in 1803, moving on
after two years to Great Newport Street in the Covent Garden–Leicester Square
area.[2][5] In the 1810s he was in business as a lamp maker and plaster caster,
dealing also in lighthouse fittings.[6] From 1814, he had business premises at
367 Strand, London, opposite Fountain Court.[2][7]
In other lines of business, De Ville dealt in architectural
metal wares, and supplied lights for the Menai Bridge. He joined the Institute
of Civil Engineers in 1823.[8] From the late 1820s he provided gas fittings to
Hanwell Asylum.[9] He also engaged in radical politics.[10]
Caster, moulder, sculptor
While still young, De Ville worked for the sculptor Joseph
Nollekens on casting. He later bought the moulds for busts made by
Nollekens.[11] In 1817 Bryan Donkin, representing an early British
phrenological group, commissioned him to do some reproductive moulding
work.[12]
De Ville's first life-mask was that of William Blake, taken
1 August 1823.[13] He travelled to Devon to take another, of the teenage
William Makepeace Thackeray, in 1824–5; it was much later used by Joseph Boehm
and Onslow Ford.[14]
Life-mask of William Blake, plaster cast by James De Ville
1823 (Fitzwilliam Museum, Cambridge)
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