Angel in Adoration thumbnail 1
Angel in Adoration thumbnail 2
Not currently on display at the V&A

Angel in Adoration

Statuette
before 1792 (carved)
Artist/Maker
Place of origin

This finial was designed and made by the sculptor Thomas Banks for his daughter Lavinia Bank's harp. It descended through the family, although the harp itself wore out and was destroyed. It was given to the Museum by C.F. Bell, a descendant of the artist and his biographer.
Thomas Banks (1735-1805) was apprenticed to a London mason, but also spent time working alongside the sculptor Peter Scheemakers (1691-1781). He enrolled in the life classes held at the St Martin's Lane Academy, and later at the Royal Academy Schools. In 1772 he became the first sculptor to win the Royal Academy's three-year travelling stipend, and went with his wife to Rome, where he eventually spent seven years. He specialised in ideal works, most of which were executed in Rome for British patrons, although he continued to produce similar work after his return to London. He was made a Royal Academician in 1786. Banks was one of the most original British Neo-classical sculptors, who dedicated his work to the antique spirit rather than to the fashionable classical style alone.. He tried to establish a market for modern gallery sculpture , which was particular for most patrons at the time preferred restored antique marbles, replicas, pastiches, busts and memorials.


Object details

Categories
Object type
Parts
This object consists of 2 parts.

  • Statuette
  • Base
TitleAngel in Adoration (generic title)
Materials and techniques
Limewood and ebony stand
Brief description
Statuette, limewood, Angel in Adoration, by Thomas Banks, England, before 1792
Physical description
Limewood carving of an Angel in Adoration. The finial consists of the top of a column with acanthus leaf decoration and an attached statuette of an angel, whose wings rise from the top of the column. The angel gazes heavenward, his hands clasped in prayer. He wears an ankle-length gown with a belt. Traces of gilding remain. The hands have been broken and repaired. On an ebony stand.
Dimensions
  • Height: 42.8cm
Credit line
Given by Mr C.F.Bell
Object history
Given by C.F. Bell, Esq., Quentin House Nursing Home, 92 Redcliffe Gardens, SW10.
Subject depicted
Summary
This finial was designed and made by the sculptor Thomas Banks for his daughter Lavinia Bank's harp. It descended through the family, although the harp itself wore out and was destroyed. It was given to the Museum by C.F. Bell, a descendant of the artist and his biographer.
Thomas Banks (1735-1805) was apprenticed to a London mason, but also spent time working alongside the sculptor Peter Scheemakers (1691-1781). He enrolled in the life classes held at the St Martin's Lane Academy, and later at the Royal Academy Schools. In 1772 he became the first sculptor to win the Royal Academy's three-year travelling stipend, and went with his wife to Rome, where he eventually spent seven years. He specialised in ideal works, most of which were executed in Rome for British patrons, although he continued to produce similar work after his return to London. He was made a Royal Academician in 1786. Banks was one of the most original British Neo-classical sculptors, who dedicated his work to the antique spirit rather than to the fashionable classical style alone.. He tried to establish a market for modern gallery sculpture , which was particular for most patrons at the time preferred restored antique marbles, replicas, pastiches, busts and memorials.
Bibliographic references
  • Thomas Banks 1735-1805. Britain's first Modern Sculptor p.25
  • Bilbey, Diane with Trusted, Marjorie. British Sculpture 1470 to 2000. A Concise Catalogue of the Collection at the Victoria and Albert Museum. London: V& A Publications, 2002. pp. 52. cat. no. 74.
  • Letter Forster to Cunningham, 1st March 1830, The Builder, January 3rd, 1863, XXI, 4
  • Letter, Poynter to Hardwick, 08/01/1863, The Builder, January 17th 1863, XXI, 45
Collection
Accession number
A.8:1,2-1965

About this object record

Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.

You can write to us to suggest improvements to the record.

Suggest feedback

Record createdAugust 17, 2004
Record URL
Download as: JSONIIIF Manifest