Angel in Adoration
Statuette
before 1792 (carved)
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.
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.
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Title | Angel 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 |
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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 |
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Collection | |
Accession number | A.8:1,2-1965 |
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Record created | August 17, 2004 |
Record URL |
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