The Designs of Inigo Jones and others
Print
1743 (first published), 1743 (printed)
1743 (first published), 1743 (printed)
| Artist/Maker | |
| Place of origin |
Object Type
This print by Paul Fourdrinier is an etching. The action of acid was used to make a pattern of grooves on a copper printing plate. This image on the printing plate was the reverse of the final image. The grooves were then filled with ink and the image was transferred onto a blank sheet of paper.
Subject Depicted
William Kent employed a variety of ornamental details in this design, including female masks, scrolling foliage and stylised flowers. The chimney-piece incorporates one large lion mask and two smaller animal masks lower down. The frieze below the mantelpiece is decorated with a Greek key pattern.
The two paintings on either side of the chimney-piece look like 16th-century family portraits. In long-established aristocratic families these would have been prized heirlooms. The painting above the fireplace, however, was probably obtained more recently, by a member of the family who had visited Italy on the Grand Tour. Kent has shown that he could design a harmonious architectural framework for paintings that might range from historical portraits to contemporary souvenirs of the Grand Tour.
This print by Paul Fourdrinier is an etching. The action of acid was used to make a pattern of grooves on a copper printing plate. This image on the printing plate was the reverse of the final image. The grooves were then filled with ink and the image was transferred onto a blank sheet of paper.
Subject Depicted
William Kent employed a variety of ornamental details in this design, including female masks, scrolling foliage and stylised flowers. The chimney-piece incorporates one large lion mask and two smaller animal masks lower down. The frieze below the mantelpiece is decorated with a Greek key pattern.
The two paintings on either side of the chimney-piece look like 16th-century family portraits. In long-established aristocratic families these would have been prized heirlooms. The painting above the fireplace, however, was probably obtained more recently, by a member of the family who had visited Italy on the Grand Tour. Kent has shown that he could design a harmonious architectural framework for paintings that might range from historical portraits to contemporary souvenirs of the Grand Tour.
Object details
| Categories | |
| Object type | |
| Titles |
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| Materials and techniques | Etching, ink on paper |
| Brief description | William Kent (after), plate 42 from 'The Designs of Inigo Jones and others', London 1743. |
| Physical description | Print |
| Dimensions |
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| Gallery label | British Galleries:
This panelled wall design shows the formality and careful proportion of the Palladian style. The room was designed to accomodate historic portraits, shown here on either side. However, the overmantel was set with a modern painting. The subject, ruined classical buildings, was a popular choice for overmantels at this time.(27/03/2003) |
| Object history | Plate 42 from Isaac Ware, 'The Designs of Inigo Jones and others'Designed by William Kent (born in Bridlington, East Yorkshire, 1685, died in London, 1748); drawn and published in London by Isaac Ware (born in 1704, died in London, 1766); etched by Paul Fourdrinier (active 1720-1758) |
| Subjects depicted | |
| Summary | Object Type This print by Paul Fourdrinier is an etching. The action of acid was used to make a pattern of grooves on a copper printing plate. This image on the printing plate was the reverse of the final image. The grooves were then filled with ink and the image was transferred onto a blank sheet of paper. Subject Depicted William Kent employed a variety of ornamental details in this design, including female masks, scrolling foliage and stylised flowers. The chimney-piece incorporates one large lion mask and two smaller animal masks lower down. The frieze below the mantelpiece is decorated with a Greek key pattern. The two paintings on either side of the chimney-piece look like 16th-century family portraits. In long-established aristocratic families these would have been prized heirlooms. The painting above the fireplace, however, was probably obtained more recently, by a member of the family who had visited Italy on the Grand Tour. Kent has shown that he could design a harmonious architectural framework for paintings that might range from historical portraits to contemporary souvenirs of the Grand Tour. |
| Bibliographic reference | (Berlin I) Berlin Staatliche Museen, Katalog der Ornamentstich-Sammlung der Staatlichen Kunstbibliothek Berlin, Berlin and Leipzig, 1936-39, 2274. |
| Collection | |
| Accession number | 20603:6 |
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| Record created | May 19, 2003 |
| Record URL |
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