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  1. Coleção/
  2. Museu Vitória e Alberto/
  3. The Architect James Gibbs
The Architect James Gibbs, John Michael Rysbrack, 1726
John Michael Rysbrack, retratoJohn Michael RysbrackFlandres, 1694–1770

The Architect James Gibbs

1726 · Bust

Sobre a escultura

Object Type

This portrait bust of the architect James Gibbs (1682-1754) was made by his friend and associate John Michael Rysbrack (1694-1770). Gibbs commissioned the bust, and it remained in his ownership until his death (see Balderstaon 2001, pp. 9-15). He is shown wearing a wig and dressed in casually (the shirt unbuttoned at the neck); another bust of Gibbs, also by Rysbrack, belonging to the Bodleian Library, Oxford, and now shown in the Radcliffe Camera, depicts the sitter in a more classicising mode, without a wig, and bare-chested. Gibbs and Rysbrack lived near one another on the Harley estate north of Oxford Street in London. They collaborated together on a number of projects, notably monuments in Westminster Abbey (designed by Gibbs, and executed by Rysbrack), and garden ornaments and sculpture for the grounds at Stowe House, Buckinghamshire.

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John Michael Rysbrack (1694-1770) was one of the leading sculptors of his day, and, along with Louis Fran‡ois Roubiliac, was one of the most important sculptors active in Britain in the first half of the 18th century. He was a native of Antwerp, but arrived in England in 1720 and carried out all his known work in this country. He specialised in portrait busts, such as this one, and tomb monuments, many of which are in Westminster Abbey. He also collaborated on sculpture for the grounds at Stowe, and most notably sculpted a series in limestone of seven Saxon gods, two of which (Thuner and Sunna) are in the V&A.

Materials & Making

This bust is carved in marble, one of the most popular materials for portrait busts in the 18th century, although busts were also commissioned in terracotta, bronze, lead and plaster. Rysbrack almost certainly initially modelled the bust from the life in clay, which was then perhaps fired to form terracotta, and this used in turn to cast a plaster model from which the bust would be carved. If all these stages were indeed part of the process for the present bust (and certainly at least one form of initial full-size model would have been necessary), unfortunately none of the other versions has survived. Rysbrack trained in the Low Countries, where modelling terracotta was an established practice as a preliminary to a finished marble piece.

Museu Vitória e Alberto

Pormenores

1726 · aos 32 anos
16941770
Número de inventário
A.6-1988

Mais obras de John Michael Rysbrack

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Na mesma sala · British Galleries, Room 54, Museu Vitória e Alberto

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Museu Vitória e Alberto

Londres, Reino Unido

SalaBritish Galleries, Room 54

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25 de set. de 2026
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O que mostra

Gibbs, James

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EsculturaMármoreRococóSéculo XVIIIInglaterra

Fontes

  • Museu Vitória e Alberto
  • Imagem: Museu Vitória e Alberto — © Victoria and Albert Museum, London
John Churchill, 1st Duke of Marlborough (1650–1722), John Michael Rysbrack, early to mid-1730s

John Churchill, 1st Duke of Marlborough (1650–1722)

early to mid-1730s · Museu Metropolitano de Arte

John Barnard, John Michael Rysbrack, 1744

John Barnard

1744 · Museu Metropolitano de Arte

Daniel Finch, 2nd Earl of Nottingham and 7th Earl of Winchilsea, John Michael Rysbrack, ca. 1723

Daniel Finch, 2nd Earl of Nottingham and 7th Earl of Winchilsea

ca. 1723 · Museu Vitória e Alberto

Thuner, John Michael Rysbrack, ca. 1728 - ca. 1730

Thuner

ca. 1728 - ca. 1730 · Museu Vitória e Alberto

Canon Edward Finch, John Michael Rysbrack, 1728

Canon Edward Finch

1728 · Museu Vitória e Alberto

Sir Isaac Newton (1642-1727), John Michael Rysbrack, ca. 1730

Sir Isaac Newton (1642-1727)

ca. 1730 · Museu Vitória e Alberto

Thomas Wentworth, 1st Earl Strafford (1672-1739), John Michael Rysbrack, ca. 1740

Thomas Wentworth, 1st Earl Strafford (1672-1739)

ca. 1740 · Museu Vitória e Alberto

An Allegory of Charity, John Michael Rysbrack, ca. 1746

An Allegory of Charity

ca. 1746 · Museu Vitória e Alberto

A portrait of the Vigor Family: Jane Vigor, Joseph Vigor, Ann Vigor, William Vigor and probably John Penn, Joseph Highmore, 1744

Joseph Highmore

A portrait of the Vigor Family: Jane Vigor, Joseph Vigor, Ann Vigor, William Vigor and probably John Penn, 1744

John Fane, 7th Earl of Westmorland, Thomas Ady, 1742

Thomas Ady

John Fane, 7th Earl of Westmorland, 1742

Richard Temple, 1st Viscount Cobham, Peter Scheemakers, ca. 1740

Peter Scheemakers

Richard Temple, 1st Viscount Cobham, ca. 1740

Sir Isaac Newton (1642-1727), John Michael Rysbrack, ca. 1730

John Michael Rysbrack

Sir Isaac Newton (1642-1727), ca. 1730

An Allegorical Tomb of John Somers, Lord Chancellor of England, Canaletto, ca. 1726

Canaletto

An Allegorical Tomb of John Somers, Lord Chancellor of England, ca. 1726

Aeneas before Dido, and Venus Supplicating Jupiter, James Thornhill, ca. 1720

James Thornhill

Aeneas before Dido, and Venus Supplicating Jupiter, ca. 1720

William and Mary Presenting the Cap of Liberty to Europe (sketch for the painted ceiling of the Great Hall, Greenwich Hospital), James Thornhill, ca. 1710

James Thornhill

William and Mary Presenting the Cap of Liberty to Europe (sketch for the painted ceiling of the Great Hall, Greenwich Hospital), ca. 1710

King William III, John van Nost I, ca. 1695

John van Nost I

King William III, ca. 1695