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The Rise and Fall of Cork Model Collections in Britain

Published online by Cambridge University Press:  17 November 2017

Richard Gillespie
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Abstract

Commencing in the late 1760s, cork models of classical monuments in Italy were purchased by wealthy British collectors while on their Grand Tour. Initially commissioned by tourists with specific antiquarian and architectural interests, the models were an expression of the collector's knowledge of classical history and of their Neoclassical sensibility. Models soon appeared in the Society of Antiquaries of London and the British Museum, in the private displays of Charles Townley and John Stuart, Earl of Bute, and in George III's royal collection. In the early 1800s, architect John Soane began purchasing models from the secondary market for his house museum. Interest in cork architectural models waned during the Nineteenth Century. Descendants of the original owners transferred them to public institutions, while museums that had at first enthusiastically welcomed the donations or made their own purchases, relegated the models to storage. In the twentieth century the majority of the models were discarded or lost. This paper explores the reasons for the enthusiastic acquisition of architectural cork models and their subsequent demise.

Type
Research Article
Information
Architectural History , Volume 60 , 2017 , pp. 117 - 146
Copyright
Copyright © The Society of Architectural Historians of Great Britain 2017 

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References

NOTES

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39 The list of Chichi's models, with prices, was published by Leipzig dealer Carl Christian Heinrich Rost, Anzeige aller Kunstwerke der Rostischen Kunsthandlung zu Leipzig (Leipzig, 1786), pp. 43–46 Google Scholar. A second price list is at Paris, Archives Nationales, AJ/52/446 (Archives de l’École nationale superieure des arts décoratifs, Musée des études), ‘Nota de Modelli delle Antichita Romane, che si fanno da Antonio Chichi Architetto Romano, valutate a Secchini Romani’. A useful listing of surviving cork models in European collections appears in Lecocq, Françoise, ‘Les Premières Maquettes de Rome: L'example des modeles réduits en liège de Carl et Georg May dans les collections européennes aux XVIIIe-XIXe siècles’, in Roma Illustrata, ed. Fleury, Philippe & Desbordes, Olivier (Caen, 2008), pp. 227–59 (pp. 248–59)Google Scholar. For a detailed description of the collection of Chichi models in Kassel, see Gercke, Peter and Zimmerman-Elseify, Nina, eds., Antike Bauten: Korkmodelle von Antonio Chichi, 1777–1782 (Kassel, 1986)Google Scholar. Thomas Mansel Talbot spent £33 on what would have been an extensive set of Piranesi etchings in 1772. In contrast, a single Rosa cork model of the Colosseum cost him £100. See Martin, ed., The Penrice Letters, p. 23. Kockel also observes that only the wealthy could afford cork models, especially large collections; see Kockel, ‘Rom über die Alpen tragen’, p. 24.

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63 Edinburgh, Royal Scottish Academy, Council Minutes, 10 November 1851.

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77 Harris, John, No Voice from the Hall: Early Memories of a Country House Snooper (London, 1998), p. 21 Google Scholar. Harris suggests that Lord Verney's models were by Altieri and Chichi, but this seems unlikely for models acquired in Italy in the 1820s, long after the deaths of the modellers; it is likely Harris was simply invoking the names of the best-known cork modellers. On the ‘Museum’ at Claydon House, see Knox, Tim, Claydon House, Buckinghamshire (London, 1999), pp. 26–28 Google Scholar.

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82 Oxford, University Archives, Library Records, File d. 1180, fol. 93r, D. G. Hogarth to Sir Arthur Ernest Cowley, 17 June 1926; I thank Dana Josephson for this reference.

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85 This is the prevailing view of how the models vanished; there are no records documenting the disposal. Adrian Forty personal communication, 12 December 2012. After his appointment in 1960, Llewelyn-Davies revised the curriculum, removing the existing Beaux-Arts focus on classical references, and stressing instead that science and engineering should be the foundations of architectural practice; see Llewelyn-Davies, Richard, The Education of an Architect: an inaugural lectured delivered at University College, London, 10 November 1960 (London, 1961)Google Scholar.

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87 London, V&A Archives, MA/1/5851, Nominal File, Science Museum, 1886–1949, Part 1, Cecil Harcourt Smith to Mr Oppie, 13 May 1912.

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89 Leslie, ‘Inside Outside’. On the history of the V&A, see Burton, Anthony, Vision and Accident: The Story of the Victoria and Albert Museum (London, 1999)Google Scholar. Curators and architectural educators in Paris expressed a similar distaste for cork and plaster models at the start of the Twentieth Century; see Durand, Jannic, ‘Une collection oubliée: les maquettes anciennes du Musée des Antiquités Nationales’, Antiquités Nationales, 14–15 (1982–83), pp. 118–135 Google Scholar; Jacques, Annie, ‘Les architectes de l'Académie de France à Rome aux XIXe siècle et l'apprentissage de l'archéologie,’ in Roma antiqua: Forum, Colisee, Palatin : envois des architectes francais (1788–1924) (Rome, 1985), pp. xxi–xxix Google Scholar.

90 Melbourne, Museum Victoria Archives, R. Henry Walcott, ‘Report of the Curator, Industrial & Technological Museum’, 2 March 1930. For details of this model, see http://collections.museumvictoria.com.au/items/715107 (accessed 3 June 2016). The six cork models of Greek temples at Paestum and Agrigento remain in the V&A collection in storage, most requiring extensive conservation.

91 Grand Tour, pp. 298–99; Tim Knox personal communication, 28 July 2016.

92 ‘Greek Temple Made of Cork Sells for 25,000 Pounds at Auction, at http://eu.greekreporter.com/2014/03/10/greek-temple-made-of-cork-sells-for-25000-pounds-at-auction/ (accessed 1 April 2014); Roland Arkell, ‘Grand Tour Model Brings Corking Result’, Antiques Trade Gazette, 2 October 2015, at https:// www.antiquestradegazette.com/news/2015/grand-tour-model-brings-corking-result/ (accessed 7 March 2016).