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period Bubb had overstretched himself to such an extent that he experienced financial difficulties which forced him to have to borrow heavily so that he could complete the commissions he had in hand. In August 1820 Bubb was declared bankrupt and his premises and kiln were taken over by Joseph Browne who employed him as a modeller and designer. However, such was Bubb's reputation that he continued to obtain important and large commissions for architectural decoration. When the architect
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323:(AGBI) for financial relief having had little work during the previous two years. Bubb stated that he was living in poverty and his landlord had seized and sold his stock in lieu of rent while he had a wife and two children to support. Later it was noted that his wife had run off with a young man who had been living with him as a pupil. In 1839 Bubb was employed by
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RA and John
Bingley; Bingley said that Bubb "did studiously attend to the duties of his profession and was employed in the several works carried on in that period, particularly in marble, viz. Captain Faulkener's monument in St Paul’s". He regularly exhibited his work from his father's tobacco shop
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which had Apollo and the Muses at its centre, and a carved allegory of the
Progress of Music; the fragments which still survive show figures ranging from ancient Egyptian dancers to others in contemporary clothing. This frieze was the largest undertaken in Great Britain at that time. By about this
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Today Bubb is largely forgotten but when he is remembered it is not favourably, the majority of his major works having since been destroyed or dismembered, while the low opinion of his fellow-sculptors including those who had lost out on commissions to him have given the impression that he was a
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for which they used Bubb's composition material ‘lithargolite’. The figures represented the arts and sciences, commerce and industry, and inhabitants of various countries of the world. A clock dial, nine feet in diameter, was supported by colossal figures symbolising
Industry and Plenty, and the
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believing they had gone for the cheapest option rather than the best and questioned if Bubb was suitably experienced to deliver the monument satisfactorily. When asked for a reference Rossi wrote that as Bubb had not "been employed during his continuance with me upon anything by which he could
162:. However, the Academicians remembered the scandal surrounding Bubb with regard to the 1806 Guildhall competition and he polled no votes. Among his most notable works were decorative sculptures for buildings including a commission for statues and a
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believed that Bubb had been guilty of sharp practice having "canvassed the
Members of the Common Council and gave cards on the back of which he put the mark which he put on his model that it might be known".
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On 9 May 1812 he married
Margaret Alice Blakey, daughter of Henry Blakey of Bush Lane in London. They had a son, Francis Bubb. Sadly his wife eloped with an apprentice who was lodging in their house.
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having been removed there in 1855 after they were taken from the façade of the Royal
Exchange after a fire, while in 1829 he proposed to create a sculpture of
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royal arms by figures of Ocean and
Commerce. However, their work was poorly received and within six years the badly-constructed building had been demolished.
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in 1830 and 1831 after which his business began to gradually decline leading in 1833 to a sale of his "architectural sculpture, casts &c" which included
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he honed the skills he learnt from her and embarked on a career working extensively as a modeller using a composition material of his own design, a form of
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Dictionary of
Sculptors, English or Working in England: including Modellers, Artists who Designed Monuments and Others Connected with the Art of Sculpture
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that it was "on so large a scale that it is only exceeded in size by that on St Paul’s
Cathedral". In 1827 Bubb supplied a frieze in artificial stone of
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acquire any practical skill in the execution of such works as the one proposed" he could not "give any opinion as to the executive ability of Mr Bubb".
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in London; the monument was not completed until 1813. Bubb submitted the lowest tender against other more prominent sculptors including
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from about 1811 show his growing skill and ability. He married
Margaret Alice Blakey in London in 1812 and after working for
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A pair of Regency 'Artificial Stone' architectural masks early 19th century, by James George Bubb to a design by Thomas Hope
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514:, ed. K. Garlick, A. Mackintyre, K. Cave, E. Newby (17 vols., 1978–1998, Yale University Press) Vol 8, pg 2919
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went into partnership despite their previous antipathy to provide a large number of sculptures for the new
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on 23 September 1781. In 1797, aged 15, Bubb was apprenticed to the sculptor John Fontum for seven years.
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was building inexpensive model cottages for agricultural workers. Also in 1839 Bubb produced a statue of
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he described Bubb as "pre-eminent in this country ... in this particular branch of the Arts".
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In 1806 while still relatively unknown he secured the commission to sculpt the monument to
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James George Bubb in the London, England, Church of England Marriages and Banns, 1754-1932
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and in 1929 described him as one of the "Illustrious Obscure" with a "genius for relief".
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James George Bubb in the London, England, Freedom of the City Admission Papers, 1681-1930
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Bubb again used his terracotta-like composition ‘lithargolite’ for his frieze for the
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sculptor of little artistic talent with a reputation for sharp practice. However,
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from 1801 and won a silver medal in 1805. Before 1806 he worked in the studio of
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James George Bubb in the England, Select Births and Christenings, 1538-1975
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In 1818 after the bankruptcy of his terracotta modelling business he and
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who is now largely forgotten. His sculptures adorn buildings across the
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in London was the largest undertaken in Great Britain at that time.
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The Mirror of Literature, Amusement, and Instruction, Volumes 31-32
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in 1965. In November 1811 he applied to become an Associate of the
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69:, he was probably the James George Bubb who was christened at
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the son of Fanny and James Bubb, a tobacconist with a shop on
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A Biographical Dictionary of Sculptors in Britain, 1660-1851
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was sculpted in 1810 and was purchased by Nelson's daughter
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Dictionary of British Sculptors 1660-1851 by Rupert Gunnis
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was impressed by the remains of Bubb's frieze for the
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having been taken there following the closure of the
37:(1781–1853) was a prolific sculptor in marble and
497:J. G. Bubb - Public Sculptures of Sussex database
264:in London which can now be found at Lime Walk at
108:. Rossi was angered by the choice of Bubb by the
242:wished to engage Bubb to create the statues for
279:His statue of St Andrew is positioned outside
476:Monument to William Pitt by James George Bubb
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576:The picture of London, enlarged and improved
701:Dictionary of British Sculptors 1660--1851
607:: CS1 maint: location missing publisher (
580:Longman, Hust, Rees, Orme, Brown and Green
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76:Bubb had a prize-winning beginning at the
649:Stone Frieze of Queen Elizabeth I by Bubb
524:Bust of Admiral Lord Nelson by J. G. Bubb
252:said of his pediment with 40 figures for
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146:in competition with sculptors including
134:before it entered the collection of the
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321:Artists' General Benevolent Institution
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386:The Register of Pennsylvania, Volume 4
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343:but these are his last known works.
85:as a young man which in 1806 caused
327:on experimental terracotta work at
214:Bubb's statue of St Andrew outside
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758:British architectural sculptors
631:Bankruptcy of James George Bubb
49:whilst his relief adorning the
738:19th-century British sculptors
670:, J. Limbird, London (1838) -
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512:The Diary of Joseph Farington
276:for Pennsylvania in the USA.
281:St Andrew's Garrison Church
216:St Andrew's Garrison Church
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703:, London, (1965) pp. 66-67
621:Farington, vol 16, pg 5652
384:Proceedings of Councils -
597:. London. pp. 305–6.
186:he named ‘lithargolite’.
564:On-line Catalogue (2008)
528:National Maritime Museum
458:15 December 2018 at the
325:John Marriott Blashfield
136:National Maritime Museum
106:John Charles Felix Rossi
104:and his former employer
94:William Pitt the Younger
82:John Charles Felix Rossi
24:William Pitt the Younger
547:(subscription required)
480:National Gallery of Art
428:(subscription required)
410:(subscription required)
293:Royal Caledonian School
71:St Martin-in-the-Fields
753:Neoclassical sculptors
748:English male sculptors
690:, (1929) (1), pgs 33-8
464:Henry Moore Foundation
311:Bubb exhibited at the
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639:, 1 July 1820 pg 1641
595:Curiosities of London
574:John Feltham (1825).
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110:Corporation of London
78:Royal Academy Schools
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593:Timbs, John (1858).
450:James George Bubb -
249:The Literary Gazette
244:Manchester Town Hall
152:Sir Francis Chantrey
353:Italian Opera House
231:Italian Opera House
178:who had developed
51:Italian Opera House
22:Bubb's monument to
636:The London Gazette
254:Cumberland Terrace
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768:Monumental masons
763:British sculptors
743:English sculptors
684:Katharine Esdaile
578:(23rd ed.).
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270:George Washington
35:James George Bubb
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126:His bust of
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733:1853 deaths
728:1781 births
699:R. Gunnis,
258:Elizabeth I
206:Later years
180:Coade stone
722:Categories
367:References
184:terracotta
164:bas-relief
67:The Strand
603:cite book
562:Sotheby's
389:(1829) -
289:Hampshire
285:Aldershot
235:Haymarket
224:Hampshire
220:Aldershot
140:Greenwich
98:Guildhall
30:in London
28:Guildhall
482:database
456:Archived
260:for the
166:for the
96:for the
61:Born in
655:website
530:website
466:website
317:Zoffany
307:Decline
233:in the
197:in the
172:Bristol
26:in the
393:pg 326
359:Family
341:Pomona
335:where
333:Dorset
297:Bushey
63:London
674:pg 50
191:Rossi
609:link
158:and
154:RA,
331:in
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