HUGIJENOT ARTISTS DESIGNERS AND CRAYPSNEN IN GREAT ...

165.
son of Andrew Planch and Magaret Burroughs' and William 'the son of
Andrew Planch4 and Sarah his wife'
The early products of the Derby inanufactory are mostly figures.
A series of gods and godesses relate closely to sixteenth and seventeenth
century sculptural prototypes. The figure of Neptune relates to that of
1652 by the French sculptor Michel Anguieras one of a set of six deities
made in miniature for the jeweller Tessier de Montarsis, although the
figures were later carved in stone for Versailles and engraved by Louis
Desplaces. It is probable that Planch used the engraving as a source.
The group of Pluto and Cerberus(Plate 136) in the Victoria and Albert
Museum has affinities with Neptune carving the waves, 1737, by Lambert
Sigisbert Adam. The figure of Jupiter by Alessandro Algardi, which was
commissioned as one of a set of four by Velazquez in 1650, was used as
a source for the model of that figure produced at Derby in the 1750's
There seems to have been a particular interest in Chinoiserie at
Derby, exemplified in a group of figures representing the senses, such
as the group symbolizing Sight, in the Victoria and Albert Museum (Plate
137), dated 1 750-3. The two obvious sources for exotic figures at this
time were De 'Pecueil de cent estampes representant differentes
Nations du Levant', with engravings by G.Scotin, which was published
in Paris in 171'+, and engravings after Boucher by Ravenet.
It is interesting to note that Andrew Planche"s younger brother
Jacques, was a watchmaker who trained in Geneva and later became an
assistant to Vullianiy, who was also later to work in collaboration with
the Derby manufactory. In 1756, Planche nominally signed a partnership
agreement with J hn Heath and William Duesbury, but possibly as a result
of his moral behaviour, left Derby and returned to his earlier training
as a jeweller, joining his uncle's firm, Anthony Planch& Co.,
Westminster. This was probably the son of Antoine Plank, jeweller,
who was connected with a D.Marchand in 1705/6V and it is interesting to
note the continuing connection between the two families, fifty years
later in the persons of James Marcha.nd and Andrew Planch(.
Another modeller of Huguenot descent was Jean Voyez, iho like
Sprimont and Planch( before him was trained as a silversmith. He worked
as a carver for the Adam brothers, before he was employed by Wedgewood
in 1768. Like Planche, Voyez talent appears to have been marred by moral