The Ancient Home - Queen Victoria Bust Sculpture White Cast Marble 40cm / 15.7 inch Indoor and Outdoor

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The Ancient Home - Queen Victoria Bust Sculpture White Cast Marble 40cm / 15.7 inch Indoor and Outdoor

The Ancient Home - Queen Victoria Bust Sculpture White Cast Marble 40cm / 15.7 inch Indoor and Outdoor

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Benjamin Cheverton (1796-1876) was the son of a farmer and a small landowner. During the 1820s he perfected a machine capable of producing reduced miniature versions, usually in ivory, of full-size sculptures. This had been invented by his mentor, John Isaac Hawkins, and was similar to machines devised by the engineer and inventor James Watt (1736-1819). Cheverton’s machine was up and running by early 1828. He first showed products at exhibitions, and issued items which might have popular appeal, such as busts of Shakespeare or Milton. Later he took commission from owners of busts or other sculptures who desired small copies. His ivories were produced to a high standard, and he maintained that the machine itself was capable of making objects of such quality. Sir Alfred Gilbert, (1854-1934) was the most brilliant and talented sculptor of his age, transforming British sculpture at the end of the 19th century. He is best known for the Shaftesbury Memorial, 'Eros' at Piccadilly Circus and the magnificent tomb to Prince Edward, Duke of Clarence, in St George’s Chapel, Windsor. His remarkable depiction of Queen Victoria towards the end of her life was sensitively carved, between 1887 and 1889, to reflect a range of textures - the monarch’s ageing skin, lace, jewels and her meditative expression. Gilbert rarely worked in marble; most of his sculptures are in bronze, making this piece even more exceptional. In reality, the pub exterior shell on the outdoor permanent set was built during 1984 for the new series, which began the following year. The exterior shell was made to look as though it had stood for over 100 years. The internal sets are in a studio separate from the building situated in the Square. George IV's only daughter, Princess Charlotte was a popular princess, seen as a fresh hope to come after her unpopular father. The nation rejoiced at her wedding to Prince Leopold of Saxe-Coburg in 1816. The virtuoso rendering of the different textures of skin, hair, drapery and jewellery is unparalleled in nineteenth-century British sculpture, as is the empathetic carving of the sad, careworn and introverted expression of the ageing monarch, whose Jubilee also marked her return to public life after a period of prolonged mourning for Prince Albert, who had died 1861.

By 1818/19, a succession crisis was looming. In 1817, George IV’s only daughter Princess Charlotte had died giving birth to a stillborn son, wiping out two generations of heirs to the throne in one tragic blow. This prompted a desperate ‘baby race’ among the King’s unmarried brothers to produce a legitimate heir. Credit for the invention of Parian was hotly contested. Both Minton, who produced these busts, and Copeland laid claim to the discovery of the formula. Because of this unresolved dispute, the jury of the Great Exhibition of 1851 failed to award a Council Medal for its invention. Nevertheless, the material enjoyed enormous success when it was shown there. Another distinctive feature of Canadian festivities was their focus on children. There were frequently separate children's Jubilee parades from the "main" Jubilee processions. A "well-disciplined army" of 4,000 children from public schools and an additional 2,000 pupils from private Catholic schools marched in Winnipeg. This scene was repeated in cities across the country. [7] One of the largest celebrations took place in Ottawa, where almost 10,000 school children marched to Parliament Hill, all carrying flags. [1] The sculpture depicts Queen Victoria towards the end of her long life. The marble has been sensitively carved to reflect the texture of her skin and her meditative expression, as well as the soft swirls of cloth around her head and shoulders.

First public appearance as queen

Queen Victoria’s mourning provided an important point of emotional connection with other international royal houses. This can especially be seen in the kinship she felt with Queen Emma of Hawaii, consort to King Kamehameha IV, which is commemorated in an album within Victoria’s series of ‘Royal Portraits’ albums. In 1858 Queen Emma had given birth to a son, Prince Albert Edward Kamehameha, to whom Victoria was godmother (the boy’s English names were given in honour of Prince Albert). Tragically, Queen Emma’s son died in 1862 aged just four years old. A year later, King Kamehameha also died and his brother succeeded to the throne. After the death of her son, Queen Emma called herself Kaleleokalani (‘The flight of the heavenly chief’) and after the death of her husband, this was superseded by the plural name Kaleleonālani (‘The flight of the heavenly chiefs’). With these names Queen Emma arguably hoped to personally embody the two deceased chieftains. In many ways this sentiment was echoed by Victoria’s own earlier belief that her life would act as a continuation of Albert’s spirit. Writing to her uncle Leopold, less than a week after Albert’s death, she had expressed her desire to honour Albert’s wishes as if he were still alive:

Plunkett, pp. 147–48. For further discussion of Queen Victoria’s engagement with the photographic medium in the interest of self-promotion and image making, see Adrienne Munich, Queen Victoria’s Secrets (New York: Columbia University Press, 1996); and Margaret Homans, Royal Representations: Queen Victoria and British Culture, 1837–1876 (Chicago: University of Chicago Press, 1998). A brawl breaks out in the pub after Kat Slater ( Jessie Wallace) pushes Karen Taylor ( Lorraine Stanley) over a table after the pair argue as it is revealed that Mo Harris ( Laila Morse) tried to con people out of money by faking the death of Kat Moon ( Jessie Wallace). A bar stool is thrown out of one of the windows. Victoria’s wedding – the white dress, the carriage ride through the streets, the very public nature of it – set the pattern for every subsequent marriage ceremony in the main line of descent within the royal family.

a b c "The Coronation of His Majesty King Charles III sovereign 2023 four-coin gold proof set". Royal Mint . Retrieved 20 June 2023.

By the late 1870s, most denominations of British coins carried versions of the obverse design featuring Queen Victoria created by William Wyon and first introduced in 1838, the year after she acceded to the throne at the age of 18. The queen, approaching her 60th birthday, no longer resembled her numismatic depiction; and in February 1879, the private secretary to the queen, Sir Henry Ponsonby, informed the Deputy Master of the Royal Mint, [a] Charles Fremantle, that Joseph Edgar Boehm had been engaged to produce a medallic likeness of the queen that could be adapted for coinage purposes. Born in Austria, Boehm had trained as a medallist and had undertaken several sculptural commissions for the royal family. [1] The original marble sculptures from which this Parian bust and its pair, a bust of Prince Albert (museum no. 7888-1862), were copied were made by the Italian sculptor Carlo Marochetti (1805-1867) and were shown at the Royal Academy in 1851. These Parian versions were shown by Minton at the London International Exhibition of 1862, at which an entire section was devoted to 'Parian and Ivory'. I would be delighted to see this unique piece on display in a UK institution where the public can enjoy and admire it. The RCEWA made its recommendation on the grounds of the sculpture’s outstanding significance to the study of the work of Alfred Gilbert, the leading British sculptor of his generation. They also praised Gilbert’s imperious but compellingly naturalistic portrayal of the monarch. The pub is raided by Terry Bates ( Nicholas Bell) and his gang who are looking for Jase Dyer ( Stephen Lord); the interior is destroyed.The sculptor, Mary Thornycroft, worked for Queen Victoria and Prince Albert for many years and excelled in her depictions of the couple's nine children. Each carving was based on a plaster castmade from moulds taken while the child was asleep.There's an inscription on this example that tells us Princess Louise was only 3 months old when the plaster cast for the sculpture was made. Mel Owen ( Tamzin Outhwaite) drunkenly rages at the residents over their opinions about the sentencing of her son, Hunter Owen (Charlie Winter). Queen Victoria did not officially return to public ceremonial duties until 1872 and during this time she was confronted by a complex personal and political dilemma. As a woman, she had to adhere to the nineteenth century’s strict societal codes surrounding mourning behaviour, while never compromising the authority of the monarchy. For eleven years after 1861, Victoria privately worked with her ministers to conduct state affairs while withdrawing from public life. This absence contributed to a new wave of republican and anti-monarchical sentiment, and in response to this long period of personal and political crisis, the Queen employed the private strategies used for representing mourning in photography to recast her image in the public realm. The public display of private grief, like the regulation of personal mourning by social convention, in connecting both the private and public, was something that Victoria could exploit. Anne M. Lyden, A Royal Passion: Queen Victoria and Photography (Los Angeles: J. Paul Getty Museum, 2014), p 142. The bust was commissioned in 1887 by the Army and Navy Club to celebrate the golden jubilee of Queen Victoria’s coronation in 1837, as well as their own jubilee – the Club having been founded in 1837.



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