Sculpture of the Day: A Lion After Landseer, 1874

Paperweight
The Victoria & Albert Museum

Among the most famous public sculptures in Britain are the lions at the base of Nelson’s Column in Trafalgar Square which were designed by Sir Edwin Landseer. Those celebrated lions have inspired multiple works of art including this handsome paperweight of blue pressed glass.

The lion was created through a new technique of press-molding glass with the aid of a hand-operated machine. This technique—developed originally in the U.S. in the 1820s--made the mid-to-late Nineteenth Century the beginning of true mass production of pressed glass in the U.K..

This beautiful piece heralds from John Derbyshire's Regent Flint Glass Works at Salford, Manchester. The concern was not long-lived, however, during its few years of production it manufactured some of the most sought-after paperweights in Britain. The best known of the collection is this lion. Others which were inspired by Landseer also proved to be big sellers. These included based on the master’s paintings of a greyhound and a collie.

Sculptures of the Day: Biscuit Figures in the Sévres Style

Pair of Infants: One Drawing, One Reading
Dihl et Guerhard, Late Eighteenth Century
Hard-Pase Biscuit Porcelain
Acquired by Queen Mary, 1936-38
The Royal Collection

In the late Eighteenth Century, with the growing popularity of biscuit (parian), the porcelain makers at France’s Sévres introduced the trend of creating a pair of figures—one a female child who represents reading, the other a male representing drawing. This motif was frequently copied by other aspiring porcelain makers—both French and English--who were well on their way to perfecting their own parian figures. Such is the case of this pair of infants. Crafted in the late Eighteenth Century in the Sévres style by Dihl et Guérhard, this set is numbered on the reverse in black paint, “No. 1” and “No. 2.” Historians believe that the pair may have been sculpted to be included in a group on a large clock case that was never completed.


You’ll never guess how these ended up in the Royal Collection. Oh, okay. You guessed. Mary of Teck acquired the first one in 1936 and the second in 1938. How she managed to hunt down the the mate to the first one, I’ll never know. But, she did, and they’ve been in the Royal Collection ever since.

Sculpture of the Day: A Bust of Thomas Jefferson, 1789

Thomas Jefferson
Jean-Antoine Houdon
1789
The National Gallery of Art
Washington, D.C.

Since we're indulging in a sort-of-Presidents'-Day salute, let’s take a look at this exceptional marble bust of Jefferson by French sculptor Jean-Antoine Houdon.


Houdon was considered the “Sculptor of the Enlightenment” and espoused Neoclassical ideals in his crisp, attractive work. This bust of Jefferson was created in 1789 while Jefferson was still Minister to France. Today, the bust is housed in the National Gallery of Art in Washington, D.C.

Sculpture of the Day: A Wax Bust of Queen Victoria, c. 1837

The Victoria & Albert Museum

Wax has been a favorite medium for centuries due to its ease of use and versatility. Portraits in wax portraits became quite fashionable in the Eighteenth Century in Britain. As opposed to the life-sized wax figures seen at waxworks such as Madame Tussaud’s, miniature figures and busts were often created as keepsakes. The tradition continued well into the Nineteenth Century, especially before the advent of photography.


These miniature figures were modeled from the life. The waxes were not only quite portable, but due to the nature of the medium, they had an attractive, naturalistic look which was warmer than figures in stone or metal. Often, these waxes were tinted and embellished with textiles, seed pearls or colored glass eyes, to augment the life-like appearance of the portrayal. Best of all, for a more permanent figure, a mould could be made from this initial model, from which further copies could be cast in bronze or spelter.

Here, we see a wax bust depicting Queen Victoria who is shown turned to the right wearing a V-necked dress with sleeves decorated with ribbons and a sash. This figure was created in 1837 upon Victoria’s accession by sculptor William Le Grand. Not much is known of Le Grand and it’s unclear if he not only sculpted by published copies of such waxes.

Sculpture of the Day: Sappho and Cupid, 1851

Sappho and Cupid
Ivory
Henri de Triqueti
1851
The Royal
Collection

French Sculptor Henri de Triqueti was wildly popular with the French Court and was a favorite of King Louis-Philippe who not only enjoyed the artist’s work, but also his company. Sadly (for Triqueti, at least), Louis-Philippe found himself booted out of power. Without a patron, Triqueti collected his English wife and sought opportunities in Britain.

His work was quickly noticed. Queen Victoria appreciated the artist’s work, and, in 1851 purchased this ivory statue directly from Triqueti as a surprise Christmas gift for Prince Albert. The figure—neatly rendered in ivory—depicts the great poetess Sappho as she attempts to fling herself into the sea upon learning she’s been rejected by Phaon. Tiny little Cupid tries desperately to prevent her suicide.

Victoria, who was equally mad about Prince Albert, thought this would be a sweet gift for her husband. And, it was. However, she made a good artistic choice, too. This sculpture is rare. Triqueti exclusively sculpted historical and biblical scenes. This classically-themed sculpture is a strange departure for him. Victoria would go on to purchase a full-scale marble sculpture of Edward VI from Triqueti. He then offered her a good price on two more ivory figures. She politely declined.

Sculpture of the Day: "Filch" from "The Beggar's Opera," 1920

Arnold Pilbeam as Filch from "The Beggar's Opera," 1920
The Victoria & Albert Museum

This Staffordshire figure by an unknown artist depicts early Twentieth Century actor Arnold Pilbeam as the character of “Filch” from Nigel Playfair's celebrated revival of John Gay's “The Beggar's Opera” which opened at the Lyric Theatre Hammersmith in June of 1920.  The production was designed by Claud Lovat Fraser with music re-written and supplemented by Frederic Austin.  This ballad opera featuring traditional tunes and took London by storm.

The revival ran for over three years to much acclaim and its popularity spawned a surprising number of figurines in porcelain and wax representing moments from the show.  This figure is an excellent example of the type of souvenirs produced during the run of the show.  Here, the character stands in a lime green full-length coat much like the actual costume worn in the show.

Sculpture of the Day: The Ivory Pulcinella, 1750

Ivory Pulcinella
Technically, "Polizinell"
Germany, 1750The Victoria and Albert Museum

Here’s something peculiar. This ivory figure of a dancer clearly represents Pulcinella, but, he’s not the work of an Italian sculptor. He comes from Germany, c. 1750. The figure is delicately rendered in a fantastic costume, a conical hat and a ballet skirt.

So, how did this character from the traditional Italian Commedia dell' Arte come to be rendered by a German artist? He was already known in France as Puchinelle and in England as Punchinello or Mr. Punch (first recorded in Britain on May 9th, 1662 by Samuel Pepys). The first sighting of our hero in Germany came in 1649. He was spotted in Nuremberg where he was called “Polizinell.” This was performed by a splashy Maltese showman called Blasius Manfredi who, that same year, had the acquaintance of the Franco/Italian showman known as Brioche who was first noted as performing 'Polichinelle' in Paris. So, they’re all connected.

As we celebrate Mr. Punch’s three hundred fifty-second birthday, it’s important to remember the minor moments over the last three centuries that led to his widespread, global fame. This little ivory figure which could so easily be dismissed is just one tiny piece of the puzzle.

The figure was given by Dr. W. L. Hildburgh, F. S. A. to the V&A where it remains along with a host of other historical items, each of which—when assembled—spell out the Punch family tree and history. Notably, from 1971 to 1977, the figure was on display at the Clawning Castle in Nottingham, England. Prior to 1971, it lived for an unknown time at King George IV’s Brighton Pavilion. How George IV came to own it is unknown.

Sculpture of the Day: The Jingdezhen Salt, 1760-1770

Salt Dish
German, 1760-1770
The Victoria & Albert Museum

Here’s a rather unusual salt cellar/dish which was made in Germany between 1760 and 1770. Decorated in colored enamels, it incorporates a kneeling figure wearing a turban, blue robe and red cloak as well as a small tree trunk which supports the salt container.

This appears to be a copy of a Meissen figure which was modeled in 1746.

Sculpture of the Day: Falstaff in the Laundry, 1850

Parian Group
"The Merry Wives of Windsor"
Worcester, 1850
The Victoria & Albert Museum

Parian ware, as we know, is the unglazed development of biscuit porcelain. The medium became very popular after the Staffordshire firm of Copeland and Garrett introduced it in 1842 as a medium for busts, statuettes and reliefs.

Several different British pottery concerns marketed the medium under a different name but “Parian” remained the generic term after Minton used “Parian” to suggest Paros, the Greek island which supplied a lot the marble used for Classical statuary. Now, to be sure, Parian ware was not inexpensive, however, it was more cost effective than marble, and it gave households the appearance of owning a marble bust or figurine, previously only afforded by the very wealthy.

The Worcester firm, makers of the example we see pictured above, started their production of Parian relatively late in the game. After Worcester launched a range of Parian objects at the Dublin Exhibition in 1853, James Hadley (1837-1903), their chief modeler, created a host of new Parian objects, including the Shakespeare subjects of Lady Macbeth and King Lear. Meanwhile another Worcester modeler, William Boynton Kirk, produced a dozen figural groups based on characters from A Midsummer Night's Dream.

This Worcester piece, dating to about 1850, was most likely modeled by James Hadley (1837-1903) and shows the scene from The Merry Wives of Windsorwhen “Mistresses Page” and Ford humiliate Falstaff in retaliation for his amorous advances by hiding him in a laundry basket which Mrs. Ford's servants, naturally, leave in the river—as one does. The front of the base incised THE MERRY WIVES OF WINDSOR.

Sculpture of the Day: Cardinal Giovanni de'Medici, pre-1475

The Victoria & Albert Museum

This rather imposing gentleman, when studied against painted and medallic portraits, has been identified as Cardinal Giovanni de' Medici (1475-1521) who was elected pope in 1513--taking the name of Leo X.

Since he wears a biretta—a cardinal’s cap—clearly, this bust was made before he was elected to the papacy. The modeling of the bust suggests that it was meant to be seen from below. When viewed face-on, his stance is awkward with his head projected peculiarly onto the chest. Furthermore, it is only painted on the front. So, it’s a safe bet this was made to be placed in a high niche or in a pediment above a door.

The pope’s right shoulder is severely damaged and his nose is quite chipped, but this is not unusual for a terracotta sculpture made in the Fifteenth Century. This sculpture is possibly the work of the Florentine Antonio de'Benintendi and may have been commissioned by Giovanni de' Medici prior to the exile of the Medici family from Florence in 1494, and certainly before the 1475 election to the Papacy. It has been postulated that the bust was molded from a casting taken directly from the cardinal’s face. 

Gifts of Grandeur: A Kangaroo and its Baby by Carl Fabergé, 1913

The Royal Collection
Crown Copyright
Image Courtesy of Her Majesty Queen Elizabeth II

In November of 1913, King George V purchased this carving by Carl Fabergé from Fabergé's London branch as a gift for his wife, Queen Mary. The humorous carving of a kangaroo and baby cost the King £23.

Like her mother-in-law, Queen Alexandra, before her, Queen Mary collected the extraordinary range of animals that Fabergé produced. The sculpture is made of Siberian nephrite rather than a more realistically-colored stone for a whimsical effect.  However, Fabergé, as always took great care in representing the anatomy of the animal as accurately as possible, even setting the eyes with rose-cut diamonds.

Sculpture of the Day: Hush-a-bye, Baby, 1874

Study for "The Rocking Chair"
Dalou, 1874
The Victoria & Albert Museum

Hush a bye baby on the tree top,
When the bough bends the cradle will rock. 


The above nursery rhyme is inscribed into the base of this terracotta sculpture. The piece was exhibited at the Royal Academy of Arts, London, in 1874. The work of Aimé-Jules Dalou (1838-1902), the figure group is a study for a large marble group which was commissioned by the Duke of Westminster.

The marble group, called “The Rocking Chair,” was finished based on this terracotta study. The final piece was shown in 1875 at the Royal Academy and remains in the collection of the Dukes of Westminster.

Sculpture of the Day: A Relief of Queen Victoria, 1899

Relief of Queen Victoria
Terracotta,, 1899
Robert Wallace Martin
The Victoria & Albert Museum

Robert Wallace Martin (1843-1923) was commissioned by the V&A to create this relief in commemoration of the laying of the foundation stone of the Victoria & Albert Museum on May 17, 1899. This event—the launch of the V&A from the South Kensington Museum—would be the last public state ceremony which the Queen attended.

Though specific to the V&A, the relief, however, didn’t come directly into possession of the then-new museum. The relief was completed and fired in 1899 and it was, then, submitted to the museum’s governors for their approval. The governors liked the likeness, but were bothered that it lacked pigment. They wanted a colored relief.

Martin threw a fit. He never took criticism well, but especially when he found it to be coming from people he thought unworthy of judging his art (which was pretty much everyone, in his estimation). He stormed out of the room with the plaque tucked under his arm and, when he returned to his studio, instructed that the relief be destroyed. Thankfully, no one listened to him and the plaque was put away. It remained at the Firm of R.W. Martin and Brothers of Southall until the dispersal of the Martin Collection at Sotheby's in October of 1924. Upon that auction, it ended up in a private collection until it was returned to the V&A by Maurice Isaacs in 1943. 

Sculpture of the Day: Lady with Blackamoor, 1737-1740

The Victoria & Albert Museum

Early porcelain figures such as this Meissen figural group were made to be placed on the dining table during the dessert course of grand dinners. Such figures replaced the sugar paste and wax figures that had been made centuries earlier to adorn the table during royal feasts. The original purpose of these figures was to serve as a symbol of dynastic power and to celebrate political allegiances. To this end, allegorical themes were introduced into these table settings. Germany’s Meissen was the first factory to make porcelain figures for the dessert table, thereby setting the conventions which would be followed by rival manufacturers for decades to come.

In a wealthy Eighteenth Century household, the dessert course was the one on which the greatest expense was lavished. The delicacies served and the fine porcelain which accompanied the course was considered one of the greatest reflections of the wealth and taste and social standing of the host.

This richly decorated figure group is an excellent example of the style which prevailed. It depicts a seated woman in an elaborate gown. She’s drinking coffee with a pug dog seated on her lap. A servant attends her. The depiction of coffee, a pug and an African servant meant to convey exotic associations and luxuries not afforded in most English homes. In England, in the Eighteenth Century, only about 10,000 Africans were estimated to have been part of the population. Sadly, most of these individuals worked as unpaid domestic staff.

This group was modeled by Johann Joachim Kändler (1706 -1775) for Meissen between 1737 and 1740 and was created expressly for export to Britain.

Sculpture of the Day: A German Ivory Bust, circa 1700

Ivory Bust
German, 1700-1725
Carl August van Lücke
The Victoria & Albert Museum

This unusual sculpture as well as its plinth are both carved from ivory. The plinth has been stained to create contrast between it and the bust. Carved from a single piece of ivory, this miniature sculpture is the work of German artist Carl August van Lücke, the Younger.

The figure is tenderly sculpted with a great attention to detail. The folds, bows and ruffs of her tight corsage have the look of fabric while her skin and hair mimic the textural appearance of the real thing.

Object of the Day, Museum Edition: A Porcelain Figure of William Shakespeare, 1765

William Shakespeare
Derby Porcelain
1765
The Victoria & Albert Museum

When I first saw this Derby porcelain figure from about 1765 in the collection of the V&A, I didn’t immediately recognize it as William Shakespeare (1564-1616). The modern idea of Shakespeare’s countenance has developed over time and is based on hundreds of different representations of the celebrated writer. What he exactly looked like, we’ll never really know. This is but one interpretation of Shakespeare—rendered almost one hundred sixty years after his death.

This figurine of “The Bard” is based on the life-size white marble statue by Peter Scheemakers in the monument designed by William Kent, erected in Poets' Corner in Westminster Abbey. The monument was erected in 1740, 124 years after Shakespeare's death. It was sponsored by the Earl of Burlington, Dr Mead, Alexander Pope and one Mr. Martin. It’s important to note that William Shakespeare is not buried in Poet’s Corner in the Abbey, but is, rather, buried in Stratford upon Avon though many suggested that his remains should be moved from Stratford to Westminster Abbey. That idea was abandoned after awhile and the monument remains just that—a monument and not a tomb.

We see Shakespeare depicted as pointing to a scroll which is inscribed with Prospero's Act IV lines from The Tempest:The Cloud capt Tow’rs, The Gorgeous Palaces, The Solemn Temples, 
The Great Globe itself, Yea all which it Inherit, Shall Dissolve; 
And like the baseless Fabrick of a Vision, Leave not a wrack behind. 

The scroll rests on a pedestal which is adorned with the carved heads of Queen Elizabeth I, Henry V and Richard III.

This handsome figure is the work of the Derby factory which produced three versions of the figurine in the late 1750s to mid-1760s. It was often sold as a pair with a figure of John Milton.

Object of the Day, Museum Edition: Laura Lyttleton Memorial Tablet by Edward Burne-Jones, 1886

Memorial Tablet
Edward Burne-Jones, 1886
One of two.  This one, polychrome; the other, white.
The Victoria & Albert Museum

Since antiquity, memorial tablets have been produced to mark the passing of a loved one.  These tablets aren’t meant to be tombstones, but are used in private venues away from the burial place to serve of reminders of the deceased.

These colored plaster memorial tablet was designed by Pre-Raphaelite artist Edward Burne-Jones (1833-1898) in memory of his close friend Laura Lyttleton (née Tennant).  Lyttleton died in childbirth in 1886 within the first year of her marriage.

This is one of two that Burne-Jones created for Lyttleton.  The original—of plain white plaster--was installed in the church of St Andrew in Mells, Somerset. The colored version which we see here was made for Burne-Jones's own house, The Grange, in Fulham.

Burne-Jones, like many artists in his Pre-Raphaelite Brotherhood--favored the symbolism of the peacock.   He had been studying Byzantine art and discovered that the peacock was a symbol of the Resurrection in Greek culture of the Christian era.

Lady Georgiana Burne-Jones described this tablet in her biography of her husband.  She wrote:

Laura, the daughter of Sir Charles Tennant: in our house she so fascinated us all that we called her ‘The Siren’ [Her memorial] is eight feet high and an effigy of a peacock which is the symbol of the Resurrection standing upon a laurel tree - and the laurel grows out of the tomb and burst through the side of the tomb with a determination to go on living and refusing to be dead and below was a Latin inscription made by Dean Church one of the many who loved her.

Sculpture of the Day: “Irish Peasant Woman” by Edward Onslow Ford, 1881

Irish Peasant Woman
Edward Onslow Ford, 1881
Bronze
Lady Lever Art Gallery
Liverpool

In the 1880’s art was finding a push toward realism. This was especially evident in the style of sculpture known as “New Sculpture.” One had to be careful, however. As an artist, it’s never a good idea to be too realistic when sculpting members of one’s own family.

Such was the case with sculptor Edward Onslow Ford who cast the bronze bust of an aged relative. He was quite proud of himself for showing the natural deterioration of old age. However, according to Ford’s daughter, the sitter “recoiled in horror” when she saw it for the first time.

The realistic trend didn’t last terribly long. Ford gave it up and focused on sculpting ideal busts of perfect young beauties. It’s just a pity that whomever this “Irish Peasant Woman” is, didn’t get the same treatment—at least for her sake.

Figure of the Day: A Chinese Incense Burner, Eighteenth Century

 

Incense Burner
Chinese
Qing Dynasty, Qianlong Period
1736-1795
The Lady Lever Art Gallery, Liverpool



From the Chinese collection of the Lady Lever Art Gallery in Liverpool, England, comes this lovely porcelain incense burner. In the form of a rabbit atop a cloud, carrying a branch of fungus on its arched back, this vessel with its celadon glaze also features painted details in brown and sapphire blue.

The mouth and nostrils are ventilated, allowing for the smoke of the incense (which was burned inside of it) to escape and fill the air with fragrance. This object was created in the Qing Dynasty, Qianlong period (1736-1795). 

Sculpture of the Day: The Coral St. Michael, 1700-1750



The Victoria & Albert Museum


Coral’s softness allows for easy carving and it’s presumed “powers” made it a favorite medium for figurines and jewels assigned talisman properties. Here, we see a statuette in coral of St. Michael. The saint is wearing a feathered helmet and stands upon a dragon, as one does. In his right hand, he carries a sword, presumably to slay said dragon. Since coral was thought to protect against malignant magic, both the design and purpose of this figure seems to be to triumph over evil.

This, like most coral pieces, was made in Italy (Naples) during the early-to-mid Eighteenth Century when the use of coral for decorative purposes was at an all-time high.