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.

Unusual Artifacts: A Polychrome Wax Model, c. 1791

Click image to wax poetic.

Wax Model
Samuel Percy
The Victoria & Albert Museum

The work of Samuel Percy (1750-1820), this wax model was made around 1791 and was displayed in the famous Racksrow’s Museum in Fleet Street, London. At the museum, it was one of only a few models of daily life amongst a collection of mostly anatomical figures.

The scene depicts a woman with three children who are engaged in playing under an apple tree. One of the children is seated in the tree. Another catches applies in his hat and the third screams and cries because she wants an apple. A landscape of a river has been set against a painted background.

The polychrome wax scene is set into a wooden frame. 

The Art of Play: The Grace Fraser Wax Doll, 1830-1850

The Victoria & Albert Museum

Made in Italy between 1830 and 1850, this doll with a cream silk band around its neck represents an infant seated upon a red throne. The doll is a work of poured wax (the shoulders, head and hands), with a stuffed cloth torso. Beneath the torso, from a cone of card, feet protrude, however, there are no actual legs. The doll features blue glass eyes and rolls of white wool hair.

This figure, dressed in a patterned cream silk, is adorned with silver braid, sequins and a glass circular paste jewel. It holds in its right hand a bouquet of artificial flowers and in its left, an orb of pale blue silk with a gold braid cross, suggesting that this might be meant to represent the Christ Child.

The doll is encased in a rectangular wooden box which is tapered to offer perspective. The rear of the box is papered in blue silk with a floral pattern. Painted details hint at a landscape ornamented by pedestals and flowerpots with blooms of cream and orange tissue.

More so meant to be a work of art than a plaything, this doll has survived despite the loss of the front glass panel which was meant to protect it.

History’s Runway: The Baba Beaton Wedding Dress, 1934

Wedding Dress
Charles James, 1934
This and all related images from:
The Victoria & Albert Museum

This wedding gown was worn by Miss Baba Beaton in November of 1934 when she married Mr. Alec Hambro. The gown, designed by Charles James, shows the development of the designer’s famous complex cut and simple lines.

James said of his work, “all my seams have meaning - they emphasise something about the body.”

The gown is constructed of cream, ivory, and satin. It’s cut with a high neckline and long, tight sleeves. James’ famous seaming and darting serves to sculpt the satin to fit the body. The finishing touch is a spray of wax orange blossoms at the neck. 

Sculpture of the Day: A Wax Relief Plaque of Queen Anne, early 19th C.

Polychrome Wax Relief
Samuel Percy, early 19th C.
The Victoria & Albert Museum

We’ve looked at other bas relief wax tablet portraits before.  There’s something interestingly odd about this one which is said to depict Queen Anne.  We see the Queen, rendered in polychrome wax, wearing an alarmingly low-cut gown trimmed with ermine and bands of gold across the corsage. The dress is further adorned with the representation of a chemisette of lace.  Queen Anne’s ebony hair falls in curls on her shoulders, and she wears a crown with applied loose pearls on the front arch as well as an applied string of pearls around her neck,

The wax is set within folded drapery of real puce velvet within an oval black frame.  The collection notes’ call the velvet, “purple,” and it may have been at one time, but it seems to have faded to a puce-like taupe.   The curators of the V&A state that, “The purple velvet mounting and possibly the oval frame are modern. The velvet probably replaces the wax draperies generally used by Samuel Percy.”

And, this makes sense.  Originally, when this portrait in wax was created, the background was surely also in wax.  For some reason—probably due to damage—when the tablet was re-framed, the original polychrome wax background was replaced by actual fabric drapery.

This is almost certainly the work of Samuel Percy (1750-1820) who seems to be responsible for the majority of these wax relief portrait plaques.  His style seems to have become more confident over time and this figure from later in his life and career is far more successful than some of the crude portraits of his early life.  

Object of the Day, Museum Edition: Relief: A Piece of Flowers, c. 1750

"A Piece of Flowers," c. 1750
E.M. Diemar, Germnay
The Victoria & Albert Museum

Relief tableaus in wax, in the Eighteenth Century, were a novel way of introducing a dramatic decorative touch into a room. This oval relief in colored wax, depicts a variety of flowers (in somewhat natural colors) including roses, lilies, tulips, convolvulus, a foxglove and a hyacinth.

The piece is signed at the bottom, “E.M. Diemar.”  Diemar (1720-c. 1790) was one of a family of artists and craftsmen in Germany. Unlike his relatives, he concentrated on the production of small works of art, principally in wax.

Unusual Artifacts: A Shagreen Pocket Book and Stylus, 1680

Click image for detail.
Shagreen Pocket Book with Gold Mounts and Stylus
English, c. 1680
This and all related images from
The Victoria & Albert Museum

This Seventeenth Century pocket book is just that—a pocket book. While we tend to think of a purse when we hear that term, this object is actually a small book with a matching gold stylus which would have fitted into a person’s pocket to use as a diary or notebook.

The cover of the book is covered in black shagreen (shark or fish skin) which has been adorned with rounded gold studs. The inside of the cover is lined with a thick paper which has been painted with gold foliage on a purple ground.

Four bands of engraved gold create a holder for the stylus. When first used, this book would have been filled with paper which had been coated in wax. The metal stylus would have left a track or mark in the wax which could be later smoothed out and used again. We know to whom this lovely little item belonged. The end of the stylus is mounted with a seal which depicts the arms of Burnet impaling those of the See of Salisbury. In this case, “impaling” refers to two coats of arms which appear on a shield which has divided vertically into two. Gilbert Burnet (1643-1715) was a prolific politician of the Late Seventeenth Century in Britain and Europe. He was, as many were at the time, staunchly anti-Roman Catholic. This bias caused his dismissal from his post as King's Chaplain under Charles II (ruled 1660-1685). Burnet was then exiled to The Hague in The Netherlands where was appointed as an adviser to William of Orange (1650-1702), and, later William III of England. This led to his commission as the Bishop of Salisbury. Known also as a writer and historian, Burnet is best known for his book “History of My Own Times,” which is ostensibly an amalgam of anecdote, history and autobiography.

Unusual Artifacts: A Polychrome Wax Model, c. 1791

Click image to wax poetic.
Wax Model
Samuel Percy
The Victoria & Albert Museum

The work of Samuel Percy (1750-1820), this wax model was made around 1791 and was displayed in the famous Racksrow’s Museum in Fleet Street, London. At the museum, it was one of only a few models of daily life amongst a collection of mostly anatomical figures.

The scene depicts a woman with three children who are engaged in playing under an apple tree. One of the children is seated in the tree. Another catches applies in his hat and the third screams and cries because she wants an apple. A landscape of a river has been set against a painted background.

The polychrome wax scene is set into a wooden frame. 

The Art of Play: A Novelty Egg Doll in a Box, 1870

Novelty "Egg Doll", 1870
The Museum of Childhood
The Victoria & Albert Museum

Dolls were often given as gifts to adults to celebrate occasions such as births, christenings and weddings. Very often these dolls were presented in “boxes” which were really elaborate cases of wood, papier mache and glass with elaborately painted backgrounds.

This English doll was most likely given as a gift for a christening or a birth. The figure of a baby is bursting forth from an egg. The doll can easily be removed from its case. Upon inspection, one notices that the doll’s head can be removed to reveal a cavity inside which was specifically created to hold sweets. The usual filling for such dolls was candied almonds—a traditional gift to commemorate joyous events.

The interior of the case is adorned with wax roses which frame a hand-painted mirror so that the doll could be viewed from all sides. Special items such as these were cherished for many years, however, given their fragile nature, few survive. This particular example can be viewed at the Museum of Childhood at the V&A.

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: St. George, a Model, 1895

Model Study for a figure of St. George
The beginnings of "the dragon" can be seen around the wooden base.
SIr Alfred GIlbert, 1895
The Victoria & Albert Museum

The “New Sculpture” movement of the late Nineteenth Century called for a focus on naturalistic forms and urged sculptors to experiment with new media. Perhaps the most eager of those sculptors who supported the movement was Sir Alfred Gilbert who seems to have had a fascination with the theme of St. George and the Dragon.

This model was made of wax and plasticine as a suggestion for a sculpture group of St. George and the Dragon which was to surmount the silver Rose-water Ewer and Dish which was presented to King George V (while still Duke of York) upon his marriage to Princess May of Teck (later Queen mary) in 1896. We’ll be taking a look at the Rose-water set later I nthe week. 

The figures mated to the finished Rose-water set don’t exactly match these earlier models and studies, so, we can see that Gilbert altered the sculptures considerably. A perfectionist, Gilbert (1854-1934), was also known as a medallist, goldsmith and draftsman. He took these commissions quite seriously and strove to be a fitting representative for the “New Sculpture” Movement. 

Sculpture of the Day: A Wax Bust of George Harry Grey, c. 1850

Earl of Stamford
Richard Cockle Lucas
Nineteenth Century
The Victoria & Albert Museum

This bust is carved from wax and dates to the middle of the Nineteenth Century. The sculpture depicts George Harry Grey, Seventh Earl of Stamford (1827-1883) and it was sculpted by Richard Cockle Lucas (1800-1883).

The Earl of Stamford is depicted as a boy. Oddly enough, he’s shown wearing a corset around which a piece of drapery has been wound. His name “Earl of Stamford” is inscribed on the back.

History’s Runway: The Baba Beaton Wedding Dress, 1934

Wedding Dress
Charles James, 1934
This and all related images from:
The Victoria & Albert Museum

This wedding gown was worn by Miss Baba Beaton in November of 1934 when she married Mr. Alec Hambro. The gown, designed by Charles James, shows the development of the designer’s famous complex cut and simple lines.

James said of his work, “all my seams have meaning - they emphasise something about the body.”

The gown is constructed of cream, ivory, and satin. It’s cut with a high neckline and long, tight sleeves. James’ famous seaming and darting serves to sculpt the satin to fit the body. The finishing touch is a spray of wax orange blossoms at the neck. 

Sculpture of the Day: The Needy Peasant,1760-1800

The Needy Peasant
Bernhard Caspar Hardy
Germany, 1760-1800
The Victoria & Albert Museum

This curious sculpture of wax and textiles was created by Bernhard Caspar Hardy (1726-1819) in Cologne, Germany between 1760 and 1800.

In the late Eighteenth Century, Hardy was one of the most popular modelers in Germany, known for his sensitive depictions of sentimental subjects and his ability to mimic the style of the fashionable paintings and engravings of the time.

This relief, entitled “The Poor Man Prays” is modeled in relief in wax and attired in fabric to create his jacket, hat and waistcoat. The wax figure has been built up on black glass which was later set in a wooden frame. This is one of two similar models by Hardy in the collection of the V&A.

Unusual Artifacts: A Polychrome Wax Model, c. 1791

Click image to wax poetic.
Wax Model
Samuel Percy
The Victoria & Albert Museum

The work of Samuel Percy (1750-1820), this wax model was made around 1791 and was displayed in the famous Racksrow’s Museum in Fleet Street, London. At the museum, it was one of only a few models of daily life amongst a collection of mostly anatomical figures.

The scene depicts a woman with three children who are engaged in playing under an apple tree. One of the children is seated in the tree. Another catches applies in his hat and the third screams and cries because she wants an apple. A landscape of a river has been set against a painted background.

The polychrome wax scene is set into a wooden frame. 

Unusual Artifacts: A Shagreen Pocket Book and Stylus, 1680

Click image for detail.
Shagreen Pocket Book with Gold Mounts and Stylus
English, c. 1680
This and all related images from
The Victoria & Albert Museum

This Seventeenth Century pocket book is just that—a pocket book. While we tend to think of a purse when we hear that term, this object is actually a small book with a matching gold stylus which would have fitted into a person’s pocket to use as a diary or notebook.

The cover of the book is covered in black shagreen (shark or fish skin) which has been adorned with rounded gold studs. The inside of the cover is lined with a thick paper which has been painted with gold foliage on a purple ground.

Four bands of engraved gold create a holder for the stylus. When first used, this book would have been filled with paper which had been coated in wax. The metal stylus would have left a track or mark in the wax which could be later smoothed out and used again. We know to whom this lovely little item belonged. The end of the stylus is mounted with a seal which depicts the arms of Burnet impaling those of the See of Salisbury. In this case, “impaling” refers to two coats of arms which appear on a shield which has divided vertically into two. Gilbert Burnet (1643-1715) was a prolific politician of the Late Seventeenth Century in Britain and Europe. He was, as many were at the time, staunchly anti-Roman Catholic. This bias caused his dismissal from his post as King's Chaplain under Charles II (ruled 1660-1685). Burnet was then exiled to The Hague in The Netherlands where was appointed as an adviser to William of Orange (1650-1702), and, later William III of England. This led to his commission as the Bishop of Salisbury. Known also as a writer and historian, Burnet is best known for his book “History of My Own Times,” which is ostensibly an amalgam of anecdote, history and autobiography.

Figure of the Day: Robert Loraine, 1921

Wax and Plaster Figure of Robert Loraine
Agatha Walker, 1921
The Victoria & Albert Museum

Made in 1921 by Agatha Walker, this plaster figure is covered in wax and is one of several which the artist made of London stage actors and actresses in character. This piece depicts Robert Loraine (1876-1935)—a successful stage actor with 30 years experience as well as a renowned aviator who made famously executed the first flight across the Irish Sea in 1910. This wax figure shows Loraine as “Mirabell” in the drama, “The Way of the World.” 


Sculptor Agatha Walker sought to revive the very-English Nineteenth Century tradition of creating ceramic and porcelain figurines of celebrities. Walker always modeled from life in plaster and, then, coated the figure with a fine layer of wax which was then colored. In 1931 Agatha Walker's wax figures were exhibited at the Fine Art Society.

Unusual Artifacts: A Silver and Ivory Perpetual Calendar, 1700

Perpetual Calendar
Germany, c. 1700
The Victoria & Albert Museum

While seemingly inconvenient these days, in the Eighteenth Century, the notion of a perpetual calendar—in short, one that could manipulated to be used for a succession of years—was a convenient and economical decision.  Such calendars were made from valuable materials and were often given as gifts.  Here’s a great example made in Germany around 1700.

In this example, the calendar is engraved on the silver covers of this notebook. Inside the covers are bound three ivory tablets which would have been covered with thin layers of wax which could be inscribed with a pointed stylus and, then, smoothed out and used again. 

Consider it an Eighteenth Century iPad.

The Home Beautiful: A Wax Relief Portrait of Doctor James Gregory, 1791

Wax Relief of Doctor James Gregory
James Tassie, 1791
The Victoria & Albert Museum

We’ve looked at several wax relief portraits.  They’re usually more colorful and cartoonish than this wax portrait relief which depicts Doctor James Gregory (1753-1821).  The sculpture was made by James Tassie in 1791.

Dr. Gregory was a Professor of Medicine at Edinburgh, and the inventor of Gregory powder—a favored laxative of the Eighteenth Century which was made of dried rhubarb.  Yay!

 James Tassie (1735-1799) is best known for his work as a cameo and gem-engraver.  Unlike most of his contemporaries, the majority of his medallions in wax were modeled from life and used as sketch-models for casting in glass paste.

Sculpture of the Day: A Wax Relief Plaque of Queen Anne, early 19th C.

Polychrome Wax Relief
Samuel Percy, early 19th C.
The Victoria & Albert Museum

We’ve looked at other bas relief wax tablet portraits before.  There’s something interestingly odd about this one which is said to depict Queen Anne.  We see the Queen, rendered in polychrome wax, wearing an alarmingly low-cut gown trimmed with ermine and bands of gold across the corsage. The dress is further adorned with the representation of a chemisette of lace.  Queen Anne’s ebony hair falls in curls on her shoulders, and she wears a crown with applied loose pearls on the front arch as well as an applied string of pearls around her neck,

The wax is set within folded drapery of real puce velvet within an oval black frame.  The collection notes’ call the velvet, “purple,” and it may have been at one time, but it seems to have faded to a puce-like taupe.   The curators of the V&A state that, “The purple velvet mounting and possibly the oval frame are modern. The velvet probably replaces the wax draperies generally used by Samuel Percy.”

And, this makes sense.  Originally, when this portrait in wax was created, the background was surely also in wax.  For some reason—probably due to damage—when the tablet was re-framed, the original polychrome wax background was replaced by actual fabric drapery.

This is almost certainly the work of Samuel Percy (1750-1820) who seems to be responsible for the majority of these wax relief portrait plaques.  His style seems to have become more confident over time and this figure from later in his life and career is far more successful than some of the crude portraits of his early life.