Queen Victoria thumbnail 1
Queen Victoria thumbnail 2
+1
images
Not on display

Queen Victoria

Bust
signed and dated 1842 (made)
Artist/Maker
Place of origin

The ivory is a small-scale reproduction of the marble bust by Francis Chantrey (1781-1841), the first version of which is signed and dated 1839. This was exhibited at the Royal Academy in 1840, and is now in the Royal Collection at Windsor Castle. A slightly later replica, of higher quality, was acquired by Sir Robert Peel from Chantrey's studio in 1844, and is now in the National Portrait Gallery. Cheverton’s work was evidently esteemed within the highest levels of society. In 1845, this ivory bust was shown at the Royal Society, at a soirée hosted by the President, the Marquis of Northampton, and attended by Prince Albert.
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.
Another version in ivory is known, as well as plaster versions signed and dated 1842 (information supplied by David Wilson, April and June 2015).

Object details

Categories
Object type
TitleQueen Victoria (generic title)
Materials and techniques
Ivory on stone socle
Brief description
Bust, ivory, Queen Victoria, by Benjamin Cheverton, after Francis Chantrey, British, dated 1842
Physical description
The bust of the young Queen Victoria shows her wearing a coronet, and a simple off the shoulders dress tied at the front. Her hair is in looped plaits tucked behind her ears. It is inscribed on the back: It is set on an integral turned socle. The whole is doweled into a turned stone plinth, which is set on a square base.
Dimensions
  • Ivory alone height: 17cm
  • Width: 30cm
  • Whole height: 25.5cm
Marks and inscriptions
'Chantrey Fct' [and below] '1842 Cheverton Sc.' (on the back)
Object history
Bought for £17 from Messrs. Heal and Sons from the Victorian Exhibition in aid of St Bartholomew's Hospital, 23 A Bruton Street, London, 1 June-1 July 1931 (ex-cat.).
Subject depicted
Summary
The ivory is a small-scale reproduction of the marble bust by Francis Chantrey (1781-1841), the first version of which is signed and dated 1839. This was exhibited at the Royal Academy in 1840, and is now in the Royal Collection at Windsor Castle. A slightly later replica, of higher quality, was acquired by Sir Robert Peel from Chantrey's studio in 1844, and is now in the National Portrait Gallery. Cheverton’s work was evidently esteemed within the highest levels of society. In 1845, this ivory bust was shown at the Royal Society, at a soirée hosted by the President, the Marquis of Northampton, and attended by Prince Albert.
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.
Another version in ivory is known, as well as plaster versions signed and dated 1842 (information supplied by David Wilson, April and June 2015).
Bibliographic references
  • Review of the Principal Acquisitions during the Year 1931.London: Published under the Authority of the Board of Education, 1932, p. 4 Sculpture Victorious exh. cat. Tate Britain, London, 2015.
  • Roscoe, I., with Sullivan, M.G. and Hardy, E., A Biographical Dictionary of Sculptors in Britain, 1660 to 1851, New Haven, 2009, p. 271
  • Trusted, Marjorie, Baroque & Later Ivories, Victoria & Albert Museum, London, 2013, cat. no. 154
  • Droth, Martina, Edwards, Jason, and Hatt, Michael, Sculpture Victorious: Art in an Age of Invention, 1837-1901, exh. cat., YUP, New Haven and London, 2015, pp. 66-67
Collection
Accession number
A.28-1931

About this object record

Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.

You can write to us to suggest improvements to the record.

Suggest feedback

Record createdJune 12, 2009
Record URL
Download as: JSONIIIF Manifest