Not currently on display at the V&A

Left hand of Princess Louise, Duchess of Argyll and Marchioness of Lorne (1848-1939)

Hand
after 1862 (made)
Artist/Maker
Place Of Origin

Princess Louise was Queen Victoria's sixth child. She married the Marquis of Lorne, heir to the 8th Duke of Argyll, in 1871 and became the Duchess of Argyll and Marchioness of Lorne. The purpose of this model is unknown. It was given to the Museum in 1892 by the executors of the late Sir Joseph Edgar Boehm's estate, as one in a collection of casts of hands. Princess Louise was a sculptor in her own right, completing part of her training in Boehm's studio. A plaster model of Queen Victoria by Princess Louise for London's Kensington Gardens' statue of the monarch is also in the V&A (inv.no. A.30-1935).

Boehm (1834-1890) was an English sculptor and medallist born in Austrian, as the youngest son of Joseph Daniel Boehm (1794–1865), a court medallist and director of the Imperial Mint at Vienna. From 1848 to 1851 Joseph Edgar attended Leigh’s art academy (later Heatherley’s) in London and drew the Parthenon marbles in the British Museum. On his return to Vienna he enrolled at the Akademie der Bildenden Künste. Around 1858–9 he visited Italy, where he developed a lasting admiration for early Renaissance sculpture. From 1859 to 1862 he worked in Paris and was influenced by the work of Paul Gayrard (1807–1855). Boehm settled in London in 1862 where he befriended John Leech and John Everett Millais, both of whom he portrayed in statuettes in 1863. A statuette of William Makepeace Thackeray (1864) led to an edition of 70 plaster casts. Boehm frequently worked in terracotta, a material common in French sculpture but less familiar in English. Queen Victoria’s admiration of Boehm’s statuettes led to an association with the royal family that lasted from 1869 until his death. Most of Boehm’s works are portrait busts. Boehm was immensely prolific: some 360 different works are documented. He was a highly consistent sculptor, rarely deviating from his brand of realism. He was modest about his immense popularity and aware of his imaginative shortcomings (cit.: M. Stocker: 'Boehm, Joseph Edgar').


object details
Categories
Object Type
Materials and Techniques
Plaster cast
Brief Description
Model, plaster cast, left hand of Princess Louise, Duchess of Argyll and Marchioness of Lorne, by Sir Joseph Edgar Boehm, after 1862
Physical Description
Left hand, plaster with two rings on the third finger.
Dimensions
  • Length: 19.2cm
Credit line
Given by the executors of the artist
Object history
Given by the Executors of the late Sir J.E. Boehm in 1892.
Subject depicted
Summary
Princess Louise was Queen Victoria's sixth child. She married the Marquis of Lorne, heir to the 8th Duke of Argyll, in 1871 and became the Duchess of Argyll and Marchioness of Lorne. The purpose of this model is unknown. It was given to the Museum in 1892 by the executors of the late Sir Joseph Edgar Boehm's estate, as one in a collection of casts of hands. Princess Louise was a sculptor in her own right, completing part of her training in Boehm's studio. A plaster model of Queen Victoria by Princess Louise for London's Kensington Gardens' statue of the monarch is also in the V&A (inv.no. A.30-1935).



Boehm (1834-1890) was an English sculptor and medallist born in Austrian, as the youngest son of Joseph Daniel Boehm (1794–1865), a court medallist and director of the Imperial Mint at Vienna. From 1848 to 1851 Joseph Edgar attended Leigh’s art academy (later Heatherley’s) in London and drew the Parthenon marbles in the British Museum. On his return to Vienna he enrolled at the Akademie der Bildenden Künste. Around 1858–9 he visited Italy, where he developed a lasting admiration for early Renaissance sculpture. From 1859 to 1862 he worked in Paris and was influenced by the work of Paul Gayrard (1807–1855). Boehm settled in London in 1862 where he befriended John Leech and John Everett Millais, both of whom he portrayed in statuettes in 1863. A statuette of William Makepeace Thackeray (1864) led to an edition of 70 plaster casts. Boehm frequently worked in terracotta, a material common in French sculpture but less familiar in English. Queen Victoria’s admiration of Boehm’s statuettes led to an association with the royal family that lasted from 1869 until his death. Most of Boehm’s works are portrait busts. Boehm was immensely prolific: some 360 different works are documented. He was a highly consistent sculptor, rarely deviating from his brand of realism. He was modest about his immense popularity and aware of his imaginative shortcomings (cit.: M. Stocker: 'Boehm, Joseph Edgar').
Bibliographic References
  • Bilbey, Diane and Trusted, Marjorie. <u>British Sculpture 1470-2000. A Concise Catalogue of the Collection at the Victoria and Albert Museum</u>. London: Victoria and Albert Museum, 2002, p. 216, cat.no. 324
  • List of Reproductions in Electrotype and Plaster acquired by the South Kensington Museum in the Year 1892, London, 1893, p. 13
Collection
Accession Number
REPRO.1892-92

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record createdJanuary 15, 2003
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