University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/69996 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Queen Victoria’s Children and Sculpture (c.1860-1900): Collectors, Makers, Patrons Two Volumes: Volume 1 Désirée de Chair A thesis submitted in part fulfilment of the requirements for the degree of Doctor of Philosophy University of Warwick, Department of History of Art February 2015 1 Table of Contents Abbreviations 3 List of Illustrations 4 Acknowledgements 20 Declaration 21 Abstract 22 Introduction 23 1. Bertie as a Collector of Sculpture 47 2. Louise as a Maker of Sculpture 134 3. Vicky as a Patron of Sculpture 231 Conclusion: At the Heart of Victorian Sculpture 311 Bibliography 1. Unpublished Primary Sources 318 2. Published Primary Sources 319 3. Published Secondary Sources 323 4. Unpublished Secondary Sources 342 2 Abbreviations QVJ Queen Victoria’s Journals RA Royal Archives 3 List of Illustrations (Some of the sculptures here illustrated are comparable examples and not the exact versions encountered, commissioned or collected by the royal children.) Fig. 1 Alfred Thompson (printmaker), The Royal Studio – The Princess Louise at Home, lithograph, 21.6 x 32.5 cm, in The Mask (July 1868), between p. 160 and 161. Fig. 1.1 Alfred Gilbert, The Tomb of the Duke of Clarence, 1892-1928, Albert Memorial Chapel, St. George’s Chapel, Windsor. Fig. 1.2 Detail of Rome map with Bertie’s hotel and Gibson’s studio, in William Harwood, A Topographical Plan of Modern Rome with the new Additions (London: Williams & Norgate, 1862). Fig. 1.3 Apollo Belvedere, marble, h. 224 cm, Vatican Museums, Rome. Fig. 1.4 Laocoon, marble, h. 242 cm, Vatican Museums, Rome. Fig. 1.5 Dying Gladiator, Roman copy, marble, 93 x 186.5 x 89 cm, Capitoline Museums, Rome. Fig. 1.6 Spinario, bronze, h. 73 cm, Capitoline Museums, Rome. Fig. 1.7 She-Wolf, bronze, 75 x 114 cm, Capitoline Museums, Rome. Figs 1.8, 1.9 Centaurs, Bigio Morato marble, h. 156 cm and 134 cm, Capitoline Museums, Rome. Fig. 1.10 John Gibson, Venus and Cupid, marble, 1859, private collection. Fig. 1.11 Carl Steinhäuser, Hero and Leander, 1847, marble, location unknown. Fig. 1.12 Joseph Mozier, Prodigal Son, 1857/58, marble, h. 193 cm, Pennsylvania Academy of the Fine Arts, Philadelphia. 4 Fig. 1.13 Max Heinrich Imhof, Hagar and Ishmael, 1843, marble, 114 x 63.5 cm, location unknown. Fig. 1.14 Joseph Mozier, Pocahontas, version of 1868, 121.8 cm, The Art Institue of Chicago. Fig. 1.15 Antonio Rossetti, The Nubian Slave, c.1858, marble, dimensions unknown, Kibble Palace, Botanic Gardens, Glasgow. Fig. 1.16 Julius Troschel, La Filatrice Addormentata, version of 1845, marble, 148 x 160 x 70 cm, Osborne House (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 1.17 Harriet Hosmer, Puck on the Toadstool, c.1855, marble, 85 x 42 x 50 cm (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 1.18 Cartoon ‘The Prince of Wales at Miss Hosmer’s Studio’, Harper’s Weekly (7 May 1859), pp. 293-94. Fig. 1.19 John Gibson, Princess of Wales, 1863, marble, h. 53.3 cm (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 1.20 Prosper d’Epinay, Princess of Wales, 1866, marble, dimensions unknown (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 1.21 Victor Gleichen, Princess of Wales, 1870, bronze, dimensions unknwon (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 1.22 Ronald Gower, Marie Antoinette, 1875, bronze, dimensions unknown (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 1.23 Unknown, Napoleon, c.1805, marble, dimensions unknown (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). 5 Fig. 1.24 John Gibson, Venus, n.d., marble, dimensions unknown (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 1.25 Lawrence Macdonald, Bacchante, 1862, marble, dimensions unknown, private collection. Fig. 1.26 William Theed, Engraving of Musidora (1863). Fig. 1.27 Jens Adolf Jerichau, Bathing Women, 1868, marble, dimensions unknown, Royal Norwegian Collection, Oslo. Fig. 1.28 Jens Adolf Jerichau, Adam and Eve before the Fall, 1868, marble, h. 134 cm, Royal Norwegian Collection, Oslo. Fig. 1.29 Mary Thornycroft, Two Children Kissing (?Paul and Virginie), n.d., marble, dimensions unknown (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 1.30 Harriet Hosmer, Sleeping Faun, after 1865, marble, 87.6 x 104.1 x 41.9 cm, Museum of Fine Arts, Boston. Fig. 1.31 Alexander Macdonald, Venus and Cupid, 1878, marble, dimensions unknown, art market 2009. Fig. 1.32 Harriet Hosmer, Detail of Puck, 1855-56, marble, Walker Art Gallery, Liverpool (Photograph: Désirée de Chair). Fig. 1.33 Joseph Edgar Boehm, Wilhelm and Lenore, 1871, bronze, 45.7 x 51 x 14 cm (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 1.34 Emile Hébert, Ecole des Filles, 1871, bronze, 38 x 29.5 cm, art market. 6 Fig. 1.35 Jules Dalou, Mother and Child (Hush-A-Bye Baby), 1874, terracotta, 53 x 52.2 x 34 cm, Victoria & Albert Museum, London. Fig. 1.36 ‘Intended Façade of the Grosvenor Gallery, 191 New Bond Street’, The Builder (5 May 1877), p. 453. Fig. 1.37 ‘Leighton House, The Arab Hall’, Art Annual (1884). Fig. 1.38 Joseph Edgar Boehm, Selim and Tom, c.1870, bronze, dimensions unknown, Sandringham Estate (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 1.39 ‘The Anglo Indian Pavilion in the Grand Vestibule of the Palace of the Champ de Mars’, The Illustrated Paris Universal Exhibition (7 Septmber 1878), p. 211. Fig. 1.40 Figures from Vizagapatum, brass, mid-18th century, dimensions unknown, in George Birdwood, Catalogue of the Collection of Indian Arms and Objects of Art presented by the Princes and Nobles of India to H.R.H. the Prince of Wales of the Occasion of his visit to India in 1875-1876, now in the Indian Room at Marlborough House (London: n.n., 1892), p. 27. Fig. 1.41 Jean-Baptiste Carpeaux, La Danse, 1873, terracotta, 224 x 135 cm, Ny Carlsberg Glyptotek, Copenhagen. Fig. 1.42 The east facade of Sandringham House, 1871, Royal Photograph Collection (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 1.43 The Drawing Room with Harriet Hosmer’s statue of Puck, Sandringham Album 1871, Royal Photograph Collection (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). 7 Fig. 1.44 Federico Gaetano Villa, La Benda d’Amore (Cupid’s Blindfold), 1870s, marble, h. 129.5 cm marble (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 1.45 Geo Glanville, The Drawing Room at Sandringham with Federico Gaetano Villa’s La Benda d’Amore, 1882, Royal Photograph Collection (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 1.46 Bedford Lemaire, The Dining Room at Sandringham with the display of Indian armour, Sandrignham Album 1889, Royal Photograph Collection (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 1.47 Anon., The Saloon, from the North, Sandringham Album 1871, Royal Photograph Collection (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 1.48 Geo Glanville, The Saloon at Sandringham with view of the Drawing Room, 1882, Royal Photograph Collection (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 1.49 Geo Glanville, The Breakfast Room at Sandringham, 1882, Royal Photograph Collection (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 1.50 James McNeill Whistler, Blue and White Nankin China, plate I, pen- and-ink drawing reproduced in autotype process, in Murray Marks, A Catalogue of Blue and Nankin Porcelain (London: Ellis and White, 1878). Fig. 1.51 Aimé Jules Dalou, French Peasant Woman, after 1873, terracotta, 49 x 26 x 27.5 cm, Fitzwilliam Museum, Cambridge. Fig. 1.52 Groundfloor plan Marlborough House, in Geoffrey Tyack, Sir James Pennethorne and the Making of Victorian London (Cambridge: Cambridge University Press, 1992), p. 237. 8 Fig. 1.53 Walery, The Saloon, Marlborough House Album, c.1890, Royal Photograph Collection (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 1.54 Walery, The Drawing Room, Marlborough House Album, c.1890, photograph, Royal Photograph Collection (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 1.55 ‘The India Room at Marlborough House’, in George Birdwood, Catalogue of Indian Arms and Objects of Art […] in the Indian Room at Marlborough House (1898), no. 53 (4). Fig. 1.56 Walery, The Prince of Wales’s Study, Marlborough House Album, c.1890, photograph, Royal Photograph Collection (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 1.57 Joseph Edgar Boehm, Nymph, 1878, marble, dimensions unknown, private collection. Fig. 1.58 Sarah Bernhardt, Self-Portrait as a Sphinx, 1880, bronze, 31 x 35.5 x 31 cm (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 1.59 Prosper d’Epinay, Sarah Bernhardt, 1880, marble, dimensions unknown (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 2.1 Princess Louise, Composition, 10 February 1862, pen and crayon, dimensions unknown (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015). Fig. 2.2 Princess Louise, A knight with a necromancer having a vision, 10 February 1863, pen and ink, black wash, with highlighting, dimensions unknown (Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015).