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As at that time my whole thoughts were of my artistic equipment for the future, I conceived the idea that Perseus before becoming a hero was a mere mortal, and that he had to look to his equipment. That is a presage of my life and work at that time.' (Hatton 1903, p. 10). By showing Perseus in the act of quietly equipping himself for future trials, Gilbert emphasised Perseus\u2019 mortal rather than heroic character. Gilbert modelled the original plaster of Perseus Arming in Rome in 1880-1, and had the first bronze of it cast in Italy using the lost-wax casting method. This was exhibited at the Grosvenor Gallery, Bond Street, London in 1882 to great acclaim (his marble Kiss of Victory was exhibited at the Royal Academy at the same time) and at the Paris Salon in 1883, where it received an honourable mention.   \n\nPerseus Arming was a highly significant early work and the first of three important, deeply personal bronzes Gilbert made his highly creative period of 1881 to 1892 \u2013 the other two being Icarus and Comedy and Tragedy (for a cast of the latter, see M.1-2003). Perseus Arming was one of Gilbert's most popular models. It was reproduced in three sizes: full-scale (c.71-74 cm; see also M.22-2015, 67.9cm high), which is rare; half-scale (c.36 cm); and quarter-scale (c.14.5cm). The date and the place of casting of this example is uncertain."},{"value":"Sir Alfred Gilbert RA MVO (1854-1934) was an English sculptor. He studied in London, Paris and Rome, returning to England in 1884. Gilbert was the leading artist in the New Sculpture movement, which revitalised sculpture in late nineteenth-century Britain. He was also a vital force in reintroducing the lost-wax technique for casting works of art in bronze in England (sand-casting had been the norm for bronze sculpture since the 18th century, with lost-wax casting used only for small-scale work and jewellery). His commissions included the jubilee memorial to Queen Victoria in Winchester and the statue of Eros, in aluminium, for the Shaftesbury Memorial Fountain in Piccadilly Circus, and in 1900 he was appointed Professor of Sculpture at the Royal Academy. A period of bankruptcy and divorce followed, and Gilbert moved to Bruges. On his return to England in 1926, his fortunes improved, the highlight being the bronze Queen Alexandra Memorial, at Marlborough House, London, 1926-32. He was knighted by George V in 1932. Gilbert died in poverty in 1934."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-120899","uid":"adlib-term-120899","uuid":"5e59b69b-0f3c-3b6d-8cb0-3722582507d7"},"summary_title":"19th Century, Late"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-107139","uid":"adlib-term-107139","uuid":"9fd5ef13-3709-388f-b925-702787340e32"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"England"}]}]},"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39741","uid":"adlib-term-39741","uuid":"47d44741-af05-37c3-b21e-0e278b114f3b"},"summary_title":"copper 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Mentioned, p. 71","page":"p. 71","type":"reference"},"admin":{"id":"publication-1072","uid":"adlib-publication-1072","uuid":"cc21b4e3-d3f9-337a-859e-ce6392a2cc4f"},"summary_title":"Catalogue of European Sculpture in the Ashmolean Museum, 1540 to the present day"},{"@link":{"notes":"Publ. Illustrated in colour with short text","page":"168","type":"reference"},"admin":{"id":"publication-382","uid":"adlib-publication-382","uuid":"ee5148de-e3eb-3d38-88db-9a331edf70b6"},"summary_title":"Treasures of the Fitzwilliam Museum"},{"@link":{"type":"reference"},"admin":{"id":"publication-1086","uid":"adlib-publication-1086","uuid":"d973f565-91a8-33f4-a783-98dcc5b1adbb"},"summary_title":"Western European Bronzes of the Nineteenth Century"},{"@link":{"type":"reference"},"admin":{"id":"publication-1087","uid":"adlib-publication-1087","uuid":"93de7855-f2b6-3250-a471-841ca5b5ae1c"},"summary_title":"Victorian High Renaissance"},{"@link":{"notes":"Cf. Another, pp. 80-1, lot 381 (Valued at c.\u00a315-25,000)","page":"pp. 80-1","type":"reference"},"admin":{"id":"publication-2875","uid":"adlib-publication-2875","uuid":"2d07d605-053f-3485-9491-ab75245a2fdb"},"summary_title":"Antiquities, Works of Art and Important Renaissance Bronzes, Plaquettes and Limoges Enamels, 8th July 1981"},{"@link":{"type":"reference"},"admin":{"id":"publication-2462","uid":"adlib-publication-2462","uuid":"2f16f7f5-3ac4-3747-bad1-2d567df4dbcf"},"summary_title":"Nineteenth Century European Paintings, Drawings and Sculpture"},{"@link":{"notes":"Cf. p. 126, lot 250, another 14 in. high. (Estimate \u00a39-12,000)","page":"p. 126","type":"reference"},"admin":{"id":"publication-2876","uid":"adlib-publication-2876","uuid":"34a26c6e-3e40-3c90-8596-15e5b170b555"},"summary_title":"Victorian Paintings and Sculpture"},{"@link":{"notes":"Cf. Two more, pp. 86-7, lot 54 (72.5 cm.) (Est. \u00a315-20,000), lot 56 (Est. \u00a36-8,000) (37.00 cm.)","page":"pp. 86-7","type":"reference"},"admin":{"id":"publication-2878","uid":"adlib-publication-2878","uuid":"dd9ca8a5-9ffe-35c3-8d30-6efea7add8bc"},"summary_title":"Nineteenth Century European Paintings, Drawings and Sculpture Part I"},{"@link":{"notes":"Cf. Another 71.7 cm high, pp. 90-1, lot 133. (Estimate \u00a340-60,000)","page":"pp. 90-1","type":"reference"},"admin":{"id":"publication-2399","uid":"adlib-publication-2399","uuid":"f46aa2b2-e379-3d5b-9c14-a56d29a49244"},"summary_title":"The Nineteenth Century"},{"@link":{"type":"reference"},"admin":{"id":"publication-1088","uid":"adlib-publication-1088","uuid":"6c5e5fd0-4cdc-337e-994a-23ceddc47762"},"summary_title":"Pre-Raphaelite Sculpture, Nature and Imagination in British Sculpture 1848-1914"},{"@link":{"notes":"Cf. Another 73 cm. high, p. 84, lot 181. (Estimate \u00a318-22,000; fetched \u00a334,500)","page":"p. 84","type":"reference"},"admin":{"id":"publication-2180","uid":"adlib-publication-2180","uuid":"442625f1-2f91-36db-a711-7099a21a4385"},"summary_title":"19th and 20th Century Sculpture"},{"@link":{"notes":"Cf. An Italian cast by Fonderia Nelli, Roma, pp. 96-8, lot 133. (Estimate \u00a340-50,000; fetched \u00a384,000).","page":"pp. 96-8","type":"reference"},"admin":{"id":"publication-2170","uid":"adlib-publication-2170","uuid":"8ab2d354-caec-3cd7-91d5-ecf357bfa9b2"},"summary_title":"19th and 20th Century Sculpture, 21st November 1995"},{"@link":{"type":"reference"},"admin":{"id":"publication-5348","uid":"adlib-publication-5348","uuid":"34db80a1-cc6d-38f6-8148-1107e898a8e8"},"summary_title":"European sculpture and works of art 900-1900"},{"@link":{"notes":"Cf. Another, 36.5 cm high (including integral base), pp. 234-5, lot 151. 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The central panel is entitled 'Then Aeneas Wept' and the right-hand 'The Form of the Gods'. 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F.2.","page":"p. 105","type":"reference"},"admin":{"id":"publication-1048","uid":"adlib-publication-1048","uuid":"3731e4a6-d392-3c17-9cbb-1cb7a099cfbb"},"summary_title":"Victorian and Edwardian Decorative Art , The Handley-Read Collection"},{"@link":{"notes":"Publ. p. 27","page":"p. 27","type":"reference"},"admin":{"id":"publication-1096","uid":"adlib-publication-1096","uuid":"1acb92f5-c916-300e-af89-325c26fc38a4"},"summary_title":"Reverie Myth, Sensuality: Sculpture in Britain 1880-1910"},{"@link":{"notes":"Ref. Mentioned in connection with an example of the central panel of the triptych, 'Then indeed Aeneas Weeps', see, p. 215, lot 386. A complete set is in the Glasgow Art Gallery. 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