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One of these is dated 1837, and is now in the Victoria and Albert Museum: it is thought to be the work called \u2018Group, Maternal Affection\u2019 (no. 1179) that he exhibited at the Royal Academy in 1837. The Fitzwillam\u2019s marble is a copy of this, carved four years later. 'Maternal Affection' was so popular that it was also reproduced on a reduced scale in Parian ware, a newly invented type of porcelain. This made the composition available to aspiring middle class collectors."},{"value":"The son of a ship\u2019s carver, Baily began his career as a modeller in wax. He spent seven years in John Flaxman\u2019s studio, acknowledged as his favourite and most devoted pupil. He came to fame in 1818 with his statue, 'Eve at the Fountain', but his most famous work is the portrait of Lord Nelson atop Nelson\u2019s Column in Trafalgar Square."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106851","uid":"adlib-term-106851","uuid":"e155f998-1e0b-3f2a-851c-24f44d05dd59"},"summary_title":"19th Century, Mid"}],"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-37963","uid":"adlib-term-37963","uuid":"929f6c25-5677-3624-90d4-f6d882da98ec"},"summary_title":"white marble"}}],"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"91.5"}]},"multimedia":[{"@link":{"type":"reference"},"admin":{"id":"media-206360","uid":"adlib-media-206360","uuid":"c8b4d797-d744-3d6d-8f1e-ca48c1083360"},"processed":{"large":{"format":"jpeg","location":"aa\/aa37\/large_m_3_1974_1_201402_mfj22_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":819},{"dimension":"width","units":"pixels","value":1024}]},"modified":1742598948463,"resizable":true,"type":"image"},"mid":{"format":"jpeg","location":"aa\/aa37\/mid_m_3_1974_1_201402_mfj22_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":400},{"dimension":"width","units":"pixels","value":500}]},"modified":1742598948463,"resizable":true,"type":"image"},"original":{"format":"jpeg","location":"aa\/aa37\/m_3_1974_1_201402_mfj22_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":820},{"dimension":"width","units":"pixels","value":1025}]},"modified":1742598948463,"resizable":true,"type":"image"},"preview":{"format":"jpeg","location":"aa\/aa37\/preview_m_3_1974_1_201402_mfj22_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":200},{"dimension":"width","units":"pixels","value":250}]},"modified":1742598948463,"resizable":true,"type":"image"}},"sort":"0","type":{"base":"media","type":"image"}}],"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-110220","uid":"adlib-term-110220","uuid":"e22d3544-a393-3f19-9be4-dc2632ca9942"},"summary_title":"figure group"}}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"project":[{"@link":{"role":[{"value":"reference number"}],"type":"literal"},"name":[{"type":"name","value":"Sculpture UK"}],"summary_title":"Sculpture UK"}],"publications":[{"@link":{"notes":"Ref. see p. 120 and illustration, p. 121","page":"pp. 120-1","type":"reference"},"admin":{"id":"publication-200000793","uid":"adlib-publication-200000793","uuid":"226a441e-7df2-35d1-9d8b-55e0fa28cab5"},"summary_title":"Maternal Love. Baily."},{"@link":{"notes":"Cf. p. 12, fig. 6, a watercolour design for a marble chimney piece ornamented with Parian figures, including on the top right end, Maternal Affection. The authors describe its maker as unknown.","page":"12","type":"reference"},"admin":{"id":"publication-3696","uid":"adlib-publication-3696","uuid":"5c3f4560-6fd0-3fcd-9629-de48b64bea5c"},"summary_title":"The Parian Phenomenon, A Survey of Victorian Parian Porcelain Statuary and Busts"},{"@link":{"notes":"Cf. p. 186-7, no. 264, a marble dated 1837 in the Victoria and Albert Museum A.33-1964. . The authors discuss the known examples of the group. The Fitzwilliam's example is mentioned on p. 187.","page":"186-7","type":"reference"},"admin":{"id":"publication-3759","uid":"adlib-publication-3759","uuid":"73edca64-3289-371a-bf69-0300633e25ed"},"summary_title":"British Sculpture 1470 to 2000, A Concise Catalogue of the Collection at the Victoria and Albert Museum"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-110220","uid":"adlib-term-110220","uuid":"e22d3544-a393-3f19-9be4-dc2632ca9942"},"summary_title":"figure group"}},"summary_title":"figure group","techniques":[{"description":[{"value":"white marble, carved in the round"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-98865","uid":"adlib-term-98865","uuid":"aeb90103-2708-3cdf-abc1-219c45a070e9"},"summary_title":"carving"}}],"title":[{"value":"Maternal Affection"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-12462","_score":17.352608,"_source":{"admin":{"added":1592999344000,"created":1312637261000,"flag":"Standard Record","id":"object-12462","indexed":1747159877154,"modified":1702908159000,"processed":1747159409017,"source":"adlib","stream":"fitz-online","uid":"adlib-object-12462","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/12462","uuid":"74bcf3cd-a16e-3094-920c-d372b55c84e1","version":6},"agents":[{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-153018","uid":"adlib-agent-153018","uuid":"551b335f-6ff3-316a-a839-604eff4c2681"},"summary_title":"Truth"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-153017","uid":"adlib-agent-153017","uuid":"f9a7da7b-146c-39e0-8476-5fb40763fed6"},"summary_title":"Falsehood"}],"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-98228","uid":"adlib-term-98228","uuid":"3d747999-296f-3944-9a84-2936c3ae9f5c"},"summary_title":"sculpture"}],"component":[{"measurements":{"dimensions":[{"dimension":"Depth","units":"cm","value":"43.1"},{"dimension":"Height","units":"cm","value":"57.8"},{"dimension":"Width","units":"cm","value":"29.4"}]},"name":"Sculpture"}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-102639","uid":"adlib-term-102639","uuid":"2c240716-c1bb-36c4-9594-b0a98f1208c2"},"summary_title":"allegory"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Bronze cast of one of the sketch models for the Wellington Monument in St Paul's Cathedral, London. Truth, with one foot pressed against the breast of Falsehood, is pulling out his endless tongue. His mask has been pushed up to reveal a brute's face, and his body ends in a coiling fishy tail. Black patina. On the side of the plinth is inscribed 'Alfred Stevens.No.1.'"}],"identifier":[{"accession_number":"M.1A-1953","primary":true,"type":"accession number","value":"M.1A-1953"},{"priref":"12462","type":"priref","value":"12462"},{"source":"Art UK","type":"external ID","value":"CAM_CCF_M_1A_1953"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/12462","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/12462"}],"inscription":[{"location":"on the side of the plinth","method":"inscribed","transcription":[{"value":"Alfred Stevens.No.1."}]}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Bequeathed by Mrs Constance Rea"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-152221","uid":"adlib-agent-152221","uuid":"e9d7d057-e4ac-31f7-9397-7fcf7eb39531"},"summary_title":"Rea, Constance"}],"date":[{"earliest":1953,"latest":1953,"value":"1953"}],"method":{"value":"bequeathed"},"note":[{"value":"Entry date: 1953-02-26"}]}],"creation":[{"date":[{"earliest":1877,"from":{"earliest":1877,"era":["CE"],"latest":1877,"precision":"after","value":"1877"},"latest":1914,"note":[{"value":"The models by Stevens date from c. 1863. The earliest documented example of Truth and Falsehood and its pair Valour and Cowardice were cast in 1896 by J.W.Singer and Sons in Frome, Somerset (now Victoria and Albert Museum, London, nos 264-1896 and 265-1896). The date when the present bronze and its pendant were cast is unknown, but they were likely produced at some point after 1877 (when Davis bought the plaster models) and before 1914 (when he gave the plaster models to Manchester City Art Gallery)."}],"range":true,"to":{"earliest":1914,"era":["CE"],"latest":1914,"precision":"before","value":"1914"}}],"maker":[{"@link":{"role":[{"value":"sculptor"}],"type":"reference"},"admin":{"id":"agent-130331","uid":"adlib-agent-130331","uuid":"f95f28ac-13ef-3848-8ccc-ed140fd91227"},"summary_title":"Stevens, Alfred George"}],"note":[{"value":"This bronze and its pendant, 'Valour and Cowardice' (M.1B-1953), were cast from a pair of plaster models purchased by the financier and art patron Edmund Davis in 1877 at the posthumous sale of Stevens' studio contents. Davis had them cast (date unknown) and later gave them to his sister-in-law, Mrs Constance Rea. The lifetime plaster models from which Davis had these bronzes cast are most likely those which he gave to Manchester City Art Gallery in 1914 (1914.60 - 'Valour and Cowardice' and 1914.61 - 'Truth and Falsehood')."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-120900","uid":"adlib-term-120900","uuid":"388bb85e-e90a-3417-a007-99f254a808c0"},"summary_title":"19th Century, Late-20th Century, Early"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-106216","uid":"adlib-term-106216","uuid":"825b8379-ec94-388e-9a59-624e40c090d0"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"note":[{"value":"possibly London"}],"summary_title":"London"}]}]},"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-40365","uid":"adlib-term-40365","uuid":"d79c75c2-da7b-3187-918e-f7a374e04005"},"summary_title":"bronze"}}],"measurements":{"dimensions":[{"dimension":"Height","units":"in","value":"23.0"}]},"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107454","uid":"adlib-term-107454","uuid":"6ca0f2ab-c1f8-329d-8a45-8f1322f53a20"},"summary_title":"figure"}}],"note":[{"type":"history note","value":"Sir Edmund Davis (brother-in-law to the testator); Mrs Constance Rea"}],"objects":[{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-12464","uid":"adlib-object-12464","uuid":"9abf6bd3-a563-38cc-bf59-ae7902a369ca"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107454","uid":"adlib-term-107454","uuid":"6ca0f2ab-c1f8-329d-8a45-8f1322f53a20"},"summary_title":"figure"}},"summary_title":"figure"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"project":[{"@link":{"role":[{"value":"reference number"}],"type":"literal"},"name":[{"type":"name","value":"Sculpture UK"}],"summary_title":"Sculpture UK"}],"publications":[{"@link":{"type":"reference"},"admin":{"id":"publication-1089","uid":"adlib-publication-1089","uuid":"c854b59c-8d01-33c9-8dbc-de131d7dbbce"},"summary_title":"British Sculpture 1850-1914"},{"@link":{"notes":"Publ. pp. 161-2, no. 572","page":"pp. 161-2","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":"Cf. pp. 64-5, lot 34 (with Valour and Cowardice). (Estimated for both \u00a310-15,000)","page":"pp. 64-5","type":"reference"},"admin":{"id":"publication-2171","uid":"adlib-publication-2171","uuid":"07e46ce1-10a2-3868-aea6-739f0735724b"},"summary_title":"Nineteenth Century European Paintings Drawing and Sculpture, 20th June 1989"},{"@link":{"notes":"Cf. A bronze in the Victoria and Albert Museum, p. 377, no. 580, date c. 1876-96. See also a full-size plaster model for the Wellington Monument, designed in 1857, of about 1866, p. 376, no. 578, and a small rougher plaster, pp. 376-7, no. 579","page":"376-7","type":"reference"},"admin":{"id":"publication-3759","uid":"adlib-publication-3759","uuid":"73edca64-3289-371a-bf69-0300633e25ed"},"summary_title":"British Sculpture 1470 to 2000, A Concise Catalogue of the Collection at the Victoria and Albert Museum"},{"@link":{"notes":"Cf. pp. 427-9, no. 193, illustrated p. 429. Bewer notes that there are fifteen known pairs of Truth and Falsehood and Valour and Cowardice, with three documented signed and numbered sets (nos 1, 4 and 5 - no. 1 being the set in the Fitzwilliam Museum).","page":"427-30 (entry by Francesca Bewer)","type":"reference"},"admin":{"id":"publication-4674","uid":"adlib-publication-4674","uuid":"ea485ea3-0787-38b1-9711-ab9123d3b87f"},"summary_title":"A Private Passion. 19th-Century Paintings and Drawings from the Grenville L. 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The sitter is turned to the front, facing and looking half left. He is bare-headed, shows his own hair and is clean-shaven. He has a bare throat, with drapery round the shouldes and neck, with an end hanging in front over his right shoulder."}],"exhibitions":[{"@link":{"catalogue":"14","type":"reference"},"admin":{"id":"exhibition-18","uid":"adlib-exhibition-18","uuid":"d710f826-fb52-350a-bae1-4630a842e7cb"},"summary_title":"Treasures of Cambridge"}],"identifier":[{"accession_number":"M.18-1947","primary":true,"type":"accession number","value":"M.18-1947"},{"priref":"30986","type":"priref","value":"30986"},{"source":"Art UK","type":"external ID","value":"CAM_CCF_M_18_1947"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/30986","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/30986"}],"inscription":[{"location":"at the back","method":"inscribed","transcription":[{"value":"Nollekens Ft\/1806"}]}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by the first Lord Fairhaven"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-156697","uid":"adlib-agent-156697","uuid":"0335cfc3-c4a3-3bb6-9c0f-7aa5c864961c"},"summary_title":"Lord Fairhaven"}],"date":[{"earliest":1947,"latest":1947,"value":"1947"}],"method":{"value":"given"},"note":[{"value":"Entry date: 1947-12-12"}]}],"creation":[{"date":[{"earliest":1806,"latest":1806,"note":[{"value":"posthumous"}],"value":"1806"}],"maker":[{"@link":{"role":[{"value":"sculptor"}],"type":"reference"},"admin":{"id":"agent-99604","uid":"adlib-agent-99604","uuid":"e22e3303-ccb6-3374-9623-c52bb63fa061"},"summary_title":"Nollekens, Joseph"}],"note":[{"value":"Son of Pitt the Elder, William Pitt the Younger was a prominent British statesman of the Tory party. Educated at Pembroke College, Cambridge, he entered Parliament in 1781 and was appointed Chancellor of the Exchequer in 1782. He served as Prime Minister between 1783\u20131801 (the youngest in British history) and 1804\u201306. His death mask was the basis for this posthumous bust as well as for the full-length statue in the Senate House, Cambridge."},{"value":"The sculptor Nollekens was trained in London by Peter Scheemakers. He then spent eight years in Rome (1762\u201370) working with Bartolomeo Cavaceppi restoring and copying antique marbles. On his return to England, he quickly gained a reputation for classicising portrait busts, monuments, and architectural sculpture. He became a Royal Academician in 1772 and continued to exhibit there until 1816. Nollekens was extremely prolific and successful but lived meanly, and was described unflatteringly as a miser by his biographer J.T. Smith. Smith stated that Nollekens and his workshop produced 74 marble versions of this particular bust which were sold at 120 guineas each, and 600 plaster casts sold at 6 guineas each. Given that the Fitzwilliam\u2019s version is signed and dated 1806, it is likely to be amongst the first carved."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106498","uid":"adlib-term-106498","uuid":"272179a1-524b-3f36-aab7-bf342ce484d6"},"summary_title":"19th Century, Early"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-106216","uid":"adlib-term-106216","uuid":"825b8379-ec94-388e-9a59-624e40c090d0"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"note":[{"value":"possibly London"}],"summary_title":"London"}]}]},"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-37963","uid":"adlib-term-37963","uuid":"929f6c25-5677-3624-90d4-f6d882da98ec"},"summary_title":"white marble"}}],"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-23035","uid":"adlib-term-23035","uuid":"f9693b6b-2e4a-3666-acf8-973403f65fce"},"summary_title":"bust"}}],"note":[{"type":"history note","value":"Formerly at Orwell Park, Suffolk; bought by Messrs Leonard Partridge, London, from whom it was bought by the donor."}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"project":[{"@link":{"role":[{"value":"reference number"}],"type":"literal"},"name":[{"type":"name","value":"Sculpture UK"}],"summary_title":"Sculpture UK"}],"publications":[{"@link":{"notes":"Publ. p. 101, no. 158","page":"p. 101","type":"reference"},"admin":{"id":"publication-709","uid":"adlib-publication-709","uuid":"b6198d7b-a068-312d-bee5-3a4f7c0b71a5"},"summary_title":"Catalogue of Cambridge Portraits I The University Collection"},{"@link":{"type":"reference"},"admin":{"id":"publication-125","uid":"adlib-publication-125","uuid":"603c8dec-633d-3407-800f-0f5c83f5a4ab"},"summary_title":"Treasures of Cambridge (Illustrations)"},{"@link":{"notes":"Publ. p. 14","page":"p. 14","type":"reference"},"admin":{"id":"publication-2454","uid":"adlib-publication-2454","uuid":"9017622a-4320-38c0-b51b-bb433ac8a5fe"},"summary_title":"The Daily Telegraph, 17 March 1959"},{"@link":{"type":"reference"},"admin":{"id":"publication-2456","uid":"adlib-publication-2456","uuid":"4484128f-702f-3b35-bd2b-6d7adced6664"},"summary_title":"Sotheby's Sale Catalogue, 16th November 1962"},{"@link":{"notes":"Cf. 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He showed us this mould, from which it is evident that the good man had passed beyond all feeling \u2026 the veins were still pulsing with the last beats of his charitable heart; pensiveness and spiritual suffering still left their mark on the tender, manly features.\u2019 The Fitzwilliam\u2019s bust must be one of these six semi-completed busts, and may have been commissioned by John Savile, 2nd Earl of Mexborough (1761\u20131830), presumably a relative of the sitter, as he is the first known owner."},{"value":"The sculptor Nollekens was trained in London by Peter Scheemakers. He then spent eight years in Rome (1762\u201370) working with Bartolomeo Cavaceppi restoring and copying antique marbles. On his return to England, he quickly gained a reputation for classicising portrait busts, monuments, and architectural sculpture. He became a Royal Academician in 1772 and continued to exhibit there until 1816. 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Another, p. 80, lot 107 (Estimate \u00a38,000-12,000; fetched \u00a313,225). An extremely detailed text is provided with bibliography.","page":"p. 80","type":"reference"},"admin":{"id":"publication-2400","uid":"adlib-publication-2400","uuid":"e3e37889-e6ad-3836-a071-17cab63ee51e"},"summary_title":"Nineteenth and Twenty Century Sculpture"},{"@link":{"notes":"Cf. pp. 242-3, nos. 366 and 367, two larger terracottas in the Victoria and Albert Museum, A.8-1993, and A.27-1912., the former signed and dated 1873. That versio was made for Sir Lionel Coutts Lindsay, and was exhibited at the Royal Academy in that year. The author's mention an example 45 cm high, signed and dated 1872, in a private collection (named). The Fitzwilliam's is mentioned on p. 243.","page":"242-3","type":"reference"},"admin":{"id":"publication-3759","uid":"adlib-publication-3759","uuid":"73edca64-3289-371a-bf69-0300633e25ed"},"summary_title":"British Sculpture 1470 to 2000, A Concise Catalogue of the Collection at the Victoria and Albert Museum"},{"@link":{"notes":"Cf. The only recorded marble, 37 cm high, from the collection of Sir Robert Adby, and by descent to the vendor. Estimate \u00a330-50,000","page":"122-3","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. p. 125, lot 108, a bronze version of the Boulonnaise allaitant son enfant, cast by Susse Fr\u00e8res, after Dalou's death. This differs significantly from the terracotta in the Fitwilliam, but is cited to show the development of the theme by Dalou.","page":"125","type":"reference"},"admin":{"id":"publication-5299","uid":"adlib-publication-5299","uuid":"8566cb57-2e31-3d4b-83de-5bd12880df4a"},"summary_title":"European Sculpture & Works of Art"},{"@link":{"notes":"Cf. p. 134, lot 144, a terracotta, 51.5 cm high. 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A boy 'recording angel' sits at his feet taking down the notes."}],"exhibitions":[{"@link":{"catalogue":"2","type":"reference"},"admin":{"id":"exhibition-1273","uid":"adlib-exhibition-1273","uuid":"e066a7f8-4979-33ba-acc2-31a503fb2397"},"summary_title":"Handel and the Fitzwilliam Museum"},{"@link":{"catalogue":"F 9","type":"reference"},"admin":{"id":"exhibition-654","uid":"adlib-exhibition-654","uuid":"71d91f5d-ff07-35f5-923f-5ee87da17aa7"},"summary_title":"Rococo: Art and Design in Hogarth's England"},{"@link":{"catalogue":"6","type":"reference"},"admin":{"id":"exhibition-1424","uid":"adlib-exhibition-1424","uuid":"d3062293-286d-31da-91bc-2a7db4fcacbf"},"summary_title":"Handel, A Celebration of his Life and Times 1685-1759"},{"@link":{"catalogue":"C.36","type":"reference"},"admin":{"id":"exhibition-2373","uid":"adlib-exhibition-2373","uuid":"468bb6a8-edac-3df0-890f-1d3aff9e4595"},"summary_title":"Silent Partners: Artist and Mannequin from Function to Fetish"},{"@link":{"type":"reference"},"admin":{"id":"exhibition-3311","uid":"adlib-exhibition-3311","uuid":"58387055-a3d9-3ae0-b728-d65b826d1db4"},"summary_title":"Opera: Passion, Power and Politics"}],"identifier":[{"accession_number":"M.3-1922","primary":true,"type":"accession number","value":"M.3-1922"},{"priref":"29736","type":"priref","value":"29736"},{"source":"Art UK","type":"external ID","value":"CAM_CCF_M_3_1922"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/29736","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/29736"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by Captain E.G. 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This bronze reduction cast at an unknown date after 1883."}],"precision":"after","value":"1883"}],"maker":[{"@link":{"role":[{"value":"sculptor"}],"type":"reference"},"admin":{"id":"agent-51985","uid":"adlib-agent-51985","uuid":"bd8f6272-daa3-3bb6-8203-ba1546060e33"},"summary_title":"Gilbert, Alfred"}],"note":[{"value":"In Greek mythology, Perseus was son of Zeus (king of the gods) and the mortal Dana\u00eb. His greatest feat was to slay Medusa, the snake-haired Gorgon monster. It was as a mighty athletic victor, holding aloft Medusa\u2019s severed head, that  Benvenuto Cellini (1500-71) famously portrayed him in the 1550s. Gilbert spent several years in Italy studying Renaissance art, and Perseus Arming is his deeply personal, autobiographical response to Cellini\u2019s prototype. Gilbert said:\n'amazed as I was by that great work, it still left me somewhat cold, insomuch that it failed to touch my sympathies. 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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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.) 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(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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