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The Ancient Home - Queen Victoria Bust Sculpture White Cast Marble 40cm / 15.7 inch Indoor and Outdoor

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In 1790 he met the love of his life, the famous actress Dorothea Jordan and lived with her for the next 20 years, fathering ten children. Dorothea was cruelly abandoned with a pay-off so that William was free to marry Princess Adelaide of Saxe-Meiningen in 1818, 20 years his junior. Their two daughters died in infancy. The Duke of Kent Key events in The Queen Victoria [ edit ] The Queen Victoria's bust of Queen Victoria (pictured on display at the Elstree and Borehamwood Museum) was used from 1993 until 2010, and from 2012 onwards. 1980s While attempting to prevent their father, Max Branning ( Jake Wood), from committing suicide, Lauren Branning ( Jacqueline Jossa) and Abi Branning ( Lorna Fitzgerald) fall from the roof of the pub in the same place as their half-brother, Bradley Branning ( Charlie Clements). Lauren survives the fall, while Abi later dies of her injuries in hospital. Queen Victoria’s direct agency in commissioning such photographs is evidenced by bills and receipts that survive in the Royal Archives. See, for example, Windsor, Royal Archives, Bill, with receipt, issued by William Bambridge for photography and printing photographs, 31 March–25 April 1862, RA PPTO/PP/QV/PP2/60/3477. With the permission of Her Majesty Queen Elizabeth II.

No-one ever, I believe, has met with such an ovation as was given to me, passing through those six miles of streets... The crowds were quite indescribable and their enthusiasm truly marvellous and deeply touching. The cheering was quite deafening and every face seemed to be filled with joy. [3] A fight breaks out between the Slaters and the Truemans, resulting in Paul Trueman ( Gary Beadle) being arrested for assault. Is this photograph posed, cropped or revealing a certain perspective? [close up, panoramic, long shot, medium shot, landscape or portrait] The Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest is an independent body, serviced by The Arts Council, which advises the Secretary of State for Culture, Media and Sport on whether a cultural object, intended for export, is of national importance under specified criteria.God bless our Queen, not Queen alone, but mother, friend, and Queen in one’: mourning, photography, and empire Unknown photographer, Interior View of Queen Victoria’s Apartment, glass plate negative, Royal Collection, RCIN 2084880. The incorporation of death into family portraiture, as manifested by the regular inclusion of Theed’s bust of Prince Albert, introduced a visual composition which was echoed in many paintings throughout Victoria’s later reign. Arguably, one of the most successful paintings depicting the Queen in mourning was Albert Graefle’s portrait of her. 9 Graefle was a close associate of Franz Xaver Winterhalter, a painter especially favoured by the royal family. In this painting Victoria is shown in mourning dress. On the table next to her is a box of Foreign Office papers and a bust of Albert by Theed, implying Albert’s continued influence on Victoria’s political vision. When the Queen was sitting for this portrait, she wrote in her journal that Graefle was ‘such a clever painter & paints so fresh and cleanly. His likenesses are also very good.’ 10 This painting was clearly admired by Victoria, as a surviving negative in the Royal Collection shows it prominently on display in her private apartments. 11 Importantly, Graefle’s portrait marks a shift in representation. Victoria wears the clothing and Mary Stuart shaped widow’s cap associated with a young widow. However, she is no longer solely looking in devotion at Albert’s bust but looks ahead to the future, while still reinforcing the visual narrative of their inseparable union. It is significant that it was not completed until 1864, three years after Albert’s death, and that portrait commissions during the intervening years were abandoned. 12 This suggests the complexity of the challenge in reconstructing a new visual identity for the Queen which, while satisfying personal and family needs, could also serve a national imperative. The indexicality of the photography the Queen commissioned and its established place in the material culture of mourning gave the photographs an emotional force that proved hard for portrait painters to achieve. Graefle’s painting, which seeks to combine the iconography of state portraiture in its inclusion of the Queen’s ermine-trimmed robes arranged over the chair on which she sits, presents a less convincing message about either the Queen’s private or her public body.

Photographic historian Patrizia Di Bello has previously discussed how a specific engraving after Ghémar’s photograph of Victoria and Princess Beatrice shows the Queen as exemplary of widowhood and motherhood, and also of feminine ways of looking. 22 Di Bello has written widely on women’s creation of photograph albums during the nineteenth century and how the tactility of photography was central to constructed notions of refined femininity (p. 10). In Ghémar’s portrait the Queen looks down at the photograph itself with a devoted gaze. In the engraving published in periodicals, the folds of Beatrice’s dress are emphasized much more than in the original photograph, indicating the strength of Victoria’s hold and the magnitude of the comfort she is seeking from the closeness of her children. At the time of this photograph, the Queen was forty-three and approaching the start of middle age. However, this photograph and its subsequent reproduction particularly emphasizes her maternal qualities. The widespread dissemination of this portrait is emblematic of Victoria’s aims to use the reproductive qualities of photography to publicly share her private mourning for the benefit of her people (Di Bello, p. 10). Tiffany Mitchell ( Martine McCutcheon) discovers her husband Grant's ( Ross Kemp) affair with her mother Louise Raymond ( Carol Harrison) whilst listening to the baby monitor. This results in not only her permanently ending her relationship with Grant, but her death days later after being run over accidentally by Frank Butcher ( Mike Reid). 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.

Victoria's unhappy childhood

Victoria was a skilled politician who presented herself as a devoted wife, doting mother, and grieving widow, which made her home-loving Victorian subjects love her. Kat Moon ( Jessie Wallace) slaps Roxy Mitchell ( Rita Simons) twice resulting in the two having a catfight in the pub, with Alfie Moon ( Shane Richie) and Michael Moon ( Steve John Shepherd) having to break it up.

Victoria's uncle, George IV was born in 1762, the eldest son of George III. He spent a long time as ‘king in waiting’, acting for nine years as Prince Regent. When he finally acceded to the throne in 1821, he had become spoiled, gluttonous, profligate, highly unpopular and ridiculed in the popular press. A brawl breaks out in the pub after Kat Slater ( Jessie Wallace) pushes Karen Taylor ( Lorraine Stanley) over a table after the pair argue as it is revealed that Mo Harris ( Laila Morse) tried to con people out of money by faking the death of Kat Moon ( Jessie Wallace). A bar stool is thrown out of one of the windows. W. & D. Downey, Hartley Colliery after the Accident, 30 January 1862, albumen prints and manuscript, Royal Collection, RCIN 2935022.a-b, 2935023, and 2935024. Duke Albrecht of Württemberg, the Queen's first cousin twice removed (representing the King of Württemberg) Did you know that there are a number of Victorian coins that are still classed as legal tender? These include:He instigated a strict set of rules intended to bolster up the power and position of Victoria’s mother, who was unpopular within the wider Royal family. These rules became known as the Kensington ‘System’. By the late 1870s, most denominations of British coins carried versions of the obverse design featuring Queen Victoria created by William Wyon and first introduced in 1838, the year after she acceded to the throne at the age of 18. The queen, approaching her 60th birthday, no longer resembled her numismatic depiction; and in February 1879, the private secretary to the queen, Sir Henry Ponsonby, informed the Deputy Master of the Royal Mint, [a] Charles Fremantle, that Joseph Edgar Boehm had been engaged to produce a medallic likeness of the queen that could be adapted for coinage purposes. Born in Austria, Boehm had trained as a medallist and had undertaken several sculptural commissions for the royal family. [1] Bianca Butcher ( Patsy Palmer) gives birth to her son Liam Butcher in the pub on Christmas Day 1998, assisted by Grant Mitchell ( Ross Kemp). Count Gleichen (Viktor Ferdinand Franz Eugen Gustav Adolf Constantin Friedrich Prinz von Hohenlohe-Langenburg) was the son of a half-sister of Queen Victoria. He served in the Royal Navy, and was promoted Admiral in 1887. After losing all his fortune in a bank crash, he became a professional sculptor and was accorded a studio in St James's Palace. He had been a pupil of William Theed (1804-1891), one of the sculptors favoured by Queen Victoria. Gleichen exhibited frequently at the Royal Academy, and his daughter Fedora, Countess Gleichen, also became a sculptor.

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