VICTORIA Adelaide Mary Louisa, Princess Royal of England and Princess Royal of Prussia (1840-1901) Lady Jane Grey reading (1537 -1554) and Mary Stuart at prayer (1542-1587) Models created in 1860 Pair of plaster bas-reliefs Bearing a label on the front: "Moulage d'un Bas-relief/exécuté par la/ princesse royale de Prusse/ mère de Guillaume II/ née princesse royale/ d'Angleterre/ Elève du baron de Triqueti" and a label with the handwritten inscription on the reverse: "Fait et offert au baron Henry de Triqueti / Par la Princesse royale de Prusse/ Princesse royale d'Angleterre". 40 x 40 cm in a light wood frame, 57x55.5cm and 60x56cm Damage and restoration to the relief of Jane Grey Provenance: - Presented by Princess Victoria of Prussia to Henry de Triqueti in 1864 during his stay in Germany. - Château du Perthuis. Related work: Hills & Saunders (1852-2019), Organ Room or Prince Consort's Reception Room, Buckingham Palace, 1873, photograph, 15.6 x 20.5 cm, Royal Collection Trust, inv. no. RCIN 2101749; https ://www.rct.uk/collection/2101749 Bibliography : - Richard Dagorne and Nerina Sanotorius, "A la cour de Prusse", ss dir. I. Leroy-Jay Lemaistre, Henry de Triqueti 1803-1874, Le Sculpteur des Princes, cat. exp, Orléans, musée des Beaux-Arts, Montargis, musée Girodet de Montargis, October 3, 2007-January 6, 2008, Paris, Hazan, pp. 166-175, illustrated p. 169 ; - Jonathan Marsden, "Princess and Pupil. New works by Susan Durant and Victoria, Princess Royal of Prussia", in Kulturgeschichte Preussens-Vorträge und Foschungen 8, 2023, online. Related literature: - Wilfried Rogasch, ed, Victoria & Albert, Princess Victoria & the Kaiser, exhibition catalogue, Deutsches Historisches Museum, Berlin, Deutsches Historisches Museum, Berlin, 1998; - Andreas Donler, Christine Klössel, Markus Miller, Im Schatten der Krone: Victoria Kaserin Friedrich : 1840 - 1901 : ein Leben mit der Kunst : Hessische Hausstiftung, Museum Schloss Fasanerie, Eichenzell bei Fulda, Cat. Exhibition held from June 02 to October 31, 2001. These two plaster works, produced in 1860, depict two famous 16th-century queens, Lady Jane Grey (1537-1554) and Mary Stuart (1542-1587), one reading, the other at prayer. The depiction of these heroines of English dynastic history reflects the mid-nineteenth-century historicist appeal of staging historical episodes depicting personalities from the medieval and renaissance eras, and, in Romantic fashion, illustrating tragic destinies. Conceived by the eldest daughter of Queen Victoria and Prince Consort Albert of Saxe-Coburg-Gotha, Princess Victoria, they took on a highly political significance that surpassed these fashionable subjects. From an early age, Princess "Vicky" showed an interest in the arts. Her father, Prince Albert, encouraged her in her work as a sculptor, explaining that modeling was "even more attractive than painting, because the thought is really incorporated". While Princess Louise received lessons from Triqueti's pupil Susan Durant after the Prince Consort's death, it is not certain that Victoria personally received lessons from Triqueti. She took up this activity in the late 1850s, after her marriage in 1858 to Prince Frederick of Hohenzollern, following his departure to Germany to head his new court. She mainly painted portraits of her entourage - family members and courtiers. In June 1861, she sent from Berlin a plaster portrait of her mother-in-law, Augusta de Saxe-Weimar Eisenach, Queen of Prussia (1811-1890) (unlocated). After her father's untimely death in 1861, she worked on his posthumous portrait, transposed in marble by Berlin sculptor Hugo Hagen (Victoria Princesse royale de Prusse, Albert, Prince Consort, 1864, marble, H. 77.5 cm, Royal Collection, Windsor Castle, RCIN 31609). [...] WE INVITE YOU TO CONSULT THE DETAILED DESCRIPTION BY DOWNLOADING THE DOCUMENT "FICHE COMPLÈTE" OR BY REFERRING TO THE PDF CATALOG.