Last year, Jonathan Marsden, formerly Surveyor of the Queen’s Works of Art and Director of the Royal Collection, produced the magnificent catalogue of sculpture in the Royal Collection, under review here. Some PSSA members may have had the good fortune to attend the online lecture he gave on just one element of the collection last autumn: this was on portraits in the collection. Because the extent of the holdings is so vast, and Jonathan has devoted more than a decade to researching and writing about the sculptures, he has in fact energetically lectured on many aspects of the collection to difference audiences over the last few months, conscientiously avoiding repeating the same talk. His commitment and energy are evident in the wealth of information he provides in this superbly produced catalogue. Although the author thanks a number of colleagues who assisted him in its preparation, he is clearly the sole author, and his mammoth achievement should be fully acknowledged.

The extensive introduction of over 100 pages discusses the history of the royal collection, including individual members of the royal family who amassed or were given works of art over the centuries. Famously, Queen Victoria and Prince Albert were avid collectors of contemporary sculpture. In addition, George IV keenly acquired works of art. Perhaps less well known as a collector was Queen Elizabeth, the Queen Mother, the mother of Queen Elizabeth II. Marsden illuminates in many cases the stories behind acquisitions or commissions. From at least the seventeenth century onwards sculptors were given official appointments, though only intermittently. Maximilian Colt (d. 1641) is recorded as Master Sculptor or Master Carver in around 1630. When Hubert Le Sueur (c. 1580 –1658) arrived in Britain he worked virtually continuously for the crown, though he never held an official appointment. Later sculptors favoured by monarchs include Francis Chantrey (1781–1841) and William Reid Dick (1878–1961).
One of the earliest and most celebrated sculptures in the royal collection is the Head of a Laughing Child, a painted and gilded terracotta bust, thought to be by the Italian artist Guido Mazzoni (c. 1445 –1518). Marsden’s extensive entry is typical of the whole catalogue: he delves deeply into the history and condition of the bust and its former attributions, convincingly ascribing it to Mazzoni. Similarly, the fine collection of bronzes by Francesco Fanelli (1577 – c. 1661) is meticulously analysed.

The four books, clothbound in a handsome slip case, are arranged chronologically. Over 1600 individual sculptures are included, and they certainly vary in quality. But a good proportion (such as the sixteenth- and seventeenth-century works noted above), are of the utmost importance. In aggregate, the collection is a fascinating panorama of the tastes and collecting of succeeding generations of kings and queens. Perhaps Joseph Edgar Boehm (1834 –1890) is rather generously represented; he was certainly a great favourite of Victoria and Albert, as well as their daughter Princess Louise (1848 –1939), whom he taught. Indeed, a number of women sculptors are represented in the royal collection. Apart from works by Princess Louise, sculptures by Harriet Hosmer (1830–1908) and Susan Durrant (1827–1873), amongst others, are to be found in the collection.  The range of sculptures and artists is highly impressive: fine works by Michael Rysbrack (1694 –1770) and Alfred Gilbert (1854 –1934) are likewise in evidence. Marsden frequently notes comparative works in other collections, such as the Victoria and Albert Museum. He also methodically recounts the successive locations of many sculptures at Windsor and elsewhere. This accumulation of exceptionally interesting information no doubt reflects the available documentation within the collection, on which Marsden was able to draw. Although there are occasional gaps in the provenances or the origin of some sculptures on occasion, the history of this varied and rich assemblage of works of art is expertly presented.

The critical apparatus is faultless, with a comprehensive bibliography and an extremely helpful index. The author has chosen to give the titles of the works of art as the headline in each entry, with the name of the sculptor assigned to the next line. There are no running heads at the top of each page, with names of artists. When a sculpture is inscribed, the signature and date are given in the ‘hardcore’ information at the start of each entry (where we can also find materials and measurements). Often the date is simply not known, and it was evidently decided not to give an approximate date. Sometimes such information can be gauged within the text of the entry, even if it is not set out separately. This may be seen as a drawback for some readers. But there is no question this is tremendous publication, both scholarly and beautifully designed and set out. Marsden’s text is lucid and highly accessible. In many instances he has clarified, and re-attributed sculptures previously wrongly assigned. This catalogue, which in fact comprises four massive tomes, will be a virtually unparalleled work of reference for all sculpture lovers for many years to come. Although the price of the hardcopy publication is eye-wateringly high, even on Abebooks or Amazon, excellent images of some of the sculptures can be found online.

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