The synthesizing of the public and private, of personal grief and public authority, is also central to the global significance of Victoria’s photographs. The message they embodied of the universal experience of widowhood, and the importance of protecting and promoting the legacy of the dead, would usefully underpin monarchical ambition to consolidate social and political relations within the empire and beyond. Photographic images of the Queen were shared across the British Empire through the exchange and collecting of small-format photographs and through widespread reproduction in the illustrated press. After learning that Kathy Beale ( Gillian Taylforth) provided Ben Mitchell ( Max Bowden) with a false alibi, Ian Beale ( Adam Woodyatt) smashes up the bar area. By September, The Graphic was reporting that the new coins were scarce in circulation, and there was talk that many of them had been sent to the colonies. The withdrawn sixpence carried a premium, as did the five-pound piece, and some crowns had been gilded to pass for the five-pound coin. [46] The Sheffield Independent 's London correspondent reported on 17 September that the withdrawn sixpences were passing for half a crown each, and that in addition to the quantities of coin sent to the colonies, large amounts had been absorbed by jewellers, who placed them in ornaments, and by visitors to London seeking souvenirs of the Jubilee, especially Americans. [47] QVJ, RA VIC/MAIN/QVJ/1865, 27–28 November 1865. With the permission of Her Majesty Queen Elizabeth II.

The rooms that she grew up in provide a fascinating glimpse into her former life. The statue of her, created by her daughter Princess Louise and unveiled in 1893, still stands outside the palace today.As to the coins generally, they are singularly poor in design and feeble in execution. We have many die-sinkers in Birmingham who would have been ashamed to turn them out; and if the Mint can do nothing better, some of our own medalists might well be permitted to try their hands, with the certain result of redeeming the credit of the national coinage [...] unless a change is made sixpences will be electro-gilt and passed off as half-sovereigns by wholesale, for there is no appreciable difference between the two coins, either in weight or appearance [...] the worst thing of all about the coinage is, however, the portrait of the Queen; which is neither valuable as an accurate representation of Her Majesty, nor dignified if it is to be taken as an idealised effigy; while the odd-looking little crown, which seems to be falling off, renders the portrait absolutely ludicrous. [38] It was an age of innovation. Fabulous construction such as the Clifton Suspension Bridge, the world’s first, was built by Isambard Kingdom Brunel and completed in 1864. Her continued presence during such a period of intense period of technological, economic and social change had helped place the monarchy at the centre of the nation’s identity.

Boehm's fellow artists joined in the chorus. Edward Poynter, opening an art exhibition in South Kensington on 28 July, stated, "The head was modelled by Mr Boehm, and making all allowance for the necessity of pleasing an illustrious patron, that may have led Mr Boehm to accept such structural absurdities as the toy crown and the straight veil, it was difficult to believe that a sculptor of his eminence should have turned out such a thoroughly bad work. For the head is bad all over [...] Some of the new heraldic devices are the poorest things of the kind we have ever had." [39] Lewis Foreman Day criticised the new coins in The Magazine of Art, "British sculptors are justly aggrieved when a production is put forth, presumably as the best we can do, when they themselves know it to be very far from representing the standard of national design, and it aggravates their grievance to think that the favoured artist bears not even an English name". [40]By the time of her Diamond Jubilee, in 1897, no one could doubt that a woman was capable of reigning. These family photographs laid the foundations for the Photographs Collection of the Royal Collection < https://www.rct.uk/collection> [accessed 28 November 2021]. Quoted in John Plunkett, Queen Victoria: First Media Monarch (Oxford: Oxford University Press, 2003), p. 182. Bianca Butcher ( Patsy Palmer) gives birth to her son Liam Butcher in the pub on Christmas Day 1998, assisted by Grant Mitchell ( Ross Kemp). The Army and Navy Club commissioned the bust to celebrate the Golden Jubilee of Queen Victoria’s Coronation in 1887. It was commissioned as a celebration of her reign and the loyalty of the club. The club remarked, ‘this is a work of great accomplishment for which Gilbert was rightly renowned and which clearly conveys the regal bearing of the Queen while also showing the delicacy of fine and sensitive detail.’

Sir Peter Luff, Chair of NHMF, said: “A monarch who defined one of the most important eras of British history, captured by one of the era’s leading sculptors – that’s what makes this bust of Queen Victoria by Sir Albert Gilbert so special. Its loss from these shores was unthinkable and that’s why the National Heritage Memorial was so pleased to be able to step in with the final piece of funding, ensuring remains in the UK for future generations to study and enjoy” Notes to editors About the Fitzwilliam Museum Roland Barthes, quoted in Deborah Lutz, ‘The Dead Still Among Us: Victorian Secular Relics, Hair Jewelry, and Death Culture’, Victorian Literature and Culture, 39 (2011), 127–42 (p. 135). Forrer, Leonard (1904). Biographical Dictionary of Medallists: Coin, Gem, and Seal-engravers, Mint-Masters, &c., Ancient and Modern, with References to Their Works B. C. 500-A. D. 1900. Vol.1. Spink & Son ltd., London. p.258. The Duke and Duchess of Saxe-Coburg and Gotha (Duke and Duchess of Edinburgh), the Queen's son and daughter-in-law Unknown photographer, Interior View of Queen Victoria’s Apartment, glass plate negative, Royal Collection, RCIN 2084880.

The decision to defer the export licence followed a recommendation to the DCMS in 2017 by the Reviewing Committee On The Export Of Works Of Art And Objects Of Cultural Interest (RCEWA) who objected on all three of its Waverley criteria. RCEWA member Lowell Libson explained at the time, “Sir Alfred Gilbert, a leading but mercurial light in the British ‘New Sculpture’ movement, is now regarded as one of the greatest European sculptors of the period. This monumental portrait bust of the Queen-Empress is not only an important icon made at the apogee of British power but a complex and hugely sympathetic image. It is also a tour de force of marble carving, a medium which Gilbert rarely employed.” The ‘System’, as it was called, sounds rather cruel. Victoria came to loath Conroy and his attempt to control her. Royal Archives, Sir George Grey to Sir Charles Phipps, 27 January 1862, RA B20/4a, quoted in Dimond and Taylor, p. 63. The ivory is a small-scale reproduction of the marble bust by Francis Chantrey (1781-1841), the first version of which is signed and dated 1839. This was exhibited at the Royal Academy in 1840, and is now in the Royal Collection at Windsor Castle. A slightly later replica, of higher quality, was acquired by Sir Robert Peel from Chantrey's studio in 1844, and is now in the National Portrait Gallery. Cheverton’s work was evidently esteemed within the highest levels of society. In 1845, this ivory bust was shown at the Royal Society, at a soirée hosted by the President, the Marquis of Northampton, and attended by Prince Albert. Hughes and Mullins was the business partnership of photographers Cornelius Jabez Hughes (1819–1884) and Gustav William Henry Mullins (1854–1921). The surviving glass plate negatives remain in the Royal Collection, RCIN 2079258–2079425, 2082362, 2082365–2082758, 2082930–2083319, 2083561–2084477, 2084661–2084963, 2119164, 2506821, 2507998–2508068.