[1]
Alison Yarrington 1988. The commemoration of the hero, 1800-1864 Monuments to the British Victors of the Napoleonic Wars. Garland.
[2]
Alma-Tadema, L. et al. 1996. Sir Lawrence Alma-Tadema. Waanders Uitgevers.
[3]
Altick, R.D. 1978. The shows of London. Belknap Press of Harvard University Press.
[4]
Altick, R.D. 1978. The shows of London. Belknap Press.
[5]
Anstruther, I. 1986. The knight and the umbrella: an account of the Eglinton Tournament 1839. Sutton.
[6]
Armitage, D. 2000. The ideological origins of the British Empire. Cambridge University Press.
[7]
Armstrong, I. 2008. Victorian glassworlds: glass culture and the imagination 1830-1880. Oxford University Press.
[8]
Armstrong, I. 2008. Victorian glassworlds: glass culture and the imagination 1830-1880. Oxford University Press.
[9]
Aslin, E. et al. 1976. Minton, 1798-1910: [catalogue of an] exhibition, August-October 1976. [Victoria and Albert Museum].
[10]
Atterbury, P. 1998. The dictionary of Minton. Antique Collectors’ Club.
[11]
Atterbury, P. and Batkin, M. 1989. The Parian phenomenon: a survey of Victorian Parian porcelain statuary & busts. Richard Dennis.
[12]
Attwood, P. and British Museum Artistic circles: the medal in Britain 1880-1918. Published for the Trustees of the British Museum by British Museum Publications.
[13]
Barrell, J. et al. eds. 2013. Living with the Royal Academy: artistic ideals and experiences in England, 1768-1848. Ashgate.
[14]
Barringer, T.J. et al. 1999. Frederic Leighton: antiquity, renaissance, modernity. Yale University Press.
[15]
Barrow, R.J. and Alma-Tadema, L. 2003. Lawrence Alma-Tadema. Phaidon.
[16]
Bayley, S. 1981. The Albert Memorial: the monument in its social and architectural context. Scolar Press.
[17]
Beattie, S. et al. 1975. Alfred Stevens 1817-75. Victoria and Albert Museum.
[18]
Beattie, S. and Paul Mellon Centre for Studies in British Art 1983. The new sculpture. Published for the Paul Mellon Centre for Studies in British Art by Yale University Press.
[19]
Beattie, S. and Royal Institute of British Architects 1975. Catalogue of the Drawings Collection of the Royal Institute of British Architects: Alfred Stevens. Gregg.
[20]
Bilbey, D. et al. 2002. British sculpture 1470 to 2000: a concise catalogue of the collection at the Victoria and Albert Museum. V & A Publications.
[21]
Blühm, A. et al. 1996. The colour of sculpture, 1840-1910. Waanders.
[22]
Boase, T.S.R. 1959. English art, 1800-1870. Clarendon Press.
[23]
Bond, M.F. 1980. Works of art in the House of Lords. H.M.S.O.
[24]
Brock, F. 2012. Thomas Brock: forgotten sculptor of the Victoria Memorial. AuthorHouse.
[25]
Brooks, C. and Paul Mellon Centre for Studies in British Art 2000. The Albert Memorial: the Prince Consort national memorial : its history, contexts and conservation. published for the Paul Mellon Centre for Studies in British Art by Yale University Press.
[26]
Brown, L.A. 1987. British Historical Medals,1760-1960: v.2: 1837-1901. Seaby Numismatic Pubns.
[27]
Bryant, J. and Gifford, C. 2013. Magnificent marble statues: British sculpture in the Mansion House. Paul Holberton.
[28]
Buora, M. et al. 2006. Le gemme incise nel Settecento e Ottocento: continuità della tradizione classica : atti del convegno di studio, Udine, 26 settembre 1998. L’Erma di Bretschneider.
[29]
Burne-Jones, E.C. et al. Edward Burne-Jones: the earthly paradise. Hatje Cantz.
[30]
Burne-Jones, E.C. et al. 1998. The Perseus series. Southampton City Art Gallery.
[31]
Bury, A. 1954. Shadow of Eros: a biographical and critical study of the life and works of Sir Alfred Gilbert. Macdonald and Evans.
[32]
Bury, S. 1991. Jewellery, 1789-1910: the international era. Antique Collectors’ Club.
[33]
Bury, S. 1971. Victorian electroplate. Hamlyn.
[34]
Busch, J.T. et al. Inventing the modern world: decorative arts at the world’s fairs, 1851-1939. Carnegie Museum of Art.
[35]
Cannadine, D. 2002. Ornamentalism: how the British saw their Empire. Penguin.
[36]
Cannadine, D. 2000. The Houses of Parliament: history, art, architecture. Merrell.
[37]
Cavanagh, T. et al. 1997. Public sculpture of Liverpool. Liverpool University Press.
[38]
Cavanagh, T. 2007. Public sculpture of South London. Liverpool University Press.
[39]
Cherry, D. 2000. Beyond the frame: feminism and visual culture, Britain 1850-1900. Routledge.
[40]
Clay, A. and Lady Lever Art Gallery 1999. British sculpture in the Lady Lever Art Gallery. National Museums & Galleries on Merseyside.
[41]
Clerbois, S. and Droth, M. 2010. Revival and invention: sculpture through its material histories / Sébastien Clerbois and Martina Droth. Peter Lang.
[42]
Copeland, R. 2007. Parian: Copeland’s statuary porcelain. Antique Collectors’ Club.
[43]
Council of Europe et al. 1972. The age of neo-classicism: (catalogue of) the fourteenth exhibition of the Council of Europe (held at) the Royal Academy and the Victoria & Albert Museum, London, 9 September-19 November, 1972. Arts Council of Great Britain.
[44]
Culkin, K. 2010. Harriet Hosmer: a cultural biography. University of Massachusetts Press.
[45]
Culme, J. 1977. Nineteenth-century silver. Hamlyn for Country Life Books.
[46]
Curtis, P. et al. eds. 2013. Tate Britain companion: a guide to British art. Tate Publishing.
[47]
Curtis, P. et al. 2007. Towards a new Laocoon. Henry Moore Institute.
[48]
Czernis-Ryl, E. and Sydney Mint Museum 1995. Australian gold & silver 1851-1900. Powerhouse Pub.
[49]
Darby, E. and Smith, N. 1983. The cult of the Prince Consort. Yale University Press.
[50]
Dehejia, V. et al. 2008. Delight in design: Indian silver for the Raj. Mapin Publishing in association with Timeless Books.
[51]
Dickmann, M. et al. 2006. Tommaso e Luigi Saulini: incisori di cammei nella Roma dell’Ottocento. Gangemi.
[52]
Digby Wyatt, M. and Waring, J.R. 1854. The Renaissance court in the Crystal Palace. Crystal Palace Library.
[53]
Dorment, R. et al. 1986. Alfred Gilbert, sculptor and goldsmith. Royal Academy of Arts, in association with Weidenfeld and Nicolson.
[54]
Dorment, R. and Paul Mellon Centre for Studies in British Art 1985. Alfred Gilbert. Published for Paul Mellon Centre for Studies in British Art by Yale University Press.
[55]
Draper, J.D. and Metropolitan Museum of Art (New York, N.Y.) Cameo appearances. Metropolitan Museum of Art.
[56]
Droth, M. et al. eds. 2014. Sculpture victorious: art in an age of invention, 1837-1901. Yale University Press.
[57]
Droth, M. et al. 2009. Taking shape: finding sculpture in the decorative arts : an exhibition co-organised by the Henry Moore Institute, Leeds and the J. Paul Getty Museum, Los Angeles, California. Henry Moore Institute.
[58]
Dunn, M. 2008. New Zealand sculpture: a history. Auckland University Press.
[59]
Edwards, J. and Gilbert, A. 2006. Alfred Gilbert’s aestheticism: Gilbert amongst Whistler, Wilde, Leighton, Pater and Burne-Jones. Ashgate.
[60]
Ellis, M. et al. 1999. World art from Birmingham Museums and Art Gallery. Merrell Holberton, BMAG, Distributed in the USA and Canada by Rizzoli ... through St. Martin’s Press.
[61]
Flores, C.A.H. 2006. Owen Jones: design, ornament, architecture, and theory in an age in transition. Rizzoli.
[62]
Francis Haskell and Nicholas Penny Taste and the Antique. Yale University Press.
[63]
Frederiksen, R. and Marchand, E. Plaster casts: making, collecting, and displaying from classical antiquity to the present. De Gruyter.
[64]
Gere, C. 1999. European Decorative Arts at the World’s Fairs: 1850-1900 The Metropolitan Museum of Art Bulletin, Winter 1998/99, Volume LVI, No. 3. Metropolitan Museum of Art.
[65]
Gere, C. et al. 1984. The Art of the Jeweller: Catalogue of the Hull Grundy Gift to the British Museum:. Published for the Trustees of the British Museum by British Museum Publications.
[66]
Gere, C. and Rudoe, J. 2010. Jewellery in the age of Queen Victoria: a mirror to the world. British Museum.
[67]
Getsy, D. 2004. Body doubles: sculpture in Britain, 1877-1905. Published for the Paul Mellon Centre for Studies in British Art by Yale University Press.
[68]
Getsy, D. 2004. Sculpture and the pursuit of a modern ideal in Britain, c. 1880-1930. Ashgate.
[69]
Gibson, John, 1790-1866. 1911. The biography of John Gibson : R.A., sculptor, Rome / by T. Matthews.
[70]
Grandesso, S. et al. 2010. Bertel Thorvaldsen (1770-1844). Silvana.
[71]
Greenhalgh, P. 2000. Art nouveau, 1890-1914. V & A.
[72]
Greenhalgh, P. 1988. Ephemeral vistas: the expositions universelles, great exhibitions and world’s fairs, 1851-1939. Manchester University Press.
[73]
Groseclose, B.S. 1995. British sculpture and the Company Raj: church monuments and public statuary in Madras, Calcutta, and Bombay to 1858. University of Delaware Press.
[74]
Hemingway, A. and Vaughan, W. 1998. Art in bourgeois society, 1790-1850. Cambridge University Press.
[75]
Henry Moore Institute (Leeds, England) 2003. Sculpture in 20th century Britain. Henry Moore Institute.
[76]
Heuman, J. and Tate Gallery 1999. Material matters: the conservation of modern sculpture. Tate Gallery.
[77]
Hoffenberg, P.H. 2001. An empire on display: English, Indian, and Australian exhibitions from the Crystal Palace to the Great War. University of California Press.
[78]
Huzzey, R. 2012. Freedom burning: anti-slavery and empire in Victorian Britain. Cornell University Press.
[79]
J. B. Hawkins 1990. 19th century Australian silver. Antique Collectors’ Club.
[80]
Jameson and Bradbury & Evans 1854. Hand-book to the courts of modern sculpture. Crystal Palace Library.
[81]
Janson, H.W. 1985. Nineteenth-century sculpture. Thames and Hudson.
[82]
Jenkins, I. 1992. Archaeologists and aesthetes. British Museum Press.
[83]
Jenkyns, R. 1992. Dignity and decadence: Victorian art and the Classical inheritance. Fontana Press.
[84]
Joan Jones Minton the First Two Hundred Years of Design and Production. Swan-Hill Press.
[85]
Joanne Lukitsh et al. Thomas Woolner: Seeing Sculpture Through Photography. Henry Moore Insitute, 2005.
[86]
John Culme 1987. The directory of gold & silversmiths, jewellers, and allied traders, 1838-1914. Antique Collectors Club.
[87]
John Henning 1771-1851: a Very Ingenious Modeller: 1977. http://www.amazon.co.uk/John-Henning-1771-1851-Ingenious-Modeller/dp/B001D7MXQI/ref=sr_1_1?ie=UTF8&qid=1406731647&sr=8-1&keywords=John+Henning%2C+1771%E2%80%931851%3A+A+Very+Ingenious+Modeller.
[88]
Jones, O. 2007. An apology for the colouring of the Greek court in the Crystal Palace. Elibron Classics.
[89]
Jones, O. et al. 2006. Description of the Egyptian Court erected in the Crystal Palace. Elibron Classics.
[90]
Jones, O. and Gayangos, P. de 2005. The Alhambra court in the Crystal Palace. Elibron Classics.
[91]
Jones, S. and Royal Academy of Arts (Great Britain) 1996. Frederic Leighton 1830-1896. Royal Academy of Arts with Harry N. Abrams.
[92]
Karmason, M.G. and Stacke, J.B. 1989. Majolica: a complete history and illustrated survey. Abrams.
[93]
Kasson, J.S. 1990. Marble queens and captives: women in nineteenth-century American sculpture. Yale University Press.
[94]
Keene, D. et al. 2004. St. Paul’s: the Cathedral Church of London, 604-2004. Yale University Press.
[95]
Kenworthy-Browne, J. 2006. Plaster casts for the Crystal Palace, Sydenham. Sculpture Journal. 15, 2 (2006), 173–198. DOI:https://doi.org/10.3828/sj.15.2.2.
[96]
Kriegel, L. 2007. Grand designs: labor, empire, and the museum in Victorian culture. Duke University Press.
[97]
Layard, A.H. 2005. The Nineveh court in the Crystal Palace. Elibron Classics.
[98]
Leith, I. and Delamotte, P.H. 2005. Delamotte’s Crystal Palace: a Victorian pleasure dome revealed. English Heritage.
[99]
Mainardi, P. 1999. Copies, Variations, Replicas: Nineteenth-Century Studio Practice. Visual Resources. 15, 2 (Jan. 1999), 123–147. DOI:https://doi.org/10.1080/01973762.1999.9658496.
[100]
Manning, E. and Henry Moore Centre for the Study of Sculpture 1982. Marble & bronze: the art and life of Hamo Thornycroft. Trefoil.
[101]
Mark Stocker 1988. Royalist and realist: The Life and Work of Sir Joseph Edgar Boehm Outstanding Theses in the Fine Arts from British Universities. Garland.
[102]
Marsden, J. and Queen’s Gallery (London, England) 2010. Victoria & Albert: art & love. Royal Collection.
[103]
Massé, H.J.L.J. 1935. The Art-Workers’ Guild, 1884-1934. Printed for the Art-Workers’ Guild at the Shakespeare Head Press.
[104]
McKenzie, R. 2002. Public sculpture of Glasgow. Liverpool University Press.
[105]
Meara, D. 1991. A.W.N. Pugin and the revival of memorial brasses. Mansell.
[106]
Meara, D. 1983. Victorian memorial brasses. Routledge & Kegan Paul.
[107]
Monti’s Allegory of the Risorgimento.: 1965. http://www.amazon.co.uk/Montis-Allegory-Risorgimento-Anthony-Radcliffe/dp/B00JEZV6PA/ref=sr_1_1?ie=UTF8&qid=1406809599&sr=8-1&keywords=Monti%E2%80%99s+Allegory+of+the+Risorgimento%E2%80%99.
[108]
Moray Art Centre 2012. Masters and champions classical Greece: 300 years of British inspiration. Moray Art Centre.
[109]
Morris, B.J. 1978. Victorian table glass & ornaments. Barrie & Jenkins.
[110]
Murphy, P. Nineteenth-century Irish sculpture: native genius reaffirmed. Yale University Press.
[111]
Nairne, S. et al. 1981. British sculpture in the twentieth century. Whitechapel Art Gallery.
[112]
Nead, L. 2007. The haunted gallery: painting, photography, film c.1900. Yale University Press.
[113]
Nelson, C. 2007. The color of stone: sculpting the black female subject in nineteenth-century America. University of Minnesota Press.
[114]
Nicholas Penny 1992. Catalogue of European Sculpture in the Ashmolean Museum, 1540 to the Present Day 3 Vols. Oxf. U. P.
[115]
Pfister, M. and Hertel, R. 2008. Performing national identity: Anglo-Italian cultural transactions. Rodopi.
[116]
Phillips, S. 2008. Guide to the Crystal Palace and Park. Euston Grove.
[117]
Phillips, S. 2004. The Portrait Gallery of the Crystal Palace. Elibron Classics.
[118]
Physick, J.F. and Victoria and Albert Museum 1970. The Wellington Monument. H.M.S.O.
[119]
Piggott, J. 2004. Palace of the people: the Crystal Palace at Sydenham 1854-1936. C. Hurst.
[120]
Potts, A. 2000. The sculptural imagination: figurative, modernist, minimalist. Yale University Press.
[121]
Prettejohn, E. 1999. After the Pre-Raphaelites: art and aestheticism in Victorian England. Manchester University Press.
[122]
Prichard, S. 2010. Quilts, 1700-2010: hidden histories, untold stories. V&A Publishing.
[123]
Purbrick, L. 2001. The Great Exhibition of 1851: new interdisciplinary essays. Manchester University Press.
[124]
Read, B. 1992. Gibson to Gilbert : British sculpture 1840-1914 : including a group of comparative French bronzes : [exhibition] 2nd June-2nd July 1992. Fine Art Society, London (1992).
[125]
Read, B. et al. 1991. Pre-Raphaelite sculpture: nature and imagination in British sculpture 1848-1914. Lund Humphries, in association with The Henry Moore Foundation.
[126]
Read, B. and Paul Mellon Centre for Studies in British Art 1982. Victorian sculpture. Published for the Paul Mellon Centre for Studies in British Art by Yale University Press.
[127]
Reason, R. et al. 2012. Bounty: nineteenth-century South Australian gold and silver. Art Gallery of S.A.
[128]
Richard Barnes 1999. John Bell: The Sculptor’s Life and Work. Frontier.
[129]
Ritchie, C.I.A. 1972. Modern ivory carving. Barnes.
[130]
Romney Towndrow, K. and Stevens, A. 1939. Alfred Stevens, architectural sculptor, painter and designer. A biography with new material. With portraits.
[131]
Saywell, D. et al. 2004. Complete illustrated catalogue: National Portrait Gallery, London. National Portrait Gallery.
[132]
Scarisbrick, D. The Devonshire Parure. Archaeologia. 108, 239–254.
[133]
Scharf, G. Pompeian Court in the Crystal Palace.
[134]
Scharf, G. 2005. The Greek Court erected in the Crystal Palace: by Owen Jones. Elibron Classics.
[135]
Scharf, G. 2005. The Roman court: (including the antique sculptures in the nave) erected in the Crystal palace, by Owen Jones. Elibron Classics.
[136]
Schor, E.H. 1994. Bearing the dead: the British culture of mourning from the enlightenment to Victoria. Princeton University Press.
[137]
Sheppard, J. et al. 1985. Regency portraits. National Portrait Gallery.
[138]
Sherwood, D. Harriet Hosmer, American sculptor, 1830-1908. University of Missouri Press.
[139]
Sicca, C.M. and Yarrington, A. 2000. The lustrous trade: material culture and the history of sculpture in England and Italy, c. 1700-c. 1860. Leicester University Press.
[140]
Sinnema, P.W. 2006. The wake of Wellington: Englishness in 1852. Ohio University Press.
[141]
Smith, A. et al. 2001. Exposed: the Victorian nude. Tate Publishing.
[142]
St. Clair, W. 1998. Lord Elgin and the marbles. Oxford University Press.
[143]
Starcky, E. et al. Napoléon III et la reine Victoria: une visite à l’Exposition universelle de 1855 : Musée national du château de Compiègne, 4 octobre 2008-19 janvier 2009. RMN Editions.
[144]
Steggles, M.A. and Barnes, R. 2011. British sculpture in India: new views and old memories. Frontier.
[145]
Steggles, M.A. and British Association for Cemeteries in South Asia 2000. Statues of the Raj. BACSA.
[146]
Stoke-on-Trent (England) and Cartwright Hall, Bradford (Bradford, England) 1992. Reverie, myth, sensuality: sculpture in Britain 1880-1910 : an exhibition organised by Stoke on Trent City Museum and Art Gallery in association with Cartwright Hall, Bradford. Stoke-on-Trent City Museum and Art Gallery.
[147]
Trusted, M. 2013. Baroque & later ivories. V&A Publishing.
[148]
Trusted, M. 2007. The making of sculpture: the materials and techniques of European sculpture. V & A Publications.
[149]
Veronica Franklin Gould Mary Seton Watts (1849–1938): Unsung Heroine of the Art Nouveau. Lund Humphries Publishers.
[150]
Victoria and Albert Museum 1971. Victorian church art: (catalogue of an) exhibition, November 1971 - January 1972. H.M.S.O.
[151]
Victoria and Albert Museum and Kunst- und Ausstellungshalle der Bundesrepublik Deutschland 2011. Art and design for all: the Victoria and Albert Museum. V & A Publishing.
[152]
Ward-Jackson, P. 2012. Public sculpture of historic Westminster: Volume 1. Liverpool University Press.
[153]
Ward-Jackson, P. 2003. Public sculpture of the city of London. Liverpool University Press.
[154]
Wardle, P. 1963. Victorian silver and silver-plate Victorian collector series. Jenkins; 1st edition.
[155]
Wasserman, J.L. and Fogg Art Museum 1975. Metamorphoses in nineteenth-century sculpture: [exhibition, November 19, 1975-January 7, 1976, Fogg Art Museum, Harvard University : catalogue]. The Museum.
[156]
White, A. et al. 1991. Hamo Thornycroft & the martyr general. The Henry Moore Centre for the Study of Sculpture.
[157]
Wilkinson, W.R.T. 1999. Indian silver, 1858-1947: silver from the Indian sub-continent and Burma made by local craftsmen in Western forms. W.R.T. Wilkinson.
[158]
Wilton, A. et al. 1997. The age of Rossetti, Burne-Jones & Watts: symbolism in Britain, 1860-1910. Tate Gallery Publishing.
[159]
Wolffe, J. 2001. Great deaths: grieving, religion, and nationhood in Victorian and Edwardian Britain. Oxford University Press.
[160]
Wood, J. 1989. The Daguerreotype: a sesquicentennial celebration. University of Iowa Press.
[161]
Wunder, R.P. 1991. Hiram Powers: Vermont sculptor, 1805-1873. University of Delaware Press.
[162]
Wyatt, M. Byzantine and Romanesque Court in the Crystal Palace.
[163]
Wyatt, M. Mediaeval Court in the Crystal Palace.
[164]
Wyatt, M.D. and Waring, J.B. 2009. The Italian Court in the Crystal Palace. Euston Grove.
[165]
Wyke, T. 2004. Public sculpture of Greater Manchester. Liverpool University Press.
[166]
1977. Bertel Thorvaldsen: Skupturen, Modelle, Bozzetti, Handzeichnungen. Museen der Stadt Köln.
[167]
2013. Special Issue: The Sculptural Photograph in the Nineteenth Century. History of Photography. 37, 4 (2013).
