Transcript

of

Edward Bowring Stephens, A.R.A. [Obituary]

Trans. Devon. Assoc. 1883, Vol XV, pp.58-65.

by

W. Harpley

Prepared by Michael Steer

Edward Bowring Stephens was born in Exeter, the son of James Stephens (1777–1849), a statuary mason. His middle name may relate to a familial tie with the prominent Bowring family of Exeter, descended from local wool merchants, a member of which was Sir John Bowring (1792–1872), Governor of Hong Kong, whose marble bust was sculpted by Stephens and is now in the collection of the Devon and Exeter Institution. The article, from a copy of a rare and much sought-after journal can be downloaded from the Internet Archive. Google has sponsored the digitisation of books from several libraries. These books, on which copyright has expired, are available for free educational and research use, both as individual books and as full collections to aid researchers.

Edward Bowring Stephens, A.R.A., sculptor, was born in Exeter December 10th, 1815, and was the son of James Stephens, of that city. He commenced his art life by being placed as a pupil under John Gendall. This worthy man and excellent artist soon observed the bent of his pupil's genius, and set before him academical drawings from the Living models to copy. So well did young Stephens profit by hia lessons, that he was soon capable of making a life-size drawing of the Yepus de Medici, and of placing the skeleton within the outline. It was by good John Gendall's enthusiastic urging that Stephens' father consented to give his son the advantage of three years' study in London, and to place him in the studio of E. H. Baily, B.A., the eminent sculptor. Gendall still further aided the young artist by prevailing subsequently on his father to give him the opportunity of visiting the great works preserved in Italy; and it is pleasant to be able to chronicle the fact that Stephens attributed much of his success to the kind interest taken in him in early life by that good man, who was ever ready to give a helping hand to youthful, struggling genius. Stephens's earliest patrons were the late Sir Thomas Dyke Acland, Bart, the Earl Fortescue, and the late Earl of Devon. From these he received great encouragement, and at a time when it was of the greatest value to him; and after these men had gone to their rest, their families still kept up the old interest and friendship down to the period of his death. Such a life-enduring, personal regard from two generations of the families of these Devonshire worthies proves that in his private as well as in his professional life Stephens was deserving of esteem. In a modest, manly speech, delivered at a banquet given in his honour on the occasion of the presentation of the "Deerstalker," he stated " that the Earl of Devon's father and Sir Thomas Acland's father, above all others, were the founders of his professional career and his best friends, who helped him on cheerfully and hopefully to try and do big things, to represent that which was true, and to do that which was right." Stephens became a pupil of Baily at Midsummer, 1835. In the following year he was admitted a student of the Royal Academy, and in 1837 he won the silver medal of the Society of Arts for a small original model of "Ajax Defying the Gods." In 1838 he executed his first commission for Mr. Thomas Sheffield, of Exeter - a gentleman who was much interested in everything connected with art - a bust of his daughter Blanche. In the early part of 1839 he went to Naples and Rome, and worked principally in the latter place in a studio formerly occupied by John Gibson, in the Pallazzo Cecaglia. In this place he remodelled a large bas-relief of "Our Saviour on Mount Calvary," a statue of a ''Hunter," and a small figure of Eve. On his return to England, towards the end of 1841, he lived for about a year in his native town and modelled a few busts, among which was that of Patrick Miller, M.D., executed in marble. He obtained a commission from Sir John Yarde Buller, Bart., M.P., for a life-size statue of Lord Rolle in marble. For this he obtained sittings at Bicton. In 1842 he took up his permanent residence in London, and in the following year obtained the gold medal of the Royal Academy for a relievo subject, "The Battle of the Centaurs and Lapithse." He also executed marble busts of the late Earl of Devon, Lady Courtenay, Sir W. W. Follett, Bart., M.P., and Rev. Thomas Hill Lowe, Dean of Exeter. In 1845 his time was occupied in ornamenting, in conjunction with other artists, her Majesty's summer pavilion at Buckingham Palace. The subjects he selected were, "The Attendant Spirit Disguised as Thyrsis," and the  “Lady from Comus," forming two bassi-relievi. Also he executed marble busts of the Right Reverend Henry Phillpotts, Lord Bishop of Exeter; General Gage Hall, and Colonel Fulford. In 1846 he exhibited at the Royal Academy two busts in marble of W. S. Kelsall, Esq., and of T. B. Creswell, Esq. In 1847 he executed for T. H. Hippisley, Esq., of Shobrooke Park, two marble statues, life-size, of "Comus Offering the Cup to the Lady," and busts of Sir Humphry Davie, Bart., and General Sir B. D'Urban, G.C.B. In 1848 he sold to Mr. Soames, of Beech Hill, Essex, a life-size statue in marble of "Diana preparing for the Chase," and a small group in marble of "Maternal Love." In 1849 he completed a colossal group of "Satan Tempting Eve," and carved monumental figures; and busts of the Right Hon. Sir John Bayley, Bart., and of S. Fletcher, Esq. In 1851 everyone connected with art or manufacture was preparing for the first Great Exhibition of 1851, and Stephens’ contributions to this were a colossal group of "Satan Vanquished," and the "Satan Tempting Eve " mentioned above. He also exhibited at the Academy a group of three figures, "Charity," and a marble bust of the Lord Bishop of Madras, placed in the Cathedral of Calcutta; of Lord Palmerston, presented to Viscountess Palmerston by the electors of Tiverton; and of John Aitkens, Esq. His next exhibitions at the Academy were "A Young Shepherdess," in 1852; "Eve Contemplating Death," in 1853; "Mercy on the Battle-field," in 1858, a small copy of which in bronze was sold to the Art Union of London. He also produced a posthumous marble bust of the Hon. William Reginald Courtenay, and busts of Viscount Ebrington and Hugh Earl Fortescue, k.g. In 1859 he erected a marble statue, heroic size, of General Lord Saltoun at Fraserborough, Inverness; and supplied the bronze bas-relief of Balaclava to the memorial of Colonel Morris, on Hatherleigh Down, in 1860. The same year he executed a statue of Dr. Priestley for the Museum at Oxford. In 1861 he had the satisfaction of completing and erecting a colossal statue in marble on Northernhay, Exeter, to the honour of his friend and patron, Sir Thomas Dyke Acland, Bart. There had at one time been some discussion whether this statue should have been publicly competed for, in order that the city should be enriched by the best work of art procurable in the country, not that the committee or the originators of the memorial for a moment entertained the idea of competition, or hesitated as to the artist they should select; but when the figure was unveiled and critically examined, everyone whose opinion was worth considering agreed that the best possible work had been procured, and the citizens were proud that it was the work of an Exeter man.

It may interest Devonshire men to hear how the raising of this statue to Sir T. Dyke Acland came about in his lifetime. It happened in this manner. Sir Thomas had retired into private life, and the thought of doing something to mark the estimation in which he was held by his fellow-countrymen occurred to several of the leading public men. Mr. Stephens spoke to the present Earl of Devon on the subject, and his lordship said "that many of his neighbours were desirous of testifying to their respect of Sir Thomas, but did not see very clearly how. A picture was out of the question, so was a service of plate to the owner of Killerton," when Mr. Stephens instantly suggested a statue. This proposal his lordship at once adopt; the co-operation of ten or a dozen men was obtained; Mr. John Gould, of Kenton, was appointed hon. secretary, and a £5 subscription set on foot privately.

Mr. Stephens was invited by Lord Devon to Powderham Castle, while Sir Thomas was there on a visit, to enable him to settle his mode of treating the statue, and this was determined on while walking with his living model in the shrubbery. Sir Thomas, unconscious that a "chiel was behind him taking notes," that an artistic eye was watching his every movement, suddenly stopped while conversing near the Wellingtonia, taking the very attitude which is given in the statue, indeed with the stick and coat just as he appears in marble on Northernhay. Mr. Stephens returned to London and made a sketch in clay, and having a few years before executed a bust of Sir Thomas in marble for Mr. Charles Hoare (which was presented to Lady Acland) he had no difficulty about the likeness. The statue went on to the full-sized model, and was approved of by the subscribers, when one Saturday Mr. and Mrs. Henry Fortescue came into the studio with very long faces to tell the sculptor that the scheme must be abandoned - that it could not be; that Sir Thomas had found it out in conversation with a too communicative lady at lunch, that he was very excited about it, and had declared in the most positive and determined manner that it should not go on. A thunderbolt fallen through the roof could hardly have staggered the sculptor more. There was his work before him advancing to completion; there was the product of long thought and study; there was the object on which his mind had been concentrated for so many weeks wasted, useless, profitless, and Othello's occupation gone. The stricken artist had just wit and breath enough to say, “It is no business of Sir Thomas' at all. He has not been asked. He surely cannot take notice of what was said privately at the luncheon-table.'' Mr. Fortescue took his hat and the hint, rode off to find Sir Thomas, and put the affair before him from the statuary's point of view. He returned at eight o'clock with the news that Sir Thomas had given in, had seen the meaning of Mr. Stephens' words, and promised silence till officially informed. On Monday Mrs. Arthur Mills called to see the statue by Sir Thomas' request (he was in her carriage at the door), and as he was as kind-hearted and generous as he was quick, he sent by her the offer of personal assistance in giving sittings, or in any other way.

In the same year Mr. Stephens exhibited a small group in marble of "Evening," "Going to the Bath," and "The Angel of the Resurrection." In 1863 his work consisted of a colossal statue of the late Earl Fortescue, erected in the Castle Yard, Exeter; a statue of "Alfred the Great," placed in the Egyptian Hall, Mansion House, London; and a marble statue of William Earl of Lonsdale, placed in Lowther Castle. In 1864 he was elected an Associate of the Royal Academy, and erected a bronze statue of the Duke of Bedford at Tavistock; and in the following year a sitting statue, in marble, of John Dinham, erected on Northemhay, Exeter. He also exhibited a group in marble of "Euphrosyne and Cupid." In 1866 he produced four busts - Arthur W. Jeffray, John Tyrrell, and James Wentworth Buller, Esqs., and Sir James Drummond, Bart. A statue of "Lady Godiva" and "Cupid's Cruise" were exhibited in 1867; and a large group, " Saved from the Wreck," and a group of figures, "Coaxing," in 1868. In 1869 he received a commission to execute a recumbent monumental figure of Elizabeth Countess of Devon, which is now placed on a gothic altar-tomb in Powderham Church. He had many years before carved a bust of the deceased lady, and by means of this and of photographs he produced the most truthful and exquisitely-beautiful representation of her who was, from character and from personal beauty, worthy to be perpetuated by the chisel of one who was worthy of the task. In 1870 he had the pleasure of erecting the statue of Prince Albert in the Albert Museum, newly built in his native city; and he exhibited a statue in marble, "The Blackberry Girl," and added two busts to the list of his works - Mrs. Henry Fortescue (posthumous) and Sir John Bowring. In 1871 he exhibited a marble group, "Zingari," now in the possession of Captain Hill, of Brighton; "In Memoriam," part of a mural monument; and a marble bust of Henry Fortescue, Esq. In 1872 he exhibited the model of a life-size figure, "A Wrestler preparing for the Grip," a half-size copy of which is in possession of Captain Hill, of Brighton. In 1873 he exhibited "Eve's Dream," and busts of William Earl of Lonsdale, and Samuel Solly, Esq., F.K.S.; and by order of the Royal Academy, he erected at Burlington House colossal statues of Leonardo da Vinci, Sir Christopher Wren, and Sir Joshua Reynolds. In 1874 his exhibits were a life-size model of "A Bowler" (a half-size copy was purchased by Captain Hill), and a statue of "Leander preparing to Cross the Hellespont.” In 1875 he sent to the Academy two figures, "Morning" and "Evening." In 1878 he erected a public statue in marble of Mr. Alfred Booker at Plymouth; a public statue of Sir John Cordey Burrows at Brighton; and a bronze group of an ideal subject, "The Deerstalker," at Exeter. This last work was thought so highly of in the art world, that it entered into the mind of Mr. G. H. Haydon (a warm lover of his native city, and a man proud of everything that could add to the honour of Devon) to sound his friends as to the possibility of purchasing this powerful group and presenting it to his native town. In this he was soon assisted by Mr. George Pitt-Lewis, barrister, and the late Mr. Phelps, the tragedian. A committee was formed and subscriptions were raised, but they did not quite reach the fair value of the work. Mr. Stephens did not allow this to stand in the way of their project; indeed, on being informed of the proposal, he wrote to the committee : "I cannot yet realize the surprised gratification it has kindled, creating too a feeling which. as connected with my art-life, points to the summit of my ambition. To know that this work is esteemed by noblemen so distinguished, and others of your colleagues so pre-eminent in their several professions, and other warm-hearted friends, some of whom it has been my privilege to have known from my earliest professional career, and that it is to be presented to my native county, is felt by me as one of the very highest honours I can desire." The Town Council voted a suitable pedestal for "The Deerstalker," and it was presented to the city by Lord Devon with much ceremony on the 30th of August, 1878. Mr. H. D. Thomas, who was then Mayor, received the handsome gift on behalf of his fellow-citizens, and said, in the course of his address of thanks : “The work is one of which the city will be proud, and one which the Mayor and Corporation, not only at the present time, but for all time to come, will regard as a chief feature and ornament of old Exeter." The artist was afterwards entertained at a public dinner given in his honour by the citizens. The group was originally placed in Bedford Circus, but was removed in 1880 to a place much more suited to it in the beautiful grounds of Northernhay; and a bronze statue of the Earl of Devon by him, the gift of the county of Devon, was erected in its place. In 1879 he executed a marble statue, "Science and Literature," life-size, for Melbourne, Australia; a marble group, life-size, "The Bathers;" and a bust of Mr. C. C. Whiteford, Town Clerk of Plymouth.

In private life and among his friends Stephens was much beloved. He was one of those genuine, unpretending, honest beings that are always appreciated. He took the greatest interest in his native city and county. He was kind-hearted and liberal, was always among the first, often the first, to help a brother artist in difficulties, or to render justice when justice was due but not accorded. We remember him working up subscriptions for the widow of Cross, the historical painter of Tiverton; and bustling about London streets inviting his brother artists to attend a banquet to Kiss, the great German sculptor, who had sent the colossal group of "The Amazon" to the International Exhibition of 1851, which group, because it was the finest equestrian work produced by any sculptor since the days of Phidias, it became fashionable to underrate, to say it was exaggerated, "it wanted repose," &c., as if a naked woman in full fight with a tiger could exhibit repose. Stephens and the artists of England thought differently; they were astounded at the power of the sculptor. They thought it foul shame that such a genius should appear among them without being recognized. It would be a disgrace to England. They did what they could. They invited him to a banquet, which, to the delight of Stephens, who was mainly instrumental in bringing about so successful an issue, was attended by nearly two hundred artists. Mr. Stephens was present at the meeting of the Devonshire Association, at Crediton, in August, 1882, and appeared in his usual health. He told the writer that he was engaged in a work of heroic size, "Shielding the Helpless." He was taken ill on the 9th of November, and after a brief illness of eleven hours he expired, aged sixty-seven years. The cause of death was bronchitis and failure of the heart's action.

Note. - The Association is indebted to Mr. G. Pycroft for this obituary.