Lot Essay
Born in Canterbury in 1807, Henry Weekes's distinctive talent for modelling was first recognised by his father and with the latter's encouragement he became a student at the Royal Academy. After serving his apprenticeship, Weekes took a position in the studio of Sir Francis Chantrey. Immediately recognising the potential of his pupil, Chantrey assigned Weekes as principal modeller and such was his esteem for his assistant that on his death in 1841, he left the young sculptor the sum of 1,000 pounds and the expressed request that he should be allowed to complete his own unfinished works. By means of this munificent bequest, Weekes was able to purchase his own studio and immerse himself in developing his own distinct style, advancing the ideas of a combined classicism and realism throughout his work.
Weekes approach to sculpture proved itself to be much favoured by the Victorians and, as if symbolically, he was the first sculptor to receive patronage from the newly-crowned Queen Victoria, who commissioned and sat for a portrait bust. Thereafter Weekes's reputation was secured and he continued to amass clientele amongst such influential personages as the Duke of Marlborough and the Archbishop of Canterbury.
Further distinction was awarded Weekes when he was invited to exhibit at the most prestigious of contemporary art events, the Great Exhibition at Crystal Palace in 1851. In a rare departure from his more conventional theme of the portrait bust, the sculptor chose for the occasion to compose the tender near life-size marble group of a child and dog in repose. The present version of The Sleeping Child, dated 1865, was, according to Gunnis, formerly in the possession of Sir Archibald Weigall, a relation of the sculptor Henry Weigall. However, at the time of Weekes's death in May 1877, the work was back in his studio and was eventually sold together with three of the sculptor's other remaining marbles by Christie's on 29 May 1880, lot 165, for the then large sum of 152 pounds.
Weekes approach to sculpture proved itself to be much favoured by the Victorians and, as if symbolically, he was the first sculptor to receive patronage from the newly-crowned Queen Victoria, who commissioned and sat for a portrait bust. Thereafter Weekes's reputation was secured and he continued to amass clientele amongst such influential personages as the Duke of Marlborough and the Archbishop of Canterbury.
Further distinction was awarded Weekes when he was invited to exhibit at the most prestigious of contemporary art events, the Great Exhibition at Crystal Palace in 1851. In a rare departure from his more conventional theme of the portrait bust, the sculptor chose for the occasion to compose the tender near life-size marble group of a child and dog in repose. The present version of The Sleeping Child, dated 1865, was, according to Gunnis, formerly in the possession of Sir Archibald Weigall, a relation of the sculptor Henry Weigall. However, at the time of Weekes's death in May 1877, the work was back in his studio and was eventually sold together with three of the sculptor's other remaining marbles by Christie's on 29 May 1880, lot 165, for the then large sum of 152 pounds.