Queen of the United Kingdom of Great Britain and Ireland from 20 June 1837 until her death. She adopted the additional title of Empress of India on 1 May 1876.
Victoria, Queen of the United Kingdom of Great Britain and Ireland, and Empress of India
1819 - 1901
This person is the subject of ongoing research. We have started by researching their relationship to the enslavement of people.
Biographical notes
Slavery connections
See Liz Dimock, ‘Queen Victoria, Africa and Slavery: some personal associations’, paper presented to the AFSAAP Conference 2009, The African Studies Association of Australasia and the Pacific [online], 2009, <https://afsaap.org.au/assets/Dimock.pdf> accessed 6 August 2021.
See also Caroline Bressey, ‘Contesting the political legacy of slavery in England’s country houses’, in M. Dresser and A. Hann (eds.), Slavery and the British Country House, Swindon 2013, 121-31.
Abolition connections
On 1 June 1840, Prince Albert presided over a meeting of the Society for the Extinction of the Slave Trade and the Civilisation of Africa at Exeter Hall, London, having been induced to do so ‘from a conviction of its paramount importance to the great interests of humanity and justice’ (Royal Collection Trust, RA VIC/MAIN/Z/271/1, manuscript copy of Prince Albert’s speech, <https://albert.rct.uk/collections/royal-archives/prince-alberts-official-papers/the-society-for-the> accessed 9 December 2021).
In August 1840, Thomas Fowell Buxton presented a copy of The African Slave-Trade and its Remedy to Queen Victoria and Prince Albert; Buxton had established the Society for the Extinction of the Slave Trade and for the Civilization of Africa the previous year.
In 1852, Harriet Beecher Stowe presented Queen Victoria and Prince Albert with a copy of Uncle Tom’s Cabin ‘because it concerns the great interests of humanity and from those noble & enlarged views of human progress, which she has at different times seen in his public speeches she has inferred that he has an eye & a heart for all that concerns the development & welfare of the human family’ (The Gilder Lehrman Collection, The Gilder Lehrman Institute of American History, New York, NY, letter from Harriet Beecher Stowe to Prince Albert of Saxe-Coburg and Gotha, 20 March 1852, <https://www.gilderlehrman.org/collection/glc01585> accessed 9 December 2021).
National Gallery painting connections
Donor: presented by Queen Victoria at the Prince Consort’s wish in 1863: NG701–723, NG1864. Probably presented at this same date: NG622.
Bibliography
History of Parliament Trust (ed.), The History of Parliament: British Political, Social & Local History, London 1964-, https://www.historyofparliamentonline.org/
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Item on publisher's website
H. C. G. Matthew and K. D. Reynolds, 'Victoria', in C. Matthew et al. (eds), Oxford Dictionary of National Biography, Oxford 1992-, https://doi.org/10.1093/ref:odnb/36652
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Item on publisher's website
M. Stocker, 'Hanover, House of family (6) Victoria, Queen of Great Britain and Empress of India', in J. Turner et al. (eds), Grove Art Online, Oxford 1998-, https://doi.org/10.1093/gao/9781884446054.article.T036515
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Item on publisher's website
UCL Department of History (ed.), Legacies of British Slave-ownership, London 2020, https://www.ucl.ac.uk/lbs/
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Paintings previously owned by Victoria, Queen of the United Kingdom of Great Britain and Ireland, and Empress of India
(Showing 6 of 26 works)
A young woman with brown hair and plucked eyebrows gazes modestly downward. Her hairstyle is Italianate: her plaits are wound around the top of her head and are entwined with a semi-transparent scarf that falls across her right shoulder. She wears a semi-transparent ruched chemise and a blue over...
Not on display
After Jan Sanders van Hemessen
An elegant and fashionably dressed young lady is absorbed in writing a letter. She holds a quill pen. On the table next to her is a pen case, attached by brownish strings to a dark brown inkpot. We can‘t read what she is writing – the artist doesn’t seem to have intended it to be legible.We don't...
Not on display
A man seems to be kneeling in a doorway or a window frame, hands folded in prayer. We don't know his identity, but he seems to be an Augustinian friar. Members of the Augustinian Order, which was founded in the thirteenth century, took vows of poverty and lived a monastic life. In public they wor...
Not on display
Workshop of Dirk Bouts
This small picture once made up a diptych (a folding painting in two parts) with another in our collection, the Mater Dolorosa. It was probably intended for private devotion: Christ’s pain was meant to inspire empathy in the viewer, who was encouraged to meditate upon his suffering as a means of...
Not on display
Workshop of Dirk Bouts
This small painting of the sorrowing Virgin once went with another painting in our collection, Christ Crowned with Thorns. They originally made up a diptych, a folding painting in two parts. It was probably intended for private prayer: the Virgin’s grief was intended to inspire empathy in the vie...
Not on display
The woman’s large white headdress, its calligraphic shape made up of stiff, angular folds, is striking against the dark background. Shading around the folds reinforces the sense of their depth, and the artist seems to want us to think that a fly, deceived by his illusion, has attempted to land on...
Not on display
After Bronzino
This is a portrait of Cosimo I de‘ Medici, Grand Duke of Tuscany, at the age of 40. It is based on Bronzino’s official portrait of the Duke of 1559, but is unlikely to have been painted by Bronzino or his assistants.Prior to Medici rule, Florence had been a republic. Cosimo was Duke of Florence f...
Not on display
Workshop of the Master of the Female Half-Lengths
According to legend, Saint Christopher was a giant, who was given the task of helping travellers across a river after he converted to Christianity. One day a child asked to be carried across, but Saint Christopher found him so heavy that he was bowed down with the weight. The child revealed that...
Not on display
Saint John the Evangelist is seated on the island of Patmos writing the Book of Revelation. He seems to have reached the twelfth of his 22 chapters, given the appearance in heaven of the ‘woman clothed with the sun’, and the red dragon with seven heads. They are floating in the sky at the top rig...
Not on display
Saint Peter clutches a Bible with a soft leather cover to his chest. In the same hand he holds two unwieldy keys – those to the kingdom of heaven, promised to him by Christ. Saint Dorothy holds only a tiny delicate flower to her breast, presumably plucked from the basket of blooms in her left han...
Not on display
This triptych – a folding picture in three parts – was most likely made for private contemplation and worship. The central image shows Christ crowning the Virgin Mary after her ascension to heaven. Orderly tiers of cherubim and seraphim (the blue and red winged creatures at the very top), angels...
Not on display
Associate of Jan de Beer
This painting was probably once the centre panel of a triptych (a painting made up of three sections) showing episodes from the Passion (Christ’s torture and execution). The dead Christ hangs from the Cross, and three angels collect the blood from his wounds in chalices.On the left are the Virgin...
Not on display
This is the aftermath of the Crucifixion. The soldiers are riding away, and only Christ’s followers are left. Christ hangs from the Cross, dead or near death. The Virgin and Saint John the Evangelist stand on the left, while Mary Magdalene clings to the foot of the Cross. On the left Joseph of A...
Not on display
Workshop of the Master of 1518
Saint Mary Magdalene stands behind a stone ledge and holds her attribute – the pot of oil with which she anointed Christ’s feet. Behind her, a window opens onto a landscape; the cliffs and buildings on the left are a fairly accurate view of La Sainte-Baume, east of Marseille, where, according to...
Not on display
The priest Simeon is shown receiving the infant Christ from the Virgin Mary in front of an elaborate altar. The scene is based on a passage in the Gospel of Luke (2:22–40), which describes Mary and Joseph’s visit to the temple in Jerusalem for the rituals of Mary’s purification and of Christ’s pr...
Not on display
The holy family rest as they flee from Bethlehem to Egypt, trying to escape King Herod’s order that all boys under two be killed. Mary sits on a low wall that encloses a courtyard and a fountain. She has opened her dress and chemise to reveal her right breast, evidently to feed her son. Saint Jos...
Not on display
Pintoricchio painted a number of images of the Virgin and Child of a similar size to this one. Their scale, high level of detail and decoration, and the sweetness of the figures made them highly desirable as beautiful objects and as aids for worship in the home.This one offers a view through an...
Not on display
Workshop of Dirk Bouts
The Virgin and Child are shown as an affectionate mother and laughing infant. Christ holds an apple, alluding to the fruit with which Eve tempted Adam in the biblical story of the Garden of Eden, leading to the Fall of Man.Devotion to Mary was an important part of a great flowering of private rel...
Not on display
Style of Martin Schongauer
In this small painting, the Virgin Mary and infant Christ are seated in an enclosed garden (known in Latin as a hortus conclusus, it traditionally symbolised Mary’s virginity). She holds out a flower to her son – a ‘pink’, also known as a dianthus (meaning ‘flower of God’ in Latin). It was often...
Not on display
Albert Cornelis and Associates
The Virgin Mary sits on the ground under a tree, breastfeeding the Christ Child. Behind her we see horsemen riding along a road and, on the right, Saint John the Baptist accompanied by a lamb. The composition is an echo of Robert Campin’s Virgin in the Apse.The Virgin’s head and hands are stylise...
Not on display
In this small panel, the Virgin Mary sits under a tree and offers her breast to the Christ Child, who grasps it with both hands but turns away to look out towards the viewer. Although this is not a specific image of the Rest on the Flight into Egypt – it lacks Joseph, the donkey and the luggage –...
Not on display
The magnificently dressed Virgin Mary is seated in a garden, on a turf bench supported on planks of wood. The Christ Child is on her knee, playing with a whirligig. Pulling the string on the toy would make the part with sails fly upwards like a helicopter.Such benches seem to have been common in...
Not on display
The Virgin Mary tenderly supports the infant Christ in her arms. Gilded backgrounds like this derived from icon paintings produced in the Byzantine (Eastern Christian) Empire. By the time the picture was made, they had largely been replaced in Italian painting by landscape or architectural backdr...
Not on display
Saint Catherine of Alexandria stands among the fragments of the spiked wheel on which she was tortured, which miraculously shattered during her ordeal. She holds a sword, the weapon that eventually killed her. To her left is Saint John the Evangelist, whose symbol of the eagle perches on a rock a...
Not on display
The Virgin Mary, bareheaded and richly dressed, holds the naked Christ Child, who rests on a white cushion on a ledge. We are not sure whether the painting was once part of a triptych (a painting made up of three sections) or stood alone. The infant Christ could be blessing a donor in a panel on...
Not on display
You've viewed 6 of 26 paintings