The Artist
James Gamble (the artist's studio assistant)
from 1875 - Alfred Drury RA
Paul Drury
By direct decent

2013: England's Michelangelo: The Drawings of Alfred Stevens, University of Kent, Canterbury - part of larger Dury exhibition entitled Alfred Drury and the New Sculpture, 20 September-1 December

Simon Poë, 'Alfred Drury and the New sculpture, exhibition review article', The British Art Journal, 15:1 (2014), pp. 128-130, (p. 130).
Ben Thomas (ed.), Alfred Drury and the New Sculpture, exh. cat (Canterbury: Studio 3 Gallery, 2013), pp. 75-78.

Alfred Stevens (1817-1875) was an artist and sculptor whose work, according to the revisionist account by Susan Beattie, played a central role in the development of the New Sculpture Movement. Stevens first trained as a painter in Italy, following which he was appointed in 1845 as an instructor in painting and ornament in London at the Government School of Design at Somerset House but resigned only two years later. For Stevens, industrial design and fine art worked in parallel and is reflected in the diversity of his design range and mediums. Stevens’s work includes table-centres, chimney pieces, street lamps and medals, as well as designing the decorative railings outside the British Museum. Stevens's creative output also included portraiture, ceramics, silverware and book illustration. Between the years 1850 to 1857 he was chief designer to Hoole & Co., Sheffield.

Stevens received two major commissions, which occupied much of his later life – to build a monument to the Duke of Wellington for St Paul’s Cathedral, and to complete the dining-room decorations for Dorchester House in London. The Wellington monument was partly finished posthumously by his student, biographer, and subsequently sculptor, Hugh Stannus (1840-1908), in 1878, only to be fully realised in 1912 by John Tweed (1869-1933). Stevens’s time in Italy fostered a life-long appreciation of the Italian Renaissance, with the influence of Michelangelo ever present in his own creations. His inspiration is especially evident in his models of the Wellington monument, which are held in collections at the Victoria and Albert Museum as well as in the Tate, London, in which can be seen a combination of Michelangelo and medievalism. The ensemble commission in Dorchester House, which consisted of linking painting, sculpture, furniture and furnishings also enabled Stevens to explore in full his admiration of the Renaissance master, although unfortunately the house was demolished in 1929.

A collection of 52 mounted drawings by Stevens and 102 further fragments (a number of which are double sided).

The drawings have been recorded and identified by the acknowledged expert on Stevens, Dr Teresa Sladen. 31 of these drawings were displayed at The Beany, House of Art and Knowledge in Canterbury at the University of Kent in 2013, which was part of a larger exhibition of the works of Alfred Drury – entitled Afred Drury and the New Sculpture. This small accompanying exhibition put Drury's personal collection of Stevens's working drawings on display, the contents of which are discussed in the wider catalogue of the Drury exhibition.

Also to be included for proof of provenance are various documents some with Alfred Drury's hand and chronicling Steven’s achievement, displayed in the red solander case.