Among the earliest sculptural depictions of Godiva, this plaster group by William Behnes, was completed just two years after the publication of Tennyson’s Godiva poem, almost certainly in response to its popularity. Some of his full size statues were not highly regarded by critics of the time, but this delightful statuette was considered one of his finest works. While Godiva herself has a fairly nonchalant air, and is quite plainly presented, great effort has gone into sculpting the detail of the horse, from his flowing mane, to the strained muscle and sinew. Indeed, while the base of the statuette bears Behnes’s name, the horse was actually modelled by Thomas Henry Nicholson, with whom Behnes was reluctant to share the praise.

Marshall was the most prolific exhibitor of statuary at the Royal Academy in the Victorian Age, and examples of his work graced some of the nations finest buildings and monuments, including the Houses of Parliament, Westminster Hall, St Paul’s Cathedral and the Albert Memorial. Having spent time in Rome studying classical sculpture, here we can see clear classical influences in the Godiva nude, and clever use of an architectural detail to provide support for the full size statue. The influence again of Tennyson is apparent in a detail of her cast-off garments, echoing the line “ and there unclasped the wedded eagles of her belt, the grim Earl’s gift “ the eagle being the heraldic badge of Earl Leofric.

The art of sculpture takes many forms, and works in metal represent some of the most impressive examples of this art, although it was a rarely chosen medium for the portrayal of Godiva. One of the few such pieces is a silver and silver gilt statuette, produced by Elkington & Co of Birmingham in 1856.

Modelled by Emille Jeannest, the statuette is thought to have been created as a racing trophy, Elkington & Co having been commissioned to supply a series of impressive trophies, based on Warwickshire themes, for the Warwick races. There was one particularly high profile admirer of this statuette, Queen Victoria, who acquired an identical version from Elkingtons two years later, as a birthday present for Prince Albert.

While nudity was normally frowned upon in polite, reserved and prudish Victorian society, there seemed to be more acceptance in the artistic form, especially if following the noble tradition of classical sculpture. Even by modern standards this work might raise eyebrows, but the Victorian art critic F.G. Stephens took a different view, observing "the last white garment of her sacrifice glide downwards to her feet…so gravely passionate and intensely pure – she thinks less of her nakedness than of her reward"

A student of William Behnes, Woolner was a precocious talent, and exhibited his first piece at the Royal Academy aged just 17, and went on to become a founding member of the pre-Raphaelite Brotherhood.