Edward Onslow Ford

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Edward Onslow Ford

5 artworks

New Sculpture (19th Century British) painter and sculptor

Born 1852 - Died 1901

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  • Images of the Artist

The Singer


Bronze, coloured resin paste and semi-precious stones

90.2 x 21.6 x 432 cms | 35 1/2 x 8 1/2 x 170 ins

Tate Gallery, London, United Kingdom





88.7 x 41.5 x 330 cms | 34 3/4 x 16 1/4 x 129 3/4 ins

Tate Gallery, London, United Kingdom




Bronze, silver, enamel and semi-precious stones

67 x 25 x 390 cms | 26 1/4 x 9 3/4 x 153 1/2 ins

Tate Gallery, London, United Kingdom

Bust of Sir Lawrence Alma­Tadema



77 x 67 cms | 30 1/4 x 26 1/4 ins

Private collection, ,

Sir W.Q. Orchardson, R.A.


Bronze on marble base

62.2 x 30.5 x 229 cms | 24 1/4 x 12 x 90 ins

Tate Gallery, London, United Kingdom

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FORD, EDWARD ONSLOW (July 27, 1852 - December 23, 1901), English sculptor, was born in London. He received some education as a painter in Antwerp and as a sculptor in Munich under Professor Wagmuller, but was mainly self-taught.

His first contribution to the Royal Academy, in 1875, was a bust of his wife, and in portraiture he may be said to have achieved his greatest success. His busts are always extremely refined and show his sitters at their best. Those (in bronze) of his fellow-artists Arthur Hacker (1894), Briton Rivière and Sir W.Q. Orchardson (1895), Sir Lawrence Alma-Tadema (1896), Sir Hubert von Herkomer and Sir John Everett Millais (1897), and of A.J. Balfour are all striking likenesses, and are equalled by that in marble of Sir Frederick Bramwell (for the Royal Institution) and by many more.

He gained the open competition for the statue of Sir Rowland Hill, erected in 1882 outside the Royal Exchange, and followed it in 1883 with Henry Irving as Hamlet, now in the Guildhall Art Gallery. This seated statue, good as it is, was soon surpassed by those of Dr Dale (1898, in the city museum, Birmingham) and Professor Huxley (1900), but the colossal memorial statue of Queen Victoria (1901), for Manchester, was less successful.

The standing statue of William Ewart Gladstone (1894, for the City Liberal Club, London) is to be regarded as one of Ford's better portrait works. The colossal General Charles Gordon, camel-mounted, for Chatham, Lord Strathnairn, an equestrian group for Knightsbridge, and the Maharajah of Mysore (1900) comprise his larger works of the kind. A beautiful nude recumbent statue of Percy Bysshe Shelley (1892) upon a cleverly-designed base, which is not quite impeccable from the point of view of artistic taste, is at University College, Oxford, and a simplified version was presented by him to be set upon the shore of Viareggio, where the poet's body was washed up. Ford's ideal work has great charm and daintiness; his statue Folly (1886) was bought by the trustees of the Chantrey Fund, and was followed by other statues or statuettes of a similar order: Peace (1890), which secured his election as an associate of the Royal Academy, Echo (1895), on which he was elected full member, The Egyptian Singer (aka The Singer) (1889), Applause (1893), Glory to the Dead (1901) and Snowdrift (exhibited posthumously, 1902).

Ford's influence on the younger generation of sculptors was considerable, and of good effect. His charming disposition rendered him extremely popular, and when he died a monument was erected to his memory (C. Lucchesi sculptor, J. W. Simpson, architect) in St John's Wood, near to where he dwelt.

  • Entry on the artist in the Wikipedia.
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