Image: on Chelsea Embankment (opened May 1874)
From the website Mapping the Practice and Profession of Sculpture in Britain & Ireland 1851-1951:
“Timothy Butler born Caversham, Oxford, 1806, died 1885; active 1828-1879.
He entered the Royal Academy Schools in 1825 on the recommendation of William Behnes, and having won a silver medal from the Society of Arts for a plaster model after the antique the year before. Following training in its schools, Butler exhibited at the Royal Academy from 1828 and established a successful practice as a portrait sculptor. He exhibited over a hundred portrait busts at the Royal Academy, and it is in this medium that he is largely remembered.
Butler also undertook decorative work, designing lamp standards which were set up on the Thames Embankment ‘at the landing place between Waterloo and Hungerford Bridge’ in 1870 and lions’ heads for ‘the pedestals both on the north and south side of the river’. The lamps (see picture above) featuring figures of boys climbing the shaft of the lamp to light the globe at the top, were intended to represent ‘the energetic spirit which characterises the British nation’.
Butler’s daughter Clehorow Caroline (born c.1851) was described as a sculptor. She exhibited at The Exhibition of the Royal Academy of Arts (Summer Exhibition), 1881 – 1883, 3 times, 1 work per year. Butler’s son, Timothy (born c.1855) was an illustrative draughtsman in 1881.
He died at 186 Euston Road and was described in the probate calendar as a ‘decayed sculptor’. Clehorow was Butler’s sole executrix.”
From: *The Englishwoman’s Review of Social and Industrial Questions: 1885:
“Two colossal medallion portraits of John Howard and Elizabeth Fry, executed in terra cotta, have recently been placed on the front of H.M, Convict Prison at Wormwood Scrubs, These appropriate decorations are the work of a talented young artist, Miss Clehorow Butler, whose studio is at 186, Euston Road. They are placed above and on each side of the entrance gate...“
*The Englishwoman’s Review was a feminist periodical published in England between 1866 and 1910.
Until 1869 called in full “The Englishwoman’s Review: a journal of woman’s work”, in 1870 (after a break in publication) it was renamed “The Englishwoman’s Review of Social and Industrial Questions”.
One of the first feminist journals, The Englishwoman’s Review was a product of the early women’s movement. Its first editor was Jessie Boucherett, who saw it as the successor to the English Woman’s Journal (1858–64). Subsequent editors were Caroline Ashurst Biggs, Helen Blackburn, and Antoinette Mackenzie.