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The sculptor Joseph Nollekens (1737-1823) was famed for his portrait busts of leading figures of his day. While working in Italy in the 1760s, he established contacts among a group of aristocratic British patrons, going on to become London's most fashionable sculptor upon his return to England in 1771. The draughtsman and antiquary John Thomas Smith (1766-1833) had been at one time a pupil of Nollekens. It is believed that this anecdotal two-volume biography, first published in 1828, was written as an act of revenge. Having been promised a considerable legacy in the sculptor's will, Smith was disappointed to receive only an executor's fee. The work contains little analysis concerning the sculptor's art, relating instead much gossip and anecdotes of a personal nature. Nonetheless, it presents a vivid picture of the London art world at that time. Volume 2 covers the infamous will and provides biographical sketches of Nollekens' contemporaries.

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A painter, army officer and eminent Royal Academician, George Jones (1786-1869) enjoyed a close friendship with the sculptor Sir Francis Chantrey (1781-1841). Britain's portrait sculptor of choice at the peak of his career, Chantrey is most celebrated for works such as his busts of Sir Walter Scott and John Horne Tooke, his statue of James Watt, the equestrian bronze of Sir Thomas Munro in India, and The Sleeping Children in Lichfield Cathedral. Originally published in 1849, this book is an affectionate tribute to the man and his work, featuring also a selection of his letters to Jones, the engraver Charles Turner, and other correspondents. Whereas Jones's patriotism led him to enlist, Chantrey's was reflected in his enthusiasm for the advancement and promotion of his country's art: his generous bequest to the Royal Academy allowed for the purchase of numerous works of British art, now held by the Tate.

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Sculptors