Chessman (Queen) 1865 - 1875

Curator: Here we have an ivory carving entitled "Chessman (Queen)," crafted sometime between 1865 and 1875 by Elkington & Co. The work, currently housed at the Metropolitan Museum of Art, evokes aspects of both medieval aesthetics and Academic art. Editor: It feels intimate, like a tiny world. Seeing the Queen nestled among those figures, there’s almost a childlike tenderness, a reminder that even in power, we crave companionship, wouldn't you say? The figures on either side are like emotional supports holding up something fragile. Curator: Note how the composition focuses attention upwards through verticality. The Queen figure is the axis for two supporting figures: she seems poised above, a rigid embodiment of monarchical authority contrasted by subservient allegiances on each side. The sculpture makes extensive use of symmetry within its figuration. Editor: Rigid maybe, but that ivory patina has aged into something gorgeously imperfect; like old skin. All those minuscule tool marks hint at how difficult the medium is. Almost a ghost made material, trapped forever with two odd companions. Curator: The choice of ivory as a medium serves a dual function, offering a smoothness conducive to minute carvings. Note the smooth facial surfaces offset by intricate, yet shallow draping and symbolic elements. Further, as an element that has strong connotations with trade, and with the rare, ivory enhances the sense of preciousness in the miniature form. Editor: Perhaps it’s just me being romantic, but I sense more than 'preciousness.' It almost makes me nostalgic, not necessarily for chess itself, but childhood imagination where even board games transcended time! As a 'Queen', this piece is both melancholic and tender at the same time, more 'Alice Through the Looking Glass' than 'Game of Thrones'! Curator: Indeed! The use of symmetry contributes a harmonious formal effect in miniature sculpture with academic rigor. It reminds viewers of art history, chess and power within a confined structured setting. Editor: This has shifted my perception—at first, I only appreciated the mood and medium but it feels so much larger now thanks to semiotic richness. What I love about encounters with historical artwork such as this Queen piece is that it remains open for new readings over time.