“Stop to see this small wax study, a rare look into how a master engraver developed his grand neoclassical designs. Notice the incredible detail and sense of motion he achieved in this delicate medium.”
This small, circular wax relief shows a dynamic figure of Victory, wings outstretched and drapery swirling around her as she moves forward. Her pose suggests a moment of triumphant flight, with her left arm raised, perhaps holding a wreath or a palm branch that is not fully depicted here. The sculptor, William Wyon, created this study in 1825, a few years before he became chief engraver at the Royal Mint. He was known for his neoclassical designs, which emphasized classical forms and idealized figures. Here, the soft, malleable wax medium allows for a remarkable sense of movement and volume in the figure, capturing the delicate folds of fabric and the musculature of her form in a way that would later be translated into the more rigid medium of metal for coins and medals. This study offers a rare glimpse into the preliminary stages of a design intended for a larger, more public work, showcasing the artist's skill in modeling a figure in high relief.
- Artist
- William Wyon
- Date
- 1825
- Medium
- Wax on slate
- Location
- The Metropolitan Museum of Art
- Dimensions
- Diameter: 2 15/16 in. (7.4 cm)
- Collection
- European Sculpture and Decorative Arts
- Culture
- British
- Credit line
- Gift of Assunta Sommella Peluso, Ignazio Peluso, Ada Peluso and Romano I. Peluso, 2007
What to Notice
Five details hide in plain sight. Here’s where to look.

The delicate, almost translucent quality of the wax material.
The swirling drapery around Victory, suggesting rapid motion.
The powerful, outstretched wings, detailed with individual feathers.
The classical profile of Victory's face, looking upwards.
1 more detail is waiting.
See all 5 in Art Whisper →Stand in front of it and listen
The full narration walks you through Study for "Flying Victory" — the story behind it, the details most visitors miss, and why it matters. Free in the Art Whisper app.
William Wyon
1795–1851 · British EmpireWilliam Wyon, Chief Engraver at the Royal Mint, left an indelible mark on British coinage and even the world's first adhesive postage stamp, the Penny Black.
Further Works by Wyon
George III "Incorrupta" crown
1817 · The Metropolitan Museum of Art
"Three Graces" crown
1817 · The Metropolitan Museum of Art
George IV crown
1826 · The Metropolitan Museum of Art
Coronation of William IV
1831 · The Metropolitan Museum of Art
William IV proof crown
1831 · The Metropolitan Museum of Art
Queen Victoria's Visit to the Corporation of London
1837 · The Metropolitan Museum of Art
Victoria proof sovereign
1837 · The Metropolitan Museum of Art
Victoria sovereign
1838 · The Metropolitan Museum of Art
More works to explore
Beyond Wyon: works from the same years.
Same era · 1810s–1840s
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Same era · 1810s–1840s
Death on a pale horse
J. M. W. Turner · 1825 · National Gallery
Same era · 1810s–1840s
The Combat of the Giaour and Hassan
Eugène Delacroix · 1826 · Art Institute of Chicago
Same era · 1810s–1840s
The Fortune Teller (La Bonne Aventure)
Jacques-Louis David · 1824 · Fine Arts Museums of San Francisco
Same era · 1810s–1840s
Amédée-David, the Comte de Pastoret
Jean-Auguste-Dominique Ingres · 1823 · Art Institute of Chicago
Same era · 1810s–1840s
Saturn Devouring His Son
Francisco Goya · 1820 · Museo del Prado
Same era · 1810s–1840s
Two Men Contemplating the Moon
Caspar David Friedrich · 1819 · Staatliche Kunstsammlungen Dresden
Same era · 1810s–1840s
The Captive Slave (Ira Aldridge)
John Philip Simpson · 1827 · Art Institute of Chicago
Same era · 1810s–1840s
The Five Points
Artist Unknown - The Mercat Cross, Aberdeen · 1822 · The Metropolitan Museum of Art
Same era · 1810s–1840s
Mr. James Mackie
Samuel Alcock & Company · 1830 · Art Institute of Chicago
Same era · 1810s–1840s
Conflagration of the Masonic Hall, Chestnut Street, Philadelphia, Pennsylvania
Samuel Jones · 1819 · Art Institute of Chicago
Same era · 1810s–1840s
Woman in a Blue Dress
School of William Matthew Prior · 1840 · Art Institute of Chicago
