This article provides an overview of the four metropolitan sculptural memorials to Queen Victoria in late-colonial New Zealand, which all immediately precede the colony’s Dominion status (1907). In chronological order, they were erected in Auckland, Christchurch, Wellington, and Dunedin. While the Auckland memorial was unveiled within the Queen’s lifetime, her death in 1901 catalysed the commission of more ambitious counterparts in Wellington and Dunedin, and a degree of intercity rivalry was consciously articulated in advocacy for them. The memorials reflect a Pākeha (European) New Zealand sense of identity as a loyal, pro-monarchical, and imperial colony, but also as a ‘Better Britain’, with a proud sense of prosperity and achievement. Local content features prominently in two of them, notably the signing with Māori of the Treaty of Waitangi (1840) in one of the reliefs for the capital city memorial (Wellington), and an ambitious celebration of fifty years of provincial achievement in the pedestal sculpture for the Christchurch counterpart. Due to a dearth of home-grown talent, together with the belief in the artistic superiority of Britain (often known at the time as ‘Home’), British sculptors were invariably commissioned for these memorials. Cost-effectiveness, prestige, and the ability to render a realistic likeness were all criteria behind the choice of artists, with Francis John Williamson commissioned for two of them (Auckland and Christchurch). In researching this article, extensive use has been made of primary newspaper sources to document the political context of the memorials. In all of them, particularly that of Christchurch, New Zealand’s loyalty to Britain in the South African War (1899–1902) was a leading issue. Artistic and aesthetic issues and analysis were less prominent, although there was a widespread belief that the Queen should be honoured for purely symbolic and not utilitarian causes. While emphasis is given here to the early history of the memorials, from commissioning to unveiling, their afterlife is summarized, and an attempt is made to answer Miles Fairburn’s plea for ‘the minds of the people’ that created the built heritage of New Zealand to be accorded greater historical attention.