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THE DOORWAY, VÉZELAY, FRANCE, 1915. CREATOR: ALBANY E HOWARTH.

The doorway, Vézelay, France, 1915. Vézelay is a historic hill town in north-cental France, famous for its Romanesque abbey and also for its Basilica of St Mary Magdalene. The doorway, Vézelay, France, 1915. Creator: Albany E Howarth. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SIDE CHAIR, C1755-60. CREATOR: UNKNOWN.

Side Chair, c1755-60. Side Chair, c1755-60. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

QUEEN ANNE TRANSITIONAL ARMCHAIR, C1750-80. CREATOR: UNKNOWN.

Queen Anne Transitional Armchair, c1750-80. Queen Anne Transitional Armchair, c1750-80. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

PRESIDENT'S ROOM AT CAPITOL, BETWEEN C1910 AND C1915. CREATOR: BAIN NEWS SERVICE.

President's room at Capitol, between c1910 and c1915. Portrait of Samuel Osgood, 4th United States Postmaster General, on wall. William McKinley bust. President's room at Capitol, between c1910 and c1915. Creator: Bain News Service. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

MONUMENT OF OSCAR WILDE, BETWEEN C1910 AND C1915. CREATOR: BAIN NEWS SERVICE.

Monument of Oscar Wilde, between c1910 and c1915. Monument of Oscar Wilde, between c1910 and c1915. Creator: Bain News Service. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

MRS. C.W. FAIRBANKS, 1913. CREATOR: BAIN NEWS SERVICE.

Mrs. C.W. Fairbanks, 1913. Shows Cornelia "Nellie" Cole Fairbanks (1852-1913), wife of Senator and Vice President Charles W. Fairbanks. She also served as President General of the National Society Daughters of the American Revolution. Mrs. C.W. Fairbanks, 1913. Creator: Bain News Service. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

BOX MADE OF THE WOOD OF SHAKSPEARE’S MULBERRY-TREE, PRESENTED TO [DAVID] GARRICK..., 1864. CREATOR: UNKNOWN.

Box made of the wood of Shakspeare's mulberry-tree, presented to [David] Garrick by the town of Stratford-on-Avon, 1864. Item from a bequest to the British Museum: '...the box or casket, made of the wood of the mulberry-tree planted by Shakspeare, in which the freedom of the borough of Stratford-on Avon was presented to [Shakespearian actor David] Garrick. This casket was purchased by the late Mr. Mathews, the comedian, at Mrs. Garrick's sale, and when his library and curiosities were brought to the hammer in August, 1835, it was, amidst a crowd of bidders, knocked down to Mr. George Daniel, at a large sum. It is exquisitely carved with the following devices: In the front, Fame holding the bust of Shakspeare, and the three Graces crowning him with laurel; on the back, Garrick, finely delineated, in the character of King Lear in the storm scene; on the sides are emblematical figures representing Tragedy and Comedy; the top and corners are boldly carved with subjects and devices from Shakspeare's works. It is raised upon and supported by four silver griffins, with ruby eyes. On the 3rd of May, 1709, the freedom of Stratford-on-Avon was presented to Mr. Garrick, inclosed in this famous casket'. From "Illustrated London News", 1864. Box made of the wood of Shakspeare’s mulberry-tree, presented to [David] Garrick..., 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

INCISED STONES ON THE CHEVIOT HILLS, 1864. CREATOR: UNKNOWN.

Incised stones on the Cheviot Hills, 1864. '...markings, which are supposed to belong to a very remote period of British history, before the Roman Conquest...The circles vary in diameter from 2 in. or 3 in. to nearly 2 ft...In the vicinity of Doddington, near Wooler, some hundreds of them exist; indeed, wherever the native rock is exposed, some of them may usually be seen. The rock is sandstone. Owing to the hardness of the stone of the district, and the fact that in many instances the carved figures have long been protected by a covering of turf, the marks of the tool with which they have been carved are occasionally distinctly visible...The district about Doddington...is characterised by the presence of Celtic remains - such as barrows, stone circles, and camps...One very interesting fact connected with these enigmatical figures is, that in several instances they have been found upon stones covering Celtic interments. No satisfactory answer has yet been given to the question which naturally arises - What purpose were these strange devices intended to serve ...The fact that they occur on stones used for covering the remains of the dead seems to indicate that they have a religious significance in relation to the rites of sepulture'. From "Illustrated London News", 1864. Incised stones on the Cheviot Hills, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

SKETCHES FROM NEW ZEALAND: SCENE ON THE WAIKATO, NEAR ITS JUNCTION WITH THE WAIPA RIVER, 1864. CREATOR: UNKNOWN.

Sketches from New Zealand: scene on the Waikato, near its junction with the Waipa River, 1864. Engraving from a drawing made on the spot by Mr. G. P. Angas, '...representing the picturesque scenery on the Waikato, near its junction with the Waipa River. The Waikato here is broad and deep, and flows majestically along between alluvial plains of the richest soil, which are bounded on the right by the high range of Taupiri. In the distance are seen the mountains of Perongia, near Kawhia, on the west coast. The village on the river bank is called Wakaaepa, and the district around has long been famous for its plantations of the "kumera," or sweet potato, the choicest vegetable of the New Zealander. In the foreground is a "patuka," or storehouse, in which maize, seeds, &c., are kept in security from the rats. Not far from this spot are the principal strongholds and settlements of the powerful Waikato tribes, who are the foremost in opposing British rule in New Zealand, and are at this moment carrying on their unequal warfare with a valour and determination worthy of a better cause'. From "Illustrated London News", 1864. Sketches from New Zealand: scene on the Waikato, near its junction with the Waipa River, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE RUINS OF COPAN, CENTRAL AMERICA: SQUARE STONE WITH SIDES FACING THE POINTS OF THE COMPASS, 1864. CREATOR: UNKNOWN.

The Ruins of Copan, Central America: square stone with sides facing the points of the compass, 1864. Engraving from a photograph by Mr. Osbert Salvin. 'Just where the ruins stand...the valley opens out into a small alluvial plain of great fertility. Over this plain, wherever the vegetation has been left untouched, forest grows. It would be difficult to determine how far the ruins extend throughout the valley, as sculptured stones are to be seen all along the road leading to what appears to be the central point of the ruins...the natives point in the hills to a painted stone here and a carved stone there. The ruins of Copan comprise the walls of a supposed temple, 624 ft. in length, and many pyramidal structures...sculptured stones of all sizes lie scattered in profusion, some bearing hieroglyphics...With the exception of a few monoliths, hardly any of the ruins remain undisturbed. The terraces and pyramidal mounds have had their steps and stonework almost universally displaced. The mere force of the roots of the trees which grow upon and between the stones, or even the earthquakes to which they must have been subjected from time to time, seem insufficient to account for so general a dislocation'. From "Illustrated London News", 1864. The Ruins of Copan, Central America: square stone with sides facing the points of the compass, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE RUINS OF COPAN, CENTRAL AMERICA: ALTAR-STONE, 1864. CREATOR: UNKNOWN.

The Ruins of Copan, Central America: altar-stone, 1864. Engraving from a photograph by Mr. Osbert Salvin. 'Just where the ruins stand...the valley opens out into a small alluvial plain of great fertility. Over this plain, wherever the vegetation has been left untouched, forest grows. It would be difficult to determine how far the ruins extend throughout the valley, as sculptured stones are to be seen all along the road leading to what appears to be the central point of the ruins...The traveller comes unexpectedly upon sculptured fragments in almost every direction, and the natives point in the hills to a painted stone here and a carved stone there. The ruins of Copan comprise the walls of a supposed temple, 624 ft. in length, and many pyramidal structures...sculptured stones of all sizes lie scattered in profusion, some bearing hieroglyphics...With the exception of a few monoliths, hardly any of the ruins remain undisturbed. The terraces and pyramidal mounds have had their steps and stonework almost universally displaced. The mere force of the roots of the trees which grow upon and between the stones, or even the earthquakes to which they must have been subjected from time to time, seem insufficient to account for so general a dislocation'. From "Illustrated London News", 1864. The Ruins of Copan, Central America: altar-stone, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE RUINS OF COPAN, CENTRAL AMERICA: MONOLITH, 1864. CREATOR: UNKNOWN.

The Ruins of Copan, Central America: monolith, 1864. Engraving from a photograph by Mr. Osbert Salvin. 'Just where the ruins stand...the valley opens out into a small alluvial plain of great fertility. Over this plain, wherever the vegetation has been left untouched, forest grows. It would be difficult to determine how far the ruins extend throughout the valley, as sculptured stones are to be seen all along the road leading to what appears to be the central point of the ruins...The traveller comes unexpectedly upon sculptured fragments in almost every direction, and the natives point in the hills to a painted stone here and a carved stone there. The ruins of Copan comprise the walls of a supposed temple, 624 ft. in length, and many pyramidal structures...sculptured stones of all sizes lie scattered in profusion, some bearing hieroglyphics...With the exception of a few monoliths, hardly any of the ruins remain undisturbed. The terraces and pyramidal mounds have had their steps and stonework almost universally displaced. The mere force of the roots of the trees which grow upon and between the stones, or even the earthquakes to which they must have been subjected from time to time, seem insufficient to account for so general a dislocation'. From "Illustrated London News", 1864. The Ruins of Copan, Central America: monolith, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE RUINS OF COPAN, CENTRAL AMERICA: A HEAD, WITH OTHER SCULPTURED STONES, 1864. CREATOR: UNKNOWN.

The Ruins of Copan, Central America: a head, with other sculptured stones, 1864. Engraving from a photograph by Mr. Osbert Salvin. 'Just where the ruins stand...the valley opens out into a small alluvial plain of great fertility. Over this plain, wherever the vegetation has been left untouched, forest grows. It would be difficult to determine how far the ruins extend throughout the valley, as sculptured stones are to be seen all along the road leading to what appears to be the central point of the ruins...the natives point in the hills to a painted stone here and a carved stone there. The ruins of Copan comprise the walls of a supposed temple, 624 ft. in length, and many pyramidal structures...sculptured stones of all sizes lie scattered in profusion, some bearing hieroglyphics...With the exception of a few monoliths, hardly any of the ruins remain undisturbed. The terraces and pyramidal mounds have had their steps and stonework almost universally displaced. The mere force of the roots of the trees which grow upon and between the stones, or even the earthquakes to which they must have been subjected from time to time, seem insufficient to account for so general a dislocation'. From "Illustrated London News", 1864. The Ruins of Copan, Central America: a head, with other sculptured stones, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE LOAN COLLECTION, SOUTH-KENSINGTON: STAG'S HORN EWER, 1862. CREATOR: UNKNOWN.

The Loan Collection, South-Kensington, 1862. 'Ewer, in stag's horn, mounted and inlaid with ivory, most elaborately and minutely carved in many compartments with hunting-subjects; apparently the work of an eminent artist of the school of Augsburg. Signed AM. VC 1673. A. J. B. Beresford Hope, Esq.'. From "Illustrated London News", 1862. The Loan Collection, South-Kensington: Stag's horn ewer, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE LOAN COLLECTION, SOUTH-KENSINGTON: IVORY TANKARD, 1862. CREATOR: UNKNOWN.

The Loan Collection, South-Kensington, 1862. 'Tankard, mounted in silver-gilt, the drum richly carved with a mythological subject, the Marriage of Jupiter and Juno, &c.: on the cover, which is in ivory, a beautiful frieze of amorini, &c. An exquisitely-finished Flemish tankard, circa 1650...Robert Napier, Esq.'. From "Illustrated London News", 1862. The Loan Collection, South-Kensington: Ivory tankard, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

A JAPANESE WOOD-ENGRAVER, 1864. CREATOR: UNKNOWN.

A Japanese wood-engraver, 1864. '...from a sketch by our Artist at Yokohama. It is painful here to observe the uncomfortable position of the Japanese engraver at his work - to see how he is doubled up at the apology for a table, and in what an awkward way he holds the style. But we are amused when we look at his wonderful spectacles, tied round his ears with a piece of string. The instruments he uses are of the simplest description; and his wood is not hard, like our boxwood, but extremely soft. His mode of operation is this: the subject to be engraved is first drawn on a thin piece of paper with Indian ink and a Japanese paint-brush. The drawing is then reversed and pasted on the wood. The paper is oiled and left on the wood till the engraving is finished. All the black lines in the drawing are thus left in relief. The block is then washed and covered with printing-ink made of lampblack and glue. The printing is performed by laying a clean sheet of paper on the block and pressing the surface, by hand, with a round tool covered with a dried leaf. This operation goes on till thousands of copies are printed. The Japanese also print in colours, by having different blocks of wood for the different colours'. From "Illustrated London News", 1864. A Japanese wood-engraver, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

CONFERENCE OF HANDICRAFTSMEN OF THE CITY OF PRYLUKY, 1925. CREATOR: UNKNOWN.

Conference of handicraftsmen of the city of Pryluky, 1925. In the early part of the Stalin era, the Kremlin established a new administrative territory in the Soviet Far East--the Jewish Autonomous Region--to serve as a Jewish homeland. The capital of the region was the city of Birobidzhan. This album includes 274 photographs of the early years of Birobidzhan, beginning in the late 1920s. National Library of Russia Conference of handicraftsmen of the city of Pryluky, 1925. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

1459 TOMBSTONE MADE OF WHITE LIMESTONE IN THE ROSTOV MUSEUM, ROSTOV VELIKII, 1911. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

1459 tombstone made of white limestone in the Rostov museum, Rostov Velikii, 1911. 1459 tombstone made of white limestone in the Rostov museum, Rostov Velikii, 1911. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SEVENTEENTH-CENTURY PLASHCHANITSA [SHROUD WITH THE IMAGE OF CHRIST], IN THE MIDDLE..., 1911. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Seventeenth-century plashchanitsa [shroud with the image of Christ], in the middle, a wooden carved image of Christ Our Savior lying in the grave. On the sides, carved images of Saint John the Theologian and Saint John the Precursor. Museum inventory numbers 5683 and 190. In the Rostov Museum. Rostov Velikii, 1911. Seventeenth-century plashchanitsa [shroud with the image of Christ], in the middle..., 1911. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

HOLY GATES FROM THE SECOND HALF OF THE EIGHTEENTH CENTURY WITH CARVED IMAGES OF THE MOTHER..., 1911. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Holy Gates from the second half of the eighteenth century with carved images of the Mother of God and the Twelve Apostles, Museum inventory number 8875, Rostov museum, Rostov Velikii, 1911. Holy Gates from the second half of the eighteenth century with carved images of the Mother..., 1911. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

HOLY GATES FROM 1652, MUSEUM INVENTORY NUMBER 1591, ROSTOV MUSEUM, ROSTOV VELIKII, 1911. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Holy Gates from 1652, Museum inventory number 1591, Rostov museum, Rostov Velikii, 1911. Holy Gates from 1652, Museum inventory number 1591, Rostov museum, Rostov Velikii, 1911. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

HOLY GATES FROM THE FIRST HALF OF THE EIGHTEENTH CENTURY, MUSEUM INVENTORY NUMBER 1824...1911. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Holy Gates from the first half of the eighteenth century, Museum inventory number 1824, Rostov Museum, Rostov Velikii, 1911. Holy Gates from the first half of the eighteenth century, Museum inventory number 1824...1911. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

CARVED WOODEN HOLY GATES FROM THE SEVENTEENTH CENTURY IN THE ROSTOV MUSEUM, ROSTOV VELIKII, 1911. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Carved wooden Holy Gates from the seventeenth century in the Rostov museum, Rostov Velikii, 1911. Carved wooden Holy Gates from the seventeenth century in the Rostov museum, Rostov Velikii, 1911. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

STONE CROSS ON THE BANK OPPOSITE PISANYI ROCK IN MEMORY OF DEMIDOV, CHUSOVAIA RIVER, 1912. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Stone cross on the bank opposite Pisanyi Rock in memory of Demidov, Chusovaia River, 1912. Stone cross on the bank opposite Pisanyi Rock in memory of Demidov, Chusovaia River, 1912. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

STERZH CROSS, THE TVER MUSEUM, 1910. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Sterzh Cross, the Tver Museum, 1910. Sterzh Cross, the Tver Museum, 1910. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

DMITRIEVSKY CATHEDRAL, VLADIMIR, 1911. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Dmitrievsky Cathedral, Vladimir, 1911. Dmitrievsky Cathedral, Vladimir, 1911. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

HANDICRAFT WORKS OF THE PERM ZEMSTVO, 1911. CREATOR: A. A. ANTONOV.

Handicraft works of the Perm zemstvo, 1911. From a collection of photographs documenting the First West Siberian Agricultural, Forestry, and Industrial Trade Exhibition, which took place in Omsk in 1911. The exhibition was held from June 15 to August 1 of that year, and was a significant event in the life of the Siberian region. Nothing on this scale or this level of ambition had ever been staged in Siberia. Omsk State Museum of Regional History and Folklife Handicraft works of the Perm zemstvo, 1911. Creator: A. A. Antonov. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

EXHIBITS OF HANDICRAFTSMEN OF THE YEKATERINBURG ZEMSTVO, 1911. CREATOR: A. A. ANTONOV.

Exhibits of handicraftsmen of the Yekaterinburg zemstvo, 1911. From a collection of photographs documenting the First West Siberian Agricultural, Forestry, and Industrial Trade Exhibition, which took place in Omsk in 1911. The exhibition was held from June 15 to August 1 of that year, and was a significant event in the life of the Siberian region. Nothing on this scale or this level of ambition had ever been staged in Siberia. Omsk State Museum of Regional History and Folklife Exhibits of handicraftsmen of the Yekaterinburg zemstvo, 1911. Creator: A. A. Antonov. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

HANDICRAFT POTTER FROM THE VILLAGE OF ATAMANOVSKOYE, KRASNOYARSK DISTRICT, 1900. CREATOR: LI VONAGO.

Handicraft potter from the village of Atamanovskoye, Krasnoyarsk district, 1900. This collection includes more than four hundred photographs of daily life in Yenisei Province in the late tsarist period. Photographs include peasants, Cossacks, and high-ranking officials. Krasnoiarsk Krai Museum of Regional History and Folklife Handicraft potter from the village of Atamanovskoye, Krasnoyarsk district, 1900. Creator: LI Vonago. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

COMPLAINT TO THE SHOEMAKER, 1878. CREATOR: ECHTLER, ADOLF (1843-1914).

Complaint to the shoemaker, 1878. Private Collection Complaint to the shoemaker, 1878. Creator: Echtler, Adolf (1843-1914). (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

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Schweiz, Genf, 29.02.2024..Uhrmacher Horlogerie Desbiolles in der Naehe der Place Neuve und des Grand-Théâtre in Genf am 29.02.2024..Uhrmacher in Familientradition.. (KEYSTONE/SUEDDEUTSCHE ZEITUNG PHOTO/Jose Giribas)

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Schweiz, Genf, 29.02.2024..Horlogerie Desbiolles in der Naehe der Place Neuve und des Grand-Théâtre in Genf am 29.02.2024..Uhrmacher in Familientradition.. (KEYSTONE/SUEDDEUTSCHE ZEITUNG PHOTO/Jose Giribas)

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Schweiz, Genf, 29.02.2024..Horlogerie Desbiolles in der Naehe der Place Neuve und des Grand-Théâtre in Genf am 29.02.2024..Uhrmacher im Familientradition.. (KEYSTONE/SUEDDEUTSCHE ZEITUNG PHOTO/Jose Giribas)

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Schweiz, Genf, 29.02.2024..Horlogerie Desbiolles in der Naehe der Place Neuve und des Grand-Théâtre in Genf am 29.02.2024..Uhrmacher im Familientradition.. (KEYSTONE/SUEDDEUTSCHE ZEITUNG PHOTO/Jose Giribas)

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Schweiz, Genf, 29.02.2024..Horlogerie Desbiolles in der Naehe der Place Neuve und des Grand-Théâtre in Genf am 29.02.2024..Uhrmacher in Familientradition.. (KEYSTONE/SUEDDEUTSCHE ZEITUNG PHOTO/Jose Giribas)

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Schweiz, Genf, 29.02.2024..Horlogerie Desbiolles in der Naehe der Place Neuve und des Grand-Théâtre in Genf am 29.02.2024..Uhrmacher in Familientradition.. (KEYSTONE/SUEDDEUTSCHE ZEITUNG PHOTO/Jose Giribas)

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Schweiz, Genf, 29.02.2024..Uhrmacher Horlogerie Desbiolles in der Naehe der Place Neuve und des Grand-Théâtre in Genf am 29.02.2024..Uhrmacher in Familientradition..Ehrntafel.. (KEYSTONE/SUEDDEUTSCHE ZEITUNG PHOTO/Jose Giribas)

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Schweiz, Genf, 29.02.2024..Horlogerie Desbiolles in der Naehe der Place Neuve und des Grand-Théâtre in Genf am 29.02.2024..Uhrmacher in Familientradition.. (KEYSTONE/SUEDDEUTSCHE ZEITUNG PHOTO/Jose Giribas)

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Schweiz, Genf, 29.02.2024..Horlogerie Desbiolles in der Naehe der Place Neuve und des Grand-Théâtre in Genf am 29.02.2024..Uhrmacher in Familientradition.. (KEYSTONE/SUEDDEUTSCHE ZEITUNG PHOTO/Jose Giribas)

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Schweiz, Genf, 29.02.2024..Horlogerie Desbiolles in der Naehe der Place Neuve und des Grand-Théâtre in Genf am 29.02.2024..Uhrmacher in Familientradition.. (KEYSTONE/SUEDDEUTSCHE ZEITUNG PHOTO/Jose Giribas)

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Schweiz, Genf, 29.02.2024..Horlogerie Desbiolles in der Naehe der Place Neuve und des Grand-Théâtre in Genf am 29.02.2024..Uhrmacher in Familientradition.. (KEYSTONE/SUEDDEUTSCHE ZEITUNG PHOTO/Jose Giribas)

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Schweiz, Genf, 29.02.2024..Horlogerie Desbiolles in der Naehe der Place Neuve und des Grand-Théâtre in Genf am 29.02.2024..Uhrmacher im Familientradition..Rechts im Bild, Yvon Desbiolles, Gruender der Horlogerie.. (KEYSTONE/SUEDDEUTSCHE ZEITUNG PHOTO/Jose Giribas)

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Schweiz, Genf, 29.02.2024..Horlogerie Desbiolles in der Naehe der Place Neuve und des Grand-Théâtre in Genf am 29.02.2024..Uhrmacher in Familientradition.. (KEYSTONE/SUEDDEUTSCHE ZEITUNG PHOTO/Jose Giribas)

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Schweiz, Genf, 29.02.2024..Horlogerie Desbiolles in der Naehe der Place Neuve und des Grand-Théâtre in Genf am 29.02.2024..Uhrmacher in Familientradition.. (KEYSTONE/SUEDDEUTSCHE ZEITUNG PHOTO/Jose Giribas)

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Schweiz, Genf, 29.02.2024..Horlogerie Desbiolles in der Naehe der Place Neuve und des Grand-Théâtre in Genf am 29.02.2024..Uhrmacher im Familientradition.. (KEYSTONE/SUEDDEUTSCHE ZEITUNG PHOTO/Jose Giribas)

THE INTERNATIONAL EXHIBITION: CARVED IVORY CUP, BY F. BÖHLER, IN THE ZOLLVEREIN DEPARTMENT, 1862. CREATOR: UNKNOWN.

The International Exhibition: carved ivory cup, by F. Böhler, in the Zollverein Department, 1862. The cup '...is surrounded by a relief copy of Landseer's "Deerstalkers' Return," below which the rose, thistle, and shamrock are braided with the ornament. The base is set with medallions bearing emblems of the chase; and the whole is surmounted by a figure of the Prince of Wales in his Highland costume. The carving is delicate and fine and the figures are well rendered; yet, in point of design, there are certain defects arising from the high relief of the subject'. From "Illustrated London News", 1862. The International Exhibition: carved ivory cup, by F. Böhler, in the Zollverein Department, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: CARVED IVORY CUP, BY F. BÖHLER, IN THE ZOLLVEREIN DEPARTMENT, 1862. CREATOR: UNKNOWN.

The International Exhibition: carved ivory cup, by F. Böhler, in the Zollverein Department, 1862. An elaborate cup, '...certainly a wonderful example of fine work. Being carved by a peasant resident in the German woods, it acquires especial interest, and, considering its author, it is a wonderful work...[with] gold within'. From "Illustrated London News", 1862. The International Exhibition: carved ivory cup, by F. Böhler, in the Zollverein Department, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: "TEMPLE OF ART", IN VEGETABLE IVORY, BY B. TAYLOR, 1862. CREATOR: UNKNOWN.

The International Exhibition: "Temple of Art", in vegetable ivory, by B. Taylor, 1862. 'This work makes no pretentions to architectural beauty...its interest consists in its being formed of "vegetable ivory"...Vegetable ivory is the seed of a kind of palm, the Phytelaphas macrocarpa. Four seeds grow in each cell or cavity of a large fruit...It was Humboldt who first drew our attention to this seed, and pointed out its adaptability to useful purposes; and now we find it wrought into articles of beauty and utility...Mr. B. Taylor...exhibits his temple and numerous little articles at the eastern side of the eastern annexe, where souvenirs of the exhibition can be procured'. From "Illustrated London News", 1862. The International Exhibition: "Temple of Art", in vegetable ivory, by B. Taylor, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: OBLIQUE GRAND PIANOFORTE BY COLLARD AND COLLARD, 1862. CREATOR: UNKNOWN.

The International Exhibition: oblique grand pianoforte by Collard and Collard, 1862. 'This pianoforte...is one of the most beautiful instruments of the kind in the exhibition. It is an oblique grand pianoforte, so called from the fact of the strings running obliquely or diagonally from one corner of the instrument to the other, instead of vertically, as in the ordinary cottage piano; the object of so placing the strings being to obtain greater length of string and consequent power, without the inconvenience of increasing the height of the instrument. These instruments have more of the quality of tone and power of the grand pianoforte - hence the term "oblique grand," although this class of instrument is of the upright form. The case of the piano is of very choice satin- wood, richly carved and gilt, and designed in the Italian style. Tho frieze and the ornaments of the lower panels are delicately carved and gilt, and are perforated, and lined behind with blue silk. The gilding is nicely subdued in tone, and harmonises well with the brilliant amber of the satinwood; and the decoration of the instrument altogether has an exceedingly rich and chaste effect'. From "Illustrated London News", 1862. The International Exhibition: oblique grand pianoforte by Collard and Collard, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: PIANOFORTE BY MESSRS. ALLISON, OF WARDOUR-STREET, 1862. CREATOR: UNKNOWN.

The International Exhibition: pianoforte by Messrs. Allison, of Wardour-street, 1862. '...a very beautiful...tall cottage or semi-cabinet piano, elaborately carved in unpolished oak. The design - the style of which is partly Elizabethan, though of the time of Charles I. - is emblematical and illustrative of Music. The keyboard is supported by figures of angels kneeling, playing upon the harp. The sides...are panelled, and contain busts of the most celebrated musicians mentioned in Scripture...and medallion portraits of the great composers...The upper part of the front is supported on each side by figures of angels with harps, surmounting figures holding scrolls of music, containing the first notes of the "Gloria in Excelsis." The centre is divided into three panels by carved semi-detached pillars, supporting circular arches...The panels of the front are all richly carved. In the centre one is the figure of St. Cecilia playing upon a hand-organ; and in the side panels are angels...with the inscription, "Gloria in excelsis Deo, et in terra pax." In the spandrils of the two side compartments are carved in full relief the principal English birds of song...The cornice is perforated as much for lightness as to allow the escape of the sound'. From "Illustrated London News", 1862. The International Exhibition: pianoforte by Messrs. Allison, of Wardour-street, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: ARMOURY, OR PORTE-FUSILS, BY JULES FOSSEY, IN THE FRENCH COURT, 1862. CREATOR: UNKNOWN.

The International Exhibition: armoury, or porte-fusils, by Jules Fossey, in the French Court, 1862. '...a beautiful work in carved walnut-wood...The base...consists of two cupboards, with glazed doors, for holding hunting and military weapons and accoutrements. In the centre is a trophy of arms composed of shield, helmet, gauntlets, swords, &c...flanked on one side by a hunter, on the other by a warrior - both in sculptured wood. Each cupboard is surmounted by an allegorical figure and two trophies...representing on one side attributes of the chase, on the other those of war. Two smaller cupboards, closing with doors inlaid with marble, form the base; and the whole is crowned by a pediment, consisting of an eagle with extended wings hovering over a pile of the equipments of war...The work is spirited in its setting out, and is well proportioned in its parts; and in details it is very rich, for the ornamental features are treated with an amount of tenderness and skill which is very pleasing...The excellence of the works manufactured by the firm of Jules Fossey, of Paris, is thoroughly known, and is confirmed by every article which it shows in the present exhibition. In the year 1855 M. Fossey was made Chevalier de la Legion d'Honneur'. From "Illustrated London News", 1862. The International Exhibition: armoury, or porte-fusils, by Jules Fossey, in the French Court, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: STOVE BY MESSRS. FEETHAM AND CO., 1862. CREATOR: UNKNOWN.

The International Exhibition: stove by Messrs. Feetham and Co., 1862. 'This work...is very simple, and yet, at the same time, exceedingly beautiful; indeed, it will generally be found that simplicity and beauty are associated, and that, when simplicity is departed from, beauty is to an extent sacrificed. The grate which we engrave is of ground and burnished steel, and the face, which is exceedingly bright, is enriched by a small diaper extending equally over the surface, and diminishing the glare which an unbroken mirror-like plane would present. Surrounding the grate is the chimneypiece, which is formed of statuary marble. Two bracketlike acanthus-leaves occur at the sides, two acanthus bosses in the comers, a group of laurel-branches in the centre, and certain flutings in the uprights. The delicacy of the carving is worthy of especial notice, for the few ornaments are rendered with that feeling which indicates the working of a master-mind'. From "Illustrated London News", 1862. The International Exhibition: stove by Messrs. Feetham and Co., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: BELGIAN PULPIT BY MESSRS. GOYERS BROTHERS..., 1862. CREATOR: UNKNOWN.

The International Exhibition: Belgian pulpit by Messrs. Goyers Brothers of Louvain, 1862. 'The Belgian carved pulpit...may be said to be fully an architectural structure, enriched with carved mouldings and subjects, and with the application of a small amount of coloured ornament. Around the body of the pulpit figure-subjects occur in full relief, the four panels being respectively filled by the Marriage of the Virgin, the Annunciation, the Greeting of Mary and Elizabeth, and the Flight into Egypt...The mouldings and capitals consist of foliage conventionally treated, and subordinated to its position in a manner which is very pleasing; and the little ornaments of the upper portions of the chief supports of the stairs, in intaglio, are exceedingly meritorious...The little central panel of the canopy has a blue ground, and a dove in relief hovers in front of it, and beautifully typifies the Holy Ghost, which descended in this form. Architecturally, this work is well set out; and, while there are a few features about it for which there is no necessity, as it is not to be exposed to the weather, it must yet be regarded as a beautiful and highly meritorious object'. From "Illustrated London News", 1862. The International Exhibition: Belgian pulpit by Messrs. Goyers Brothers..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: BRUSH TROPHY IN THE RUSSIAN COURT, 1862. CREATOR: UNKNOWN.

The International Exhibition: brush trophy in the Russian Court, 1862. Engraving '...illustrative of Russian industry. In a comer of the back part of the Russian Court there stands an exceedingly handsome case which presents somewhat the appearance of the fancy Swiss cottages with which one is familiar in scenery and imaginative drawings. It is a beautiful specimen of turnery and carving, and is composed of a native Russian wood which is equal in appearance and bears a strong resemblance to satinwood. This elaborate piece of workmanship is used to contain some very homely articles of use. In fact, the case and its contents go by the name of the "Russian Brush Trophy." Within this elegant receptacle are piled up in as fanciful form as the material admits of a number of brushes, which have a strong family likeness to paintbrushes deprived of their handles in order that they may be made to stand on end. They are the manufacture of Manantoff Brothers, brushsorters, Moscow, and Adam's-court, Old Broad-street, London. These articles have obtained a prize medal at the present exhibition; and the same manufacturers obtained first prizes for their brushes at the expositions at St. Petersburg in 1860 and 1861'. From "Illustrated London News", 1862. The International Exhibition: brush trophy in the Russian Court, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: CLOCK BY W. SCHÖNBERGER..., 1862. CREATOR: UNKNOWN.

The International Exhibition: clock by W. Schönberger, of Vienna, 1862. 'The clock which we engrave is one of a series which occur in the Austrian Court of the Exhibition, and is worthy of notice in view of the neatness and pleasing aspect of its appearance and the low price of the articles of which this is an example. It is elegant in general contour, simple in design, and well finished, and we are assured that its qualities as a timekeeper are excellent; but in this respect we have had no opportunity of judging of its merits'. From "Illustrated London News", 1862. The International Exhibition: clock by W. Schönberger..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: TRINKET-BOX BY F. THEYER..., 1862. CREATOR: UNKNOWN.

The International Exhibition: trinket-box by F. Theyer, of Vienna, in the Austrian Court, 1862. An '...example of the articles of virtù and utility which Mr. Theyer exhibits in the Vienna Court of the north-west transept, the whole of which are full of taste and merit. [It is]...a box...viewed from above. This is purer in style of art, being also Elizabethan, and is rich and beautiful in aspect, as rich plaques and jewel-like masses of lapis-lazuli and stones of various colours are judiciously applied to the work'. From "Illustrated London News", 1862. The International Exhibition: trinket-box by F. Theyer..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: ALBUM COVER BY F. THEYER..., 1862. CREATOR: UNKNOWN.

The International Exhibition: album cover by F. Theyer, of Vienna, in the Austrian Court, 1862. An '...example of the articles of virtù and utility which Mr. Theyer exhibits in the Vienna Court of the north-west transept, the whole of which are full of taste and merit. The one object which we have selected is an album, the covers of which are carved, enriched with a plaque of porcelain bearing a group of flowers and jewel-like inlays of red and green stone. The wood-carving is in style Elizabethan, but purity of character gives place to modern taste'. From "Illustrated London News", 1862. The International Exhibition: album cover by F. Theyer..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE GREAT INTERNATIONAL EXHIBITION: LIBRARY CHIMNEYPIECE BY TROLLOPE AND SONS, 1862. CREATOR: UNKNOWN.

The Great International Exhibition: library chimneypiece by Trollope and Sons, 1862. 'The lower portion is formed of Portland stone elegantly carved, and inlaid with marble and granite, and at each side occur two marble columns...In the centre the stonework rises into a pediment, in which occurs a clock, by Dent, with an arabesque border, which is remarkable, as the whole work is of an early Italian character, being in the style known as the Lombardo-Venetian. Rising from the stonework, and resting upon it, is an enriched chimney-breast, wrought in woods of various colours, and set out into panels...The smaller elongated panels are filled with ornaments carved with great feeling and spirited in design; and these alternate with square panels which contain heads of the poets Homer, Virgil, Dante, and Petrarch, Socrates and Demosthenes, and the head of Apollo in glory as a centre; and at each side of the clock is a recumbent figure, one representing Day and the other Night. The woods employed in the upper portion of the work are chiefly dark and light oak and ebony, and these are so combined with each other and united with the other materials as to form a structure worthy to grace the library of any nobleman in the land'. From "Illustrated London News", 1862. The Great International Exhibition: library chimneypiece by Trollope and Sons, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

WEDDING PRESENTS TO HER ROYAL HIGHNESS PRINCESS ALICE, 1862. CREATOR: UNKNOWN.

Wedding presents to Her Royal Highness Princess Alice, 1862. Prayer book and casket from the Matrons of England, Bible and casket from the Maidens of England, jewelled fan, the gift of the Maharajah Dhuleep Singh, paper-weight presented by the Duchess of Athole, jewel casket, the gift of the Countess of Fife. From "Illustrated London News", 1862. Wedding presents to Her Royal Highness Princess Alice, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

WEDDING PRESENTS TO HER ROYAL HIGHNESS PRINCESS ALICE..., 1862. CREATOR: UNKNOWN.

Wedding presents to Her Royal Highness Princess Alice: Prayer book and casket from the Matrons of England, Bible and casket from the Maidens of England, 1862. 'The Offering of the Maidens of England is a special large-paper copy of Bagster's facsimile octavo Polyglot Bible, bound in the richest purple morocco. It is mounted with beautifully-pierced and engraved clasps of the finest gold, bearing devices of the national Rose, and contains in the centre monograms, coronet, and initial A entwined with rosebuds...The edges of the leaves are most brilliantly illuminated (by James West)... The casket to contain the Bible is of ebony, elegantly carved (by Messrs. Kemm Brothers) with enamelled escutcheons...The Gift of the Matrons of England is Bell's large-paper edition of the Prayer Book, with ornamental capitals, red rubrics, &c., bound in the same deep morocco, and ornamented with the finest gold clasps and monograms, of a design to harmonise with the Bible...The rich vellum flyleaves are adorned with fresh varieties of illumination...The casket is of polished ebony, panelled and inlaid with ivory. On the top are the initials A. M, M., with a wreath of roses encircling them, exquisitely carved in ivory'. From "Illustrated London News", 1862. Wedding presents to Her Royal Highness Princess Alice..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION - CARVED IVORY CABINET, BY H. FOURDINOIS, 1862. CREATOR: UNKNOWN.

The International Exhibition - carved ivory [sic] cabinet, by H. Fourdinois, 1862. Piece of furniture made of ebony, '...richly carved in the Renaissance style, the lower portion being divided into three sections by four columns of a somewhat Corinthian character. The central portion is panelled, and has carved upon it in low relief...the Abduction of Proserpine; and this is surrounded by four comer panels, in which are represented Painting, Sculpture, Science, and Literature. The upper portion...has a pair of doors, one of which has Apollo as Morning, and the other Diana as Evening...Immediately above these is a small panel containing Venus rising from the sea; and...statuettes, supported on pedestals of lapis lazuli sustained by griffins...[there are figures] representing Peace and Plenty. The side portions...open...and disclose a series of small cabinet drawers, which are richly engraved with delicate ornament wrought with great feeling...this cabinet is highly to be commended. That it is constructed of wood is apparent, and no attempt is made at imitating in this material what can only be justly done with stone. There is also a total absence of small, jutting-out parts likely to be broken off or injured by the use of the article'. From "Illustrated London News", 1862. The International Exhibition - carved ivory cabinet, by H. Fourdinois, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

DRAWING-ROOM SIDEBOARD, BY MORANT, BOYD, AND MORANT, IN THE INTERNATIONAL EXHIBITION, 1862. CREATOR: UNKNOWN.

Drawing-room sideboard, by Morant, Boyd, and Morant, in the International Exhibition, 1862. 'The shelf is sustained by eight richly-carved legs...The back above the board is of graceful outline, and...consists of a white framework bordered with gold, and of a rich ornamental gold filling of an open character shown up by purple velvet of great richness, surround the arms of the Earl of Ellesmere for whom it has been manufactured. Each leg is terminated above in a lion's head, and below is a lion's paw, and has hung around it a festoon of flowers, which is so treated that the parts are in little danger of being broken off...The chimeras, fruits, mouldings &c. are chiefly matted, but the gold is burnished at points, in order to impart brilliancy'. From "Illustrated London News", 1862. Drawing-room sideboard, by Morant, Boyd, and Morant, in the International Exhibition, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: CARVING IN WOOD, "THE HARE AND PHEASANT", BY T. H. KENDALL, 1862. CREATOR: UNKNOWN.

The International Exhibition: carving in wood, "The Hare and Pheasant", by T. H. Kendall, 1862. 'The hare and pheasant which we here figure constitute a still-life group...It is by Mr. T. H. Kendall, of Warwick. As a work of imitative carving it is very fine, the plumage of the bird being given with great tenderness and truth, and that rounded character which occurs in groups of feathers, and, indeed, in solitary feathers, is well felt and rendered. The action, or rather want of action, in the game, resulting from passiveness or death, is well contrasted with the rigidity and life of the holly-branch, which is energetic and sparkling. It is altogether a very successful work'. From "Illustrated London News", 1862. The International Exhibition: carving in wood, "The Hare and Pheasant", by T. H. Kendall, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: CARVED FRAME, BY W. H. BAYLIS, 1862. CREATOR: UNKNOWN.

The International Exhibition: carved frame, by W. H. Baylis, 1862. 'This little frame, by Mr. W. H. Baylis, of Judd-street...has seemed to us worthy of notice owing to the boldness of feeling and crispness of touch which it displays. It consists of flowers braided in a supporting ellipse'. From "Illustrated London News", 1862. The International Exhibition: carved frame, by W. H. Baylis, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)