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(RMc) 609546033
FINDING THE REMAINS OF THE LOST EXPLORERS HARDING, PANTER, AND GOLDWYER...NORTH-WEST AUSTRALIA, 1865 CREATOR: UNKNOWN.
Finding the remains of the lost explorers Harding, Panter, and Goldwyer, near Lagrange Bay, North-West Australia, 1865. Engraving of a sketch by Mr. D. Francisco. 'Mr. Brown...had no great difficulty in making prisoners of as many natives as they met...two or three...were compelled to serve as guides...[they] reluctantly [took] the lead, each attached...by a light chain...[It appears that Harding, Panter, and Goldwyer had] met a tribe of natives called Wiognarry...[and] were attacked by [them], of whom they killed three...the natives watched them till they fell asleep, and then stole quietly up and stuck spears in them...the white men rose to their feet and succeeded in shooting fifteen of their assailants and driving the rest away, who afterwards, before daylight, returned...and succeeded this time in killing the white men with spears and clubs...Dougale...caught sight of a compass hanging from a...cajeputi tree...With what dreadful anxiety we rode up to that tree...There, at its foot, lay the dead bodies of our friends...The body of Goldwyer was lying on its face...dressed in a riding costume, perfectly recognisable but decayed to a skeleton. Scattered round were...journal books...rusted revolvers...and the usual travelling equipments'. From "Illustrated London News", 1865. Finding the remains of the lost explorers Harding, Panter, and Goldwyer...North-West Australia, 1865 Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609544998
LE PETIT MINET, BY W. L. THOMAS...EXHIBITION OF THE INSTITUTE OF PAINTERS IN WATER COLOURS, 1865. CREATOR: WILLIAM LUSON THOMAS.
Le Petit Minet, by W. L. Thomas, from the exhibition of the Institute of Painters in Water Colours, 1865. 'Mr. Thomas's ability as an engraver, before he made his debut as a painter in water colours, can scarcely be unknown to the readers of this Journal...Almost as vividly as if we saw them, do these children stand out against the sunlighted wall of that crazy old fisherman's cottage (as we infer it to be by the haddock drying against the wall) the girl with the quaint, old-fashioned mob-cap; the earrings, shawl, jerkin, and short petticoat of the full-grown Picardy fishwoman; the miniature matelot, clad, not less precociously, in his great red worsted cap, coarse, shrunken blue overshirt, and baggy, pieced-out, tar-begrimed, and polished trousers...Though beyond the doll period, the little matron must needs have something to nurse, so, in default of a baby sister, she cradles the family kitten in her arms; and the boy, sea-urchin as he is, unable to restrain his mischievous - but, as we see by his expression, hardly cruel - propensities, teases tiny pussy by tickling her ears with a straw, an experiment in natural history to which that little animal will probably ere long make some sharp opposition'. From "Illustrated London News", 1865. Le Petit Minet, by W. L. Thomas...exhibition of the Institute of Painters in Water Colours, 1865. Creator: William Luson Thomas. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609544933
LAYING OF THE ATLANTIC TELEGRAPH CABLE: SIR ROBERT PEEL ADDRESSING BYSTANDERS...AT VALENCIA, 1865. CREATOR: UNKNOWN.
Laying of the Atlantic Telegraph Cable: Sir Robert Peel addressing the bystanders after the taking of the shore end of the cable to the Telegraph House at Valencia, 1865. Engraving from a sketch by Robert Dudley, showing '...Sir Robert Peel, Chief Secretary to the Government of Ireland, and Lord John Hay...as well as Mr. Glass, the managing director of the Telegraph Construction Company (and manufacturer of the main length of cable)...The end of the cable was taken up by Mr. Glass and handed to Sir Robert, who passed it through a hole...in the building which forms...the station, where it was speedily connected with the batteries in the instrument-room. A signal was then interchanged with the Caroline, proving that the electric communication was perfect. Three cheers for the Queen were called for...and given with Irish warmth. The Knight of Kerry briefly addressed the large concourse of ladies and gentlemen, yeomen and peasantry...[and] expressed his gratification at this auspicious commencement of the work, and called for three cheers for the Atlantic Telegraph Cable, and...for Sir Robert Peel...[who] spoke, with his wonted energy, of the political, social, and commercial benefits which would be secured if the cable should prove successful'. From "Illustrated London News", 1865. Laying of the Atlantic Telegraph Cable: Sir Robert Peel addressing bystanders...at Valencia, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609543872
THE NEWLY-IMPORTED AFRICAN ELEPHANT AT THE GARDENS OF THE ZOOLOGICAL SOCIETY, REGENT'S PARK, 1865. CREATOR: PEARSON.
The newly-imported African elephant at the Gardens of the Zoological Society, Regent's Park, [London], 1865. '...no example of the African species has been previously exhibited...[here], nor, we believe, has such an animal ever been previously brought to England alive. As, however, the African elephant is very distinct in its outer form as well as in its internal structure from the Indian species, the council of the society have long been desirous of bringing the two elephants together side by side in the gardens...it is only within the last few weeks that the...society succeeded in obtaining an African elephant from the Jardin des Plantes, Paris, in exchange for an Indian rhinoceros. The animal thus acquired is a young male, supposed to be five or six years old. He is nearly the same size as the smaller of the two Indian elephants now in the society's collection. When the two are placed together, as is the case every day, for some hours, the differences between them are very striking. The most obvious peculiarity of the African species consists in the enormous ears, which cover the whole side of the head. The general outline of the two species is likewise very different, as is also the form of the trunk and the shape of the forehead'. From "Illustrated London News", 1865. The newly-imported African elephant at the Gardens of the Zoological Society, Regent's Park, 1865. Creator: Pearson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609542172
FOREST LEAVES, BY S. ANDERSON, IN THE EXHIBITION OF THE SOCIETY OF BRITISH ARTISTS, 1864. CREATOR: W. L. THOMAS.
Forest Leaves, by S. Anderson, in the Exhibition of the Society of British Artists, 1864. Engraving of a painting. 'It is not...by the mere brilliancy of the colours...that a judge would think of estimating the artist's gift as a colourist, but rather by the clearness and truth of the tones in shadow; particularly...those of the boy's flesh, which have rare delicacy and purity. The title of this picture is suggested, of course, by the leaves fallen from the trees, which the girl, in her ramble in the neighbouring forest, has collected. Her eye has been attracted by their colour, dyed as they are with the richest hues of autumn. She has woven them into a wreath and placed it coquettishly upon her head. As she is kneeling, with the sun almost at her back, the rays of light, already splendidly tinctured with the rosy flush of sunset, pass through the coloured leaves and produce a beautiful effect, which cannot, of course, be rendered in our Engraving. The result is, that around the head the wreath of simple "forest leaves" seems like a "glory" or nimbus; and this, with the earnest gaze of her large, dilated eyes into the darkling blue of the sky opposite the setting sun, gives a spirituality to the figure of this little rustic maiden'. From "Illustrated London News", 1864. Forest Leaves, by S. Anderson, in the Exhibition of the Society of British Artists, 1864. Creator: W. L. Thomas. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609486675
RUTH, BY A. JOHNSTON, FROM THE EXHIBITION OF THE BRITISH INSTITUTION, 1864. CREATOR: W THOMAS.
Ruth, by A. Johnston, from the exhibition of the British Institution, 1864. Engraving of a painting. 'The colouring of this picture is extremely vivid and effective; moreover, the beauty of the "subject" is of a highly attractive kind...In regard to this "Ruth" some might ask for a more Oriental physiognomy (according to modern notions), while others might prefer this more familiar type. Who shall tell us what facial character prevailed in the "country of Moab"?...The appropriateness of the expression of this figure must be judged of still more arbitrarily. Of one thing only the painter places us in certainty by the barley Ruth holds - which is, that he intended to represent the well-remembered incident of the beautiful Old Testament idyl, when the young widow, coming to the land of her adoption - the land of her poor and widowed mother-in-law, Naomi, whom she would not forsake - enters the fields of Boaz to glean at the barley harvest, thinking, peradventure, she might "find grace" in the eyes of her rich relative...it is sometimes forgotten that the first son borne by Ruth to Boaz after their marriage was the grandfather of King David, and of course, therefore, the descent is direct from Ruth to the mother of our Saviour'. From "Illustrated London News", 1864. Ruth, by A. Johnston, from the exhibition of the British Institution, 1864. Creator: W Thomas. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RMc) 609486540
THE POST OFFICE OF AUCKLAND, NEW ZEALAND: ARRIVAL OF THE "HOME" MAILS, 1864. CREATOR: UNKNOWN.
The Post Office of Auckland, New Zealand: arrival of the "Home" Mails, 1864. "The mail-steamer from Sydney comes here once a month, bringing letters and papers from England. She usually arrives about the 18th or 20th, and her coming is the signal for a dense crowd to assemble at the Post Office, in Prince's-street. For three days after the mail comes in the Post Office is completely besieged. There is here no post delivery every hour as in London; people have to come and fetch their own letters. Some persons, on receiving their letters, open them and read them on the spot. They cannot read them amidst the throng, but they stand a little apart, under the verandah, or they sit down on the kerbstone to peruse the eagerly-expected message. That man whom you see with his back towards you, and with the muslin round his hat, is not, as you might imagine, a postman, for here no such officials exist. He is a gentleman who has ridden into town for his letters, and what looks like a post-bag, suspended from his shoulders, is a havresack, which is a common article of personal equipment...[here]. The Post Office...is a long, low building, roofed with shingles or wooden tiles. Two natives, who have got no letters from England, are lounging off to the left". From "Illustrated London News", 1864. The Post Office of Auckland, New Zealand: arrival of the "Home" Mails, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609483995
NERO AFTER THE BURNING OF ROME, BY CARL PILOTY, IN THE LATE INTERNATIONAL EXHIBITION, 1862. CREATOR: W THOMAS.
Nero after the Burning of Rome, by Carl Piloty, in the late International Exhibition, 1862. Engraving of a painting. '...the tyrant is represented stalking forth...to survey the desolation left by the flames, which still rage in the distance...he sweeps along without pity, horror, or remorse. Softly, like a prowling tiger, he treads over crumbling, tesselated pavement, and among fallen calcined capitals and architrave. There is a covert and furtive buoyancy in the bloated figure, which seems strangely belied by the rounded, unmanly, disproportionate arm hanging all so nerveless and flaccid. He is crowned with roses, and draped, as he was wont to appear in public, with white chamber robes of delicate texture, left trailing loosely...He is preceded by hard-featured, impassive, brutalised guards, and black slaves bearing torches, and followed by servile favourites and associates. Well may innocent little children quail and cower from the monster; well may mourners beside their dead relatives heap curses on his head. To the left of the foreground lie, among the charred ruins, a group of Christian martyrs...with the Imperial edict against the Christians fixed on the crossed timbers to which they are bound'. From "Illustrated London News", 1862. Nero after the Burning of Rome, by Carl Piloty, in the late International Exhibition, 1862. Creator: W Thomas. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
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