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(RM) 601160724
THE INTERNATIONAL EXHIBITION: THE NORWICH GATES, BY BARNARD, BISHOP, AND BARNARD, 1862. CREATOR: UNKNOWN.
The International Exhibition: the Norwich Gates, by Barnard, Bishop, and Barnard, 1862. 'The work consists of four massive piers, a pair of central and two side gates...The large portions of these gates are in cast iron, and the smaller parts are wrought...The lower portions are divided into square passages, each of which is filled with a quatrefoil...The gates are chiefly enriched with the vine, hawthorn, oak, and rose...The two central or chief piers are 18ft. high, and their pedestals are 3ft. square...they are crowned by capitals enriched with wrought-iron foliage. The shafts of the piers are...filled in with leafage and flowers - the convolvulus, periwinkle, and ivy, intermingled with oak-branches...Over the central gates is a terminal enrichment, formed of the oak and holly, surrounding a shield bearing the arms of Norwich...Each pier is surmounted by a griffin supporting a shield. In view of their workmanship these gates are worthy of the highest commendation; but in design the parts are rather small and apt to entangle the garments of the passer-by'. The gates were designed by Jekyll of Norwich, and then given by the city and county to the then Prince of Wales as a wedding present in 1863. They were moved to Sandringham House in 1908. From "Illustrated London News", 1862. The International Exhibition: the Norwich Gates, by Barnard, Bishop, and Barnard, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160504
THE INTERNATIONAL EXHIBITION: CABINET AND CANDELABRA BY WRIGHT AND MANSFIELD, 1862. CREATOR: UNKNOWN.
The International Exhibition: cabinet and candelabra by Wright and Mansfield, 1862. '...a splendid cabinet in the style of the English furniture of the eighteenth century...[which] consists of carved wood gilded, with pleaques of Wedgwood ware introduced in the panels and frieze...The frieze is enriched by a simple upright treatment well calculated to convey the idea of strength, and in the centre by a very beautiful medallic tablet by Wedgwood...The central compartment of the cabinet is open, and is furnished with two shelves covered in maroon velvet traversed by gold lines, while each of the side panels is solid matted gold, broken by light ornaments and enriched by a central elliptical slab of Wedgwood ware of exceeding beauty...Although the cabinet is entirely of gold, yet only a few enrichments are burnished- such as the vertical ornament of the frieze and a Greek ware ornament which is wrought upon the lower structural beam. Thus the effect is subdued, while great richness prevails. The top of the cabinet is of the purest statuary marble. The candelabra are formed to harmonise with the cabinet, hence they are in carved wood, gilded throughout, and furnished with Wedgwood medallions'. From "Illustrated London News", 1862. The International Exhibition: cabinet and candelabra by Wright and Mansfield, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160404
M. DURÈNE'S FOUNTAIN IN THE HORTICULTURAL SOCIETY'S GARDENS, 1862. CREATOR: UNKNOWN.
M. Durène's Fountain in the Horticultural Society's Gardens, [London], 1862. Engraving from a photograph by L. Birnstingl and Co. Fountain designed by Klagmann. 'The very animated figure at its apex has a cornucopia of very luscious fruits surely; for out of the midst of them the water gushes profusely; the female figures mounted on the seahorses in the lower basin are also supplied with baskets full of the same description of fruit, as from the centre pines (should they not be water melons) the water spouts with similar profusion. The seahorses champ their seaweed bridles and show capital training in the action of their finny hoofs, or whatever you please to call them. Above this basin...[are] allegorical figures of Architecture scrutinising the Great Exhibition building; Music, ready to tune up at intervals between the Horticultural band; Painting, preparing to take your portrait in water colours; and Engineering, admiring the really fine castings of the fountain itself, which have been transported all the way from the foundries of Haute Marne...mermaids, struggle to fix a small basin against the main pedestal, and masques, flowers, mouldings, and other incongruous ornaments are scattered about in the true Romantic and Rennaissance styles'. From "Illustrated London News", 1862. M. Durène's Fountain in the Horticultural Society's Gardens, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160369
CHASED SILVER SHIELD, BY LAMBERT, IN THE INTERNATIONAL EXHIBITION, 1862. CREATOR: UNKNOWN.
Chased silver shield, by Messrs. Lambert, the silversmiths, of Coventry-street, in the International Exhibition, 1862. 'Perhaps to show that this shield is thoroughly English the exhibitors wisely reject the French word repoussé, which would, however, accurately describe the work, and adhere to the older English and less-used participle, embossed. The shield has been designed and executed by Mr. Thomas Pairpoint...and illustrates the defeat of the Iceni by Suetonius, and the death of their Queen, Boadicea...the work is ambitious of great promise; but its execution, often careless and somewhat clumsy, does not by any means equal its promise. The conception of the struggling crowd of figures, Briton in deadly struggle with Roman, the intense hatred in the faces, the tension of the muscles, and the evident feeling of the artist in his work, are deserving of all praise; but Mr. Pairpoint...is wrong in foreshortening, and exhibits grave faults in drawing. But, notwithstanding these drawbacks, the young artist is one of great promise...Mr. Pairpoint has, besides, the merit of being thoroughly English, without affectation of style, and perfectly pure and chaste in treatment, which is more than can be said of the foreign artists'. From "Illustrated London News", 1862. Chased silver shield, by Lambert, in the International Exhibition, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160254
FOUNTAIN IN THE ROYAL HORTICULTURAL SOCIETY'S GARDENS, DESIGNED BY HUBERT, 1862. CREATOR: UNKNOWN.
Fountain in the Royal Horticultural Society's Gardens, designed by Hubert, 1862. Engraving from a photograph by L. Birnstingl and Co. 'Designed by Lienard, modelled by Moreau, cast by Barbezat, fitted and erected by Hubert...The Renaissance design of this fountain, florid and exuberant though it may appear to eyes familiar with the waterspouts at Trafalgar-square, is comparatively simple for a French work. The two basins are supported by allegorical figures, serving as Atlantides and Caryatides; and allegory can hardly be dispensed with in designs for fountains. The four upper figures of children stand for the four quarters of the world, as we learn from their symbols and the words Europe, Asie, Afrique, and Amerique inscribed on the medallions of the pedestal beneath. The lower figures, two of which are male and two female, are simply and entirely conventional, not having any of the usual fluvial or aquatic symbols. They are attended by amorini or genii wreathing flowers. Masks, escutcheons, floral ornaments, and architectural mouldings are distributed about the various details of the design without injuring the general effect, which is extremely pleasing from the principal proportions conveying the impression of symmetry'. From "Illustrated London News", 1862. Fountain in the Royal Horticultural Society's Gardens, designed by Hubert, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160194
THE INTERNATIONAL EXHIBITION: VASE BELONGING TO HER MAJESTY THE QUEEN, EXHIBITED BY..., 1862. CREATOR: UNKNOWN.
The International Exhibition: vase belonging to Her Majesty the Queen, exhibited by Messrs. Hunt and Roskell, 1862. Vase '...of oxydized silver, chased en repoussé by Antoine Vechte, and placed upon a pedestal which is ornamented by pillars of cornelian and concave slabs of lapis lazuli...[depicting the] fight of the Centaurs and Lapithae... one of the Centaurs is seen attempting to carry away the bride, whilst Ixion...attacks the Centaur, who, with great fury twisting his horse's foreleg round the muscular calf of the hero, endeavours to effect his escape with his prize. The shoulders of the vase are alive with this wild commotion; two of the women of the Lapithae seem to have escaped to a safer eminence and form the handles...whilst above at the very summit sits Imperial Jove, crowned and bearing a sceptre, and evidently not unpleased at the effects of his power...we have the peaceful love of Pirithous and his wife exhibited in the lower portion of the vase by two very graceful figures, between whom a little Cupid is slyly couching...At the sides two Cupids mounted upon Centaurs exhibit the power of love, whilst in the two panels Centaurs sporting with bacchanals delicately hint at that intoxication and indulgence which led to the fray'. From "Illustrated London News", 1862. The International Exhibition: vase belonging to Her Majesty the Queen, exhibited by..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160179
THE INTERNATIONAL EXHIBITION: "THE POETRY OF GREAT BRITAIN", A GROUP OF SILVER DESIGNED..., 1862. CREATOR: UNKNOWN.
The International Exhibition: "The Poetry of Great Britain", a group of silver designed and modelled by Signor Monti and executed by Mr. C. F. Hancock, 1862. 'The name of Mr. Hancock as an enterprising and discriminating employer of the best artistic talent obtainable has long been favourably known to us; but we think he has seldom been more fortunate than in obtaining the services of Signor Monti in designing and modelling these important works, on which are delineated scenes from some of the greatest of the English poets in a manner not unworthy of the source which inspired them. The large central vase is dedicated to Shakspeare, whose seated figure, in silent meditation, surmounts the whole...The loving cup of Byron is surmounted by a figure of the nymph Egeria...The loving cup of Milton is of the same design as that of Byron. On the stem are heads of Samson, Delilah, and Lycidas...The tazza of Burns is ornamented with spirited illustrations of "The Cotter's Saturday Night" and Tam o' Shanter's weird chase...The character of Monti's design is massive and agreeable, whilst the artistic manner in which his happy renderings of the poets' creations have been carried out reflect much credit on the working artists in Mr. Hancock's employ'. From "Illustrated London News", 1862. The International Exhibition: "The Poetry of Great Britain", a group of silver designed..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160109
WROUGHT-IRON LIGHTHOUSE ON THE DAEDALUS REEF, IN THE RED SEA, 1862. CREATOR: UNKNOWN.
Wrought-iron lighthouse on the Daedalus Reef, in the Red Sea, 1862. 'The great intercourse which is carried on...by what is called the overland route, has made the Red Sea almost an English highway... the Viceroy of Egypt [agreed to] erect lighthouses on the most dangerous points of the navigation...and the British Government would present the lanterns and light apparatus and the services of an engineer...it became necessary to devise a structure with the least possible quantity of material. That material must be in pieces of convenient dimensions to be...carried over the reef in very shallow boats...The...lighthouse rests upon twelve pillars of teak sixteen feet high...The inclosed space...filled with a concrete formed of English Portland cement, mixed with a due proportion of coral sand...The superstructure consists of a framework of wrought iron...manufactured by Messrs. G. Forrester and Co...The lanterns and apparatus...were constructed by Messrs. Wilkins and Co., the optical part of the latter having been furnished by Messrs. Chance... The Daedalus light is a dioptric fixed light of the second order, and, being raised 60ft. above the sea, will be visible from a ship's deck at a distance of fourteen miles'. From "Illustrated London News", 1862. Wrought-iron lighthouse on the Daedalus Reef, in the Red Sea, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160099
WROUGHT-IRON LIGHTHOUSE ON THE USHRUFFEE REEF, IN THE STRAIT OF JUBAL, IN THE RED SEA, 1862. CREATOR: UNKNOWN.
Wrought-iron lighthouse on the Ushruffee Reef, in the Strait of Jubal, in the Red Sea, 1862. 'The great intercourse which is carried on...by what is called the overland route, has made the Red Sea almost an English highway... the Viceroy of Egypt [agreed to] erect lighthouses on the most dangerous points of the navigation...and the British Government would present the lanterns and light apparatus and the services of an engineer...it became necessary to devise a structure with the least possible quantity of material. That material must be in pieces of convenient dimensions to be...carried over the reef in very shallow boats...The...lighthouse rests upon twelve pillars of teak sixteen feet high...The inclosed space...filled with a concrete formed of English Portland cement, mixed with a due proportion of coral sand...The superstructure consists of a framework of wrought iron...manufactured by Messrs. G. Forrester and Co...The lanterns and apparatus...were constructed by Messrs. Wilkins and Co., the optical part of the latter having been furnished by Messrs. Chance...The light is a revolving one of the most powerful class, and is visible from a ship's deck about eighteen miles, but from a greater elevation, even twenty-five or thirty miles'. From "Illustrated London News", 1862. Wrought-iron lighthouse on the Ushruffee Reef, in the Strait of Jubal, in the Red Sea, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160029
THE INTERNATIONAL EXHIBITION: VIEW FROM THE ORCHESTRA ON THE OPENING DAY - FROM A PHOTO..., 1862. CREATOR: UNKNOWN.
The International Exhibition: view from the orchestra on the opening day - from a photograph by the London Stereoscopic Company, 1862. '...the scene during the performance of the special music beneath the eastern dome...[View looking] down on the Queen's commissioners...the Royal commissioners for the exhibition...and the more distinguished and privileged visitors, such as the Duchess of Cambridge, the Foreign Ministers, Peers, members of Parliament, &c....In the foreground, in front of Minton's unfinished majolica fountain, which was filled for the occasion with flowering plants, sit...the Queen's commissioners - the Duke of Cambridge, the Crown Prince of Prussia, Prince Oscar of Sweden, the Archbishop of Canterbury, and the Lord Chancellor...On a bench in front of them sit the commissioners of the exhibition and other principal personages...the Bishop of Londonderry being conspicuous in the picture. On each side are grouped the occupants of the estrade which was placed beneath the orchestra, and a view given of that portion of the galleries which look at the dome filled with spectators who, more fortunate than most of the occupants of places a short way beyond the dome, could both see and hear satisfactorily'. From "Illustrated London News", 1862. The International Exhibition: view from the orchestra on the opening day - from a photo..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601159994
TESTIMONIAL PRESENTED TO RICHARD SPOONER ESQ., COMMISSIONER OF CUSTOMS AT BOMBAY, 1862. CREATOR: UNKNOWN.
Testimonial presented to Richard Spooner Esq., Commissioner of Customs at Bombay, 1862. Silverware consisting of '...one large centrepiece or épergne, with tripod base, which is tastefully ornamented and relieved by commercial and Oriental emblems, Commerce being happily illustrated by a trading vessel in full sail, &c., on one side, and on the other two sides of the base are a camel and native attendant and an elephant and mahout. The tripod is surmounted by a richly-ornamented arabesque pillar, with three arms branching from the capital, each containing glass bowls for fruit or flowers. The two other large fruitstands or companions to the centrepiece are...oval in form, the modelling of which are equally beautiful...Each large piece of plate bears the following inscription: "These three silver centrepieces, together with a service of plate, are presented to Richard Spooner, Esq., Commissioner of Customs at Bombay, by the merchants of that port, as a token of their personal esteem and regard, in acknowledgment of his unvarying zeal, constant courtesy, and great efficiency in the management of the Customs Department. 1862."...The cost of the testimonial is £1000. It was supplied by the firm of Chas. Williams and Co., Oxford-street'. From "Illustrated London News", 1862. Testimonial presented to Richard Spooner Esq., Commissioner of Customs at Bombay, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601159719
MANUFACTURE OF THE ARMSTRONG GUN AT WOOLWICH ARSENAL: THE GUNS AT THE PROOF-BUTTS, 1862. CREATOR: UNKNOWN.
Manufacture of the Armstrong Gun at Woolwich Arsenal: the guns at the proof-butts, 1862. '... to fire a piece of ordnance...by the ordinary method of a man pulling a friction-tube while others are standing about would be extremely hazardous. The aid of galvanism is therefore called into action...The galvanic battery and instrument for directing the current are fixed in...a building...and insulated wires are laid underground...On the word of command being given the guns are discharged in succession with the greatest regularity, and with perfect safety to all concerned, by the mere pressure of a key similar to that of a musical instrument...The firing of the guns at proof cannot fail to make a strong impression on the senses of those who witness it for the first time. A gun is seen apparently without human interference to discharge itself...and so on in succession, keeping up a continuous series of reports of no ordinary character, accompanied by dense columns of saffron-coloured smoke...we were informed that in clear weather they can be heard upwards of thirty miles distant...The day on which our Artist visited...was wet and muddy underfoot. This accounts for the...proof-party dressed in jackboots and waterproof attire...'. From "Illustrated London News", 1862. Manufacture of the Armstrong Gun at Woolwich Arsenal: the guns at the proof-butts, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601159679
ROMAN LEADEN COFFIN FOUND IN BETHNAL-GREEN, 1862. CREATOR: UNKNOWN.
Roman leaden coffin found in Bethnal-Green, [east London], 1862. 'As Mr. Buckmaster, weaver...was digging in a corner of his garden...he uncovered a leaden coffin about 4ft. from the surface. In endeavouring to lift the lid he broke off almost a third part of it. The coffin was nearly filled with lime, through which a portion of a human skeleton appeared. Mr. Rolfe...says that the contents had been greatly disturbed before he saw it, but from the lid alone he declared it to be Roman. The sides are plain, the ends have a well-known ornament on Roman coffins, an X, and on each side an I...Instead of the usual cord, or bead and two-line pattern, generally seen on Roman coffins, the double lines in this example are joined by curves turned inward, having the appearance of the spinal column of some fish, or a close-jointed bamboo. The left upper limb of the cross alone has three lines between the curves. There is no other further ornament beyond a border of the same pattern around the overlapping lid...The weight is estimated at 4 cwt. There was an outer coffin of oak. In the accompanying Engraving are shown two hairpins (one half the natural size) made of jet, which were taken from the coffin, and a broken nail which was extracted from the oaken coffin'. From "Illustrated London News", 1862. Roman leaden coffin found in Bethnal-Green, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601159539
TESTIMONIAL TO THE OFFICERS OF THE 78TH HIGHLANDERS, 1862. CREATOR: UNKNOWN.
Testimonial to the officers of the 78th Highlanders, 1862. Mr. Turner, of New Bond-street, has just manufactured two pieces of plate, subscribed for by the inhabitants of Ross and Cromarty, for presentation to the officers and non-commissioned officers of the 78th Highlanders, on its return from a lengthened sojourn in India, during which it performed most gallant services...The testimonial...is a group of figures, in silver, representing an episode of the Indian mutiny, spiritedly arranged, consisting of a mounted officer (Lieut.-Colonel M'Intyre) and private soldier engaged in combat with two natives over a dismounted cannon, in bronze. The group stands on a triangular plinth with truncated comers, each containing a group of trophies, flags, &c...surmounted by a stag's head in silver, which is one of the regimental badges. On the front...is a bas relief, in silver, representing the relief of Lucknow, in which action the 78th Highlanders, as will be remembered, took a prominent part. The other sides are occupied bv silver plates...on one of which is engraved the inscription, and on the other the elegant badge of the regiment, surrounded by a scroll containing the names of the principal actions in which the regiment has been engaged'. From "Illustrated London News", 1862. Testimonial to the officers of the 78th Highlanders, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
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