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(RM) 601163264
THE INTERNATIONAL EXHIBITION: BRITISH COLUMBIA AND PRINCE EDWARD ISLAND COURTS..., 1862. CREATOR: UNKNOWN.
The International Exhibition: British Columbia and Prince Edward Island Courts, 1862. The collection from British Columbia [in the colonial department]...consisted mainly of natural productions and articles of rude manufacture by the native Indians...[These included] curious masks worn at their religious ceremonies, specimens of their canoes, of a kind of cloth woven and ornamented by them, examples of their weapons...a large map of the district..., and specimens of woods, amongst which was a gigantic section of a tree which furnishes an admirable wood...Some of the woods were exhibited...worked up into articles for use and ornament. There were also specimens of the gold found in the colony...The collection from Prince Edward Island consisted chiefly of corn, pulse, agricultural seeds, flour, meal, pearl-barley, pork, and dairy produce, and linen and woollen manufactures...There were, also, furniture and screens made of native wood, agricultural machines and implements, harness, ships' tackles, horseshoes, preserved fish, textile materials, an article called bay-tree tallow, honey, &c. In brief, the articles exhibited were of the more severely useful description...but the collection spoke well for the industrial skill of the colony'. From "Illustrated London News", 1862. The International Exhibition: British Columbia and Prince Edward Island Courts..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601163104
THE INTERNATIONAL EXHIBITION: DRINKING-CUP FORMED FROM A HUMAN SKULL..., 1862. CREATOR: UNKNOWN.
The International Exhibition: drinking-cup formed from a human skull, in the Chinese Court, 1862. 'This object...was taken from the Summer Palace of Pekin...by an officer of Fane's Horse [a cavalry regiment of the British Indian Army]...The skull is set in massive gold...a few very small jewels are added; the arch-shaped base the triangular foot, and the cover being entirely formed of solid gold...In the horizontal band, which may be regarded as the rim of the cup, a series of small stones are set, and in the broad vertical band surrounding the lid there are also jewels; likewise in the knob at the top there are stones...Peculiar interest is excited by this work, as it is said to be formed of the skull of Confucius, and that it is mounted in this rich style in honour of its former owner. Others affirm that this is not the case, and that the skull belonged to a great rebel who was slain, and as the head of John the Baptist was presented to Herodius on a charger, so the skull of the enemy was presented to the chief of the Celestial Empire to satisfy his malignity...we should rather judge it to be a sacred than profane cup; and to us, with but limited knowledge of the worship of the Chinese, it seems to bear upon it tokens of religious service'. From "Illustrated London News", 1862. The International Exhibition: drinking-cup formed from a human skull..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601163009
THE MONUMENT TO GEORGE STEPHENSON AT NEWCASTLE-ON-TYNE, 1862. CREATOR: MASON JACKSON.
The Monument to George Stephenson at Newcastle-on-Tyne, 1862. '...a striking work of art, by Mr. John Graham Lough...It has been erected by public subscription in Neville-street...adjoining the Central Railway Station, and overlooking the busy thoroughfares of Westgate-street and Collingwood-street, up and down the former of which hundreds of workmen employed at Mr. E. Stephenson's engine-factory pass three times a day...On the top of [the] pedestal, rising to a height of 30ft. above the ground, is placed the statue...The great engineer is represented standing in easy but dignified attitude...Grace is given to the modern costume by the Northumbrian plaid, which Stephenson was accustomed to wear, being skilfully combined by the artist with the ordinary frock-coat. The subsidiary figures...[consist of] a blacksmith...naked to the waist...[leaning] against an anvil, while the right hand grasps a hammer; a pitman, holding in his hand...Stephenson's well-known "Geordie" lamp; a platelayer, holding...a model of Stephenson's old "fish-bellied' rail; an engine-driver leaning against the model of the locomotive, the crowning effort of Stephenson's genius. The central statue and the subsidiary figures are cast from the best bronze'. From "Illustrated London News", 1862. The Monument to George Stephenson at Newcastle-on-Tyne, 1862. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162479
MEMORIAL FOUNTAIN AT DUBLIN TO THE LATE SIR PHILIP CRAMPTON..., 1862. CREATOR: UNKNOWN.
Memorial fountain at Dublin to the late Sir Philip Crampton, surgeon-general of Her Majesty's forces, 1862. 'The fountain was designed by Mr. Joseph Kirk, R.H.A...It is tripod-shaped, the lower part composed of Irish granite, above which is a handsome slab of polished Aberdeen granite...the superstructure is of bronze...[in the form of a] marine trophy representing water-plants, the Indian lily, the Indian water-plant, abacus, and others...At each of the three angles the water plays through a dolphin's mouth into a basin in the Irish granite cut to represent a shell...[There] is a well-executed colossal bust of Sir Philip Crampton, in bronze. Beneath it are the club and serpent, emblematical of Aesculapius...Around the pedestal, and immediately superior to the dolphins' heads, are three birds - the swan, the heron, and the pelican - executed in bronze...The bronze portion of the fountain was cast in the foundry of Mr. Potter, South Moulton-street, London, and is most creditably finished. Mr. Bryan carved the Irish granite in the Golden Quarries, Blessington, where it was obtained; and the carving has been executed with great care, and evinces considerable artistic skill on the part of Mr. Bryan...The entire cost of the fountain is £800'. From "Illustrated London News", 1862. Memorial fountain at Dublin to the late Sir Philip Crampton..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162359
THE INTERNATIONAL EXHIBITION: FIRE-ENGINE PRESENTED TO MR. HODGES BY...INHABITANTS OF LAMBETH, 1862. CREATOR: UNKNOWN.
The International Exhibition: fire-engine presented to Mr. Hodges by the inhabitants of Lambeth, 1862. 'Mr. Hodges is the head of a large and old-established distillery, situated in Pratt-street, Lambeth, to which undertaking he devotes the whole of his energies...A fire-engine, which is a necessary portion of the plant of an establishment of this kind, was not likely to be allowed by Mr. Hodges to remain quietly in its shed when his neighbour's house was on fire. He therefore very soon distinguished himself by superior courage and skill in its management, and with his fire brigade, which he had formed himself, was seldom found absent when such a calamity occurred. At the great fire in Tooley-street he displayed abilities and characteristics of a very high order, doing such good service that the thanks of the public generally were due to him. The testimonial presented to Mr. Hodges consists of a first-class fire-engine of the kind used by the London Fire Brigade...[and has] been most splendidly and lavishly decorated with appropriate bronze and other ornaments, all of which have been designed by Signor G. M. Casentini...The footboard is supported by a bronze dragon'. From "Illustrated London News", 1862. The International Exhibition: fire-engine presented to Mr. Hodges by...inhabitants of Lambeth, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162324
THE INTERNATIONAL EXHIBITION: BLAST-ENGINES BY THE LILLESHALL COMPANY, SHIFFNAL, SHROPSHIRE..., 1862 CREATOR: UNKNOWN.
The International Exhibition: blast-engines by the Lilleshall Company, Shiffnal, Shropshire - from a photograph by the London Stereoscopic Company, 1862. This...fine pile of machinery, beautifully designed and built...consists of a pair of blowing-engines adapted to the use of blast-furnaces. There are four cylinders...The engines are of 45-horse power each...The cylinders stand upon an iron base of a highly ornamental character: around the outer edge of it are placed a range of columns standing upon appropriate plinths. The columns are eight in number, Roman Doric in character, and supporting an entablature and cornice of a similar style. Upon this are placed the plummer- blocks which carry the gudgeons of the beams. The flywheel ends of these beams are curved upwards in a peculiar manner - we suppose for the purpose of giving greater length to the connecting-rods. These engines are capable of blowing two cold blast-furnaces, and are arranged to work together or separately with great economy....The Lilleshall Company are manufacturers of all kinds of high-pressure expansive and condensing engines and colliery plant, including locomotives...They are also extensive manufacturers of sugar-mills, pumping machinery, saw-mills, rolling-mills, &c'. From "Illustrated London News", 1862. The International Exhibition: blast-engines by the Lilleshall Company, Shiffnal, Shropshire..., 1862 Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162314
THE INTERNATIONAL EXHIBITION: CLOCK, CANDELABRA, AND PORTES BOUQUETS, BY M. POILLEUX..., 1862. CREATOR: UNKNOWN.
The International Exhibition: clock, candelabra, and portes bouquets, by M. Poilleux, of Paris, 1862. '...the French have long surpassed us in cheapness of production and in artistic taste, knowledge of drawing, and modelling displayed. [Engraving shows]...an ornamental figure clock and candelabra, and two portes bouquets, which are en suite and of oxydised silver-work relieved by gilding. The figure on the top of the clock is that of Penelope, who is represented as having fallen asleep in her weary task of unpicking the net which she had woven by day in the presence of her importunate and eager suitors. The grace of the figure, the classical contour of form, and the management of the drapery reflect very great credit on the artist, M. Julien Rameu, who is the son-in-law of M. Poilleux, and the artist-manager of the firm. The choice of the subject for a timepiece strikes us also as singularly appropriate: the distaff has fallen from the hands of the most faithful wife of antiquity, and in very weariness she seems to have fallen asleep...Let us hope that during her sleep the hours will fly swiftly to the tired watcher. The vases and candelabra are very light and pretty, and consist entirely of ornament very freely and gracefully disposed'. From "Illustrated London News", 1862. The International Exhibition: clock, candelabra, and portes bouquets, by M. Poilleux..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162268
THE NEW IRON-CLAD FLEET: LAUNCH AT CHATHAM DOCKYARD OF H.M.S. FRIGATE ROYAL OAK, 50 GUNS, 1862. CREATOR: UNKNOWN.
The new iron-clad fleet: launch at Chatham Dockyard of H.M.S. frigate Royal Oak, 50 guns, 1862. '...the first completed of a new class of wooden vessels in the course of construction under the special direction of the Admiralty, and the first iron-cased war-ship built at the Royal dockyards [by Mr. 0. W. Lang. She has]...engines of 1000-horse power by Messrs. Maudslay...in the Royal Oak the usual figure-head, the graceful cutwater, and all the elaborate moulding that the eye is accustomed to meet in the bows of the earlier ships is entirely dispensed with, and a massive iron stem, with a sharp outward curve, for the purpose of being used as a ram, is substituted. The alteration from the general form of stem is still more complete, the lines at the counter and hammock netting running off to a point as fine as the bows of a schooner - a most excellent arrangement for the prevention of a vessel being raked. On each broadside of the ship three rows of iron plates, 4½in. thick, and weighing between four and five hundred tons, are already in their places. She will he encased in iron from stem to stem, the plates tapering off to about half the above-mentioned thickness at those parts, the armour descending to five feet below the water-line'. From "Illustrated London News", 1862. The new iron-clad fleet: launch at Chatham Dockyard of H.M.S. frigate Royal Oak, 50 guns, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162134
BRAY'S TRACTION-ENGINE DRAWING A GIRDER...THROUGH THE STREETS OF LONDON BY NIGHT..., 1862. CREATOR: UNKNOWN.
Bray's traction-engine drawing a girder 74 feet long and weighing twenty tons through the streets of London by night - the monster load passing the Bank of England, 1862. 'A wrought-iron girder, of the hog-back construction...had to be removed from...New North-road, to...Dulwich, where it is to form part of a bridge for the London, Chatham, and Dover Railway...Two strong trucks were put underneath it, the one in front being a large four-wheel boiler truck, and the second, which bore the weight behind, a very heavy "trolly" with two wheels. These trucks together formed the carriage, the girder being kept in its position by stout chains...Naptha lamps, to light the workmen and give warning to all passers-by, were fixed along the whole line of the girder; and, thus equipped, with the traction-engine yoked in front, the massive load went upon its journey, multitudes turning out...and crowding the footways to witness the unusual sight...It was daylight when the final destination was attained...It would have required twenty-five horses to draw it by the ordinary method, and the difficulty of getting such a number of animals to pull together, to say nothing of the obstruction they would cause to the regular traffic, may be readily imagined'. From "Illustrated London News", 1862. Bray's traction-engine drawing a girder...through the streets of London by night..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162109
THE INTERNATIONAL EXHIBITION: PORTIONS OF THE AUSTRIAN AND BELGIAN COURTS..., 1862. CREATOR: MASON JACKSON.
The International Exhibition: portions of the Austrian and Belgian Courts as seen from the Western Dome, 1862. '...the Austrian Court...is very advantageously situated for catching the eye of the visitor who comes down the nave from the eastern entrance. At the point where the north-western transept springs from the dome the Austrian Court extends a considerable way to the left of the transept, as the Belgian Court extends in the same direction to the right. On ascending the steps leading to the western dome an excellent view is obtained both of the galleries and the lower floor of the court, which come out with much brilliancy and effect. The view which we give...is taken from beneath the western dome looking down the north transept, and in the distance is the fine painted window which terminates the transept. In the foreground to the left is to be seen Leopold Kissling's group of statuary, Mars, Venus, and Cupid. In the centre is Lobmeyer [sic] of Vienna's crimson velvet screen, which forms a background to his grand display of chandeliers; and a little to the left is to be observed Neffen's stand of Bohemian glass. The picture includes also a considerable portion of the Belgian Court'. From "Illustrated London News", 1861. The International Exhibition: portions of the Austrian and Belgian Courts..., 1862. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601161933
THE INTERNATIONAL EXHIBITION: CAPITAL AND PORTION OF SHAFT OF COLUMN FROM THE HEREFORD SCREEN, 1862. CREATOR: UNKNOWN.
The International Exhibition: capital and portion of shaft of column from the Hereford Screen, designed by G. G. Scott, R.A., manufactured by Skidmore's Art-Manufacturers' Company, Coventry, 1862. 'This work...the grandest and most triumphant achievement of modern architectural art...the largest art-work in metal of which we have knowledge...fitly illustrates the most glorious scene ever enacted on this earth - the Ascension of our Lord... In the cusped oval in the centre of the work, standing upon a capital round which the passion-flower is arranged with peculiar skill, is the Saviour risen above the suffering which the flower portrays...One feature of the screen which should not be overlooked or passed slightingly is the open manifestation which we have, upon viewing it, of the mode of its formation: it has resulted from the work of the hammer and the chisel - it is wrought...Every chemist is acquainted with the beautiful colours of some of the oxydes of the metals; but Mr. Skidmore has attempted the utilising such by applying them to the colouring of the iron; thus, as his work is formed of iron, copper, and brass, he has applied to it the colours of the oxydes of these metals'. From "Illustrated London News", 1862. The International Exhibition: capital and portion of shaft of column from the Hereford Screen, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601161904
THE INTERNATIONAL EXHIBITION: HEREFORD SCREEN, DESIGNED BY G. G. SCOTT, R.A..., 1862. CREATOR: UNKNOWN.
The International Exhibition: Hereford Screen, designed by G. G. Scott, R.A., manufactured by Skidmore's Art-Manufacturers' Company, Coventry, 1862. 'This work...the grandest and most triumphant achievement of modern architectural art...the largest art-work in metal of which we have knowledge...fitly illustrates the most glorious scene ever enacted on this earth - the Ascension of our Lord...At each side are angels...The Trinity is symbolised by three circular spaces around; and surmounting all is the cross...The capitals are formed of sheet metal, worked into form by the point of the hammer...The arches are chiefly filled in with bold filigree-work, and the spandrils with a foliaceous composition...One feature of the screen which should not be overlooked or passed slightingly is the open manifestation which we have, upon viewing it, of the mode of its formation: it has resulted from the work of the hammer and the chisel - it is wrought...Every chemist is acquainted with the beautiful colours of some of the oxydes of the metals; but Mr. Skidmore has attempted the utilising such by applying them to the colouring of the iron; thus, as his work is formed of iron, copper, and brass, he has applied to it the colours of the oxydes of these metals'. From "Illustrated London News", 1862. The International Exhibition: Hereford Screen, designed by G. G. Scott, R.A..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601161849
THE INTERNATIONAL EXHIBITION: THE OUTRAM SHIELD, 1862. CREATOR: UNKNOWN.
The International Exhibition: the Outram Shield, exhibited by Messrs. Hunt and Roskell - from a photograph by the London Stereoscopic Company, 1862. Testimonial manufactured by Messrs. Hunt and Roskell, and presented to Sir James Outram, consisting of '...a large shield of oxydised silver, iron, and steel, richly damascened in gold....The centre group, which is in high relief and treated somewhat conventionally, represents Sir Henry Havelock, after the relief of Lucknow, restoring to Sir James Outram the command of the British forces...A small circle of steel damascened with gold, which separates this from the low relief, contains eight medallion portraits of Sir James's companions in the Lucknow campaign...The inscription dedicates the shield to Lieutenant-General Sir James Outram..."in token of the affectionate regard of his friends and admirers and brother officers, and in appreciation of his sterling and brilliant qualities which have ever marked his career, and in lasting testimony of his gallantry, self-devotion, and highly chivalrous bearing during the operations attending on and following the relief of Lucknow, 1857." The shield is...a noble and conscientious piece of art-work, conferring great credit on the artist, Mr. Armstead'. From "Illustrated London News", 1862. The International Exhibition: the Outram Shield, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601161734
THE INTERNATIONAL EXHIBITION: BESLEY'S TYPE-CASTING MACHINE..., 1862. CREATOR: UNKNOWN.
The International Exhibition: Besley's type-casting machine - from a photograph by the London Stereoscopic Company, 1862. Machine '...exhibited by Messrs. Charles Reed and Benjamin Fox [and] engaged...in casting type used in this number of the "Illustrated London News"...The popular idea is that print-types are made of lead, but, when the extreme pressure to which the metal has to be subjected is considered, it is manifest that a composition of a much greater resisting power is required for the purpose of producing impressions on paper...The machine consists of a pan for holding the [hard] metal, with a well and piston, the latter with a side lever, connecting-rod, and cross-bar attached to the piston-rod and worked with a cam. To the pan is fixed a "jobber", used to prevent the return of the metal after it is pumped into the mould, which is fixed to the front of the machine, and held to the pan whilst the type is being cast. When the type is cast the mould is drawn back by means of a spiral spring, and the mould is opened by a bar and rod, which are also used for delivering the matrix. Other arms and plates are adapted for fixing and lowering the mould. The machine is driven by a lever and motion-crank'. From "Illustrated London News", 1862. The International Exhibition: Besley's type-casting machine..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601161719
THE INTERNATIONAL EXHIBITION: DRESSING-CASE BY MESSRS. HOWELL, JAMES, AND CO., OF REGENT-STREET,1862 CREATOR: UNKNOWN.
The International Exhibition: dressing-case by Messrs. Howell, James, and Co., of Regent-street, 1862. 'The exterior of the case is plain in appearance, being of dark polished wood...yet there is an elegance and unobtrusive refinement about the external aspect which are indicative of costliness and magnificence within. A looking-glass, surrounded by rich ornamental pierced and incised work, occupies the interior of the lid; a series of beautifully-cut bottles, mounted with gold set with small coral beads, occurs at the back of the case...and beneath are stored brushes with ivory backs, covered with pierced work, gilt and enriched with coral...From the front of the box a tray falls, filled with necessary knicnacks [sic] as button-hooks with malachite handles...The whole enrichments of the case are gilt, and are in the French Renaissance style; they are delicate and beautiful...But the peculiarity of the case consists in a mechanical contrivance by which the mere raising the lid brings about the spreading of the trays and the opening of the front...it is amusing and interesting, for the lid is constantly raised and lowered by clockwork; hence the case is alternately a mere box in appearance and the showy object which we delineate'. From "Illustrated London News", 1862. The International Exhibition: dressing-case by Messrs. Howell, James, and Co., of Regent-street,1862 Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601161299
TOP OF ELKINGTON'S SILVER REPOUSSÉ TABLE, IN THE INTERNATIONAL EXHIBITION, 1862. CREATOR: UNKNOWN.
Top of Elkington's silver repoussé table, in the International Exhibition, 1862. 'This work, the ornamental portion of which was designed and executed by Morel Ladeuil, is intended to portray the poetical influences of sleep...The composition on the top of the table is entirely of female figures...divisible into three separate tableaux...Victory has the prominent position in the Soldier's Dream; she bears the palm-leaf in her right hand and the Book of History in her left; and is followed by Fame, who sounds her trumpet; Glory, with the myrtle and military rewards, stretches forth her hand to crown the victor. The Minstrel dreams of what he sings: Love, in the figure of an eastern beauty, surrounded by Cupids; Melody, with the lyre, and robed with music; Folly, with her cap and bells; and Fortune, who, kneeling on her emblematical wheel, scatters gold...The third dream is that of the Agriculturist; and is one of Peace and Plenty. The figures bear offerings of the fruits of the earth, intertwined with flowers; a Bacchante also holds the winecup to receive the juice of the grape; following in the train is a Cupid, bearing the no less important wheatsheaf. This group is completed by a figure bearing a cornucopiae, emblematic of abundance'. From "Illustrated London News", 1862. Top of Elkington's silver repoussé table, in the International Exhibition, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
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