552 records match your search. Use the filters to refine your results. Using data FAQs
Open filters- Title:
- Bath Station
- Object name(s):
- print; lithograph; print; lithograph
- Brief description:
- Lithograph, coloured. Great Western Railway. Bath Station. Drawn and lithographed by J C Bourne. Printed by C F Cheffins. (1846)
- Collection:
- Science Museum Group
- Associated concept:
- prints and lithographs
- Associated concept:
- Art
- Credit line:
- British Rail, Clapham
- Dimension:
- height
- Dimension measurement unit:
- in
- Dimension value:
- 14 1/8
- Dimension:
- height
- Dimension measurement unit:
- mm
- Dimension value:
- 358
- Dimension:
- width
- Dimension measurement unit:
- in
- Dimension value:
- 20 3/8
- Dimension:
- width
- Dimension measurement unit:
- mm
- Dimension value:
- 517
- Object name:
- print; lithograph; print; lithograph
- Object production date:
- Date - earliest / single:
- 1846
- Date - latest:
- 1846
- Object production date:
- Date - association:
- made
- Date - earliest / single:
- 1846
- Date - latest:
- 1846
- Object production person:
- Bourne, John Cooke (artist); Cheffins, Charles Frederick (printer)
- Other number:
- 1975-8618
- Other number type:
- accession number
- Other number:
- 706/56
- Other number type:
- Clapham number
- Other number:
- 75/21/49
- Other number type:
- National Railway Museum number
- Responsible department/section:
- NRM - Pictorial Collection (Railway)
Persistent shareable link for this record: https://museumdata.uk/objects/722763ac-9c39-3f63-9e42-1c437dcc4404
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/722763ac-9c39-3f63-9e42-1c437dcc4404, Science Museum Group, CC BY
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- Title:
- Coloured lithograph showing Bath Station
- Object name(s):
- print; print
- Brief description:
- Coloured lithograph showing Bath Station, by J.C. Bourne, printed by C.F. Cheffins, 1846
- Collection:
- Science Museum Group
- Associated concept:
- print
- Credit line:
- Sabin, F.T.
- Object name:
- print; print
- Object production date:
- Date - earliest / single:
- 1846
- Date - latest:
- 1846
- Object production date:
- Date - association:
- made
- Date - earliest / single:
- 1846
- Date - latest:
- 1846
- Object production person:
- Cheffins, Charles Frederick; Bourne, John Cooke
- Other number:
- 1939-80
- Other number type:
- accession number
- Other number:
- 4350/430/2
- Other number type:
- file number
- Responsible department/section:
- SCM - Art
Persistent shareable link for this record: https://museumdata.uk/objects/87cefae0-d7dd-3319-b463-f50e11cede5e
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/87cefae0-d7dd-3319-b463-f50e11cede5e, Science Museum Group, CC BY
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- Title:
- Perceval Bequest
- Object name(s):
- Perceval_L7_3_201009_mfj22_mas.tif
- Collection:
- Fitzwilliam Museum
- Object name:
- Perceval_L7_3_201009_mfj22_mas.tif
- Object number:
- Perceval
- Object production date:
- Date - earliest / single:
- 1671
- Date - latest:
- 1910
- Other number:
- Perceval
- Other number type:
- accession number
- Other number:
- 110000401
- Other number type:
- priref
- Other number type:
- uri
- Reproduction format:
- jpeg
- Reproduction number:
- media-3678660810
- Reproduction number:
- media-1960142059
- Reproduction number:
- media-4010051764
- Reproduction type:
- image
- Text reason:
- Collections online record
Persistent shareable link for this record: https://museumdata.uk/objects/37cd2460-a55f-3ca7-b554-aadee24c4bb7
Use licence for this record: CC 0
Attribution for this record: https://museumdata.uk/objects/37cd2460-a55f-3ca7-b554-aadee24c4bb7, Fitzwilliam Museum, CC 0
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- Object name(s):
- programme
- Brief description:
- The programmes are as follows - programme by Brunel Singers at Folkestone, printed on a single sheet of cream coloured paper. British Railways (W.R) Athletic Association, 1954, printed on a single sheet of cream coloured paper. GWR S and E.U Swindon Choir at Rodbourne Cheney parish Church in 1931, printed on a single sheet of pale pink paper. Choirboys of St Augustines Church, Swindon and The GWR Mixed Voice Choir at Swindon in 1947, printed on a two-fold piece of blue paper. GWR Social and Educational Union, Bristol Divisional Rally at Weymouth pavilion Theatre in 1929, printed on a two-fold sheet of blue paper with red printed text. Anniversary Service (Rev.J.H.Watkins) at Clifton Street Primitive Methodist Church, Swindon in 1929, printed on a single sheet of cream paper. Great Western Railway Choir and Orchestra at the Playhouse Theatre, Swindon in 1933, printed on a two-fold sheet of cream paper. GWR Swindon Prize Choir at Sarum Hill Methodist Church in 1932, printed on a two-fold sheet of cream paper. GWR Swindon Prize Choir at the Town Hall, Marlborough in 1933, printed on a yellow two-fold sheet of paper. The 'Phiftene' Glee Singers at the Regent Street Schools, Swindon in 1933, printed on a pale orange two-fold sheet of paper. GWR Swindon Choir at St Philips Road Methodist Church, Swindon in 1934, printed on a deep yellow two-fold sheet of paper. GWR Swindon Prize Choir at the Town Hall, Marlborough, 1934, printed on a two-fold cream coloured sheet of paper. GWR Swindon Choir at Methodist Central Hall, Swindon in 1935, printed on a two-fold sheet of pink paper. Musical Service by GWR Swindon Choir at Prospect Methodist Church, Swindon in 1936, printed on a single sheet of cream coloured paper. GWR Swindon Choir at Percy Street Methodist Church in 1935, printed on a two-fold piece of apricot coloured paper. GWR Swindon Choir at Maxwell Street Schools, Swindon in 1937, printed on a blue two-fold sheet of paper. GWR Social and Educational Union Choir at Trinity Methodist Church, Swindon in 1935, printed on a two-fold sheet of apricot coloured paper.
- Collection:
- Swindon Museums (Swindon Borough Council)
- Object name:
- programme
- Object number:
- RY 1985/260/1-17
- Responsible department/section:
- STEAM - Museum of the Great Western Railway
Persistent shareable link for this record: https://museumdata.uk/objects/48c4af3c-069f-36e0-8bc4-a977f7dc8fbc
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/48c4af3c-069f-36e0-8bc4-a977f7dc8fbc, Swindon Museums (Swindon Borough Council), CC BY-NC
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- Title:
- Bath Station
- Object name(s):
- print; lithograph; print; lithograph
- Brief description:
- Lithograph, black and white, Great Western Railway, Bath Station, by J C Bourne, depicting the interior of the station with trains, c1840, on card.
- Collection:
- Science Museum Group
- Associated concept:
- prints and lithographs
- Associated concept:
- Art
- Credit line:
- British Rail, Clapham
- Dimension:
- height
- Dimension measurement unit:
- in
- Dimension value:
- 17 3/8
- Dimension:
- height
- Dimension measurement unit:
- mm
- Dimension value:
- 442
- Dimension:
- width
- Dimension measurement unit:
- in
- Dimension value:
- 21 15/16
- Dimension:
- width
- Dimension measurement unit:
- mm
- Dimension value:
- 557
- Object name:
- print; lithograph; print; lithograph
- Object production date:
- Date - earliest / single:
- 1840
- Date - latest:
- 1840
- Object production date:
- Date - association:
- made
- Date - earliest / single:
- 1840
- Date - latest:
- 1840
- Object production person:
- Bourne, John Cooke (artist)
- Other number:
- 2001-8604
- Other number type:
- accession number
- Other number:
- 294/62
- Other number type:
- Clapham number
- Responsible department/section:
- NRM - Pictorial Collection (Railway)
Persistent shareable link for this record: https://museumdata.uk/objects/8d9664ac-1567-3e5b-8c97-8be2a010fc3a
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/8d9664ac-1567-3e5b-8c97-8be2a010fc3a, Science Museum Group, CC BY
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- Title:
- Portrait bust of Joseph Locke
- Object name(s):
- portrait bust; portrait bust
- Brief description:
- Bust of Joseph Locke (1805-60), 'Model by E.W. Wyon S.C., Marble by C.H. Mabey S.C. 1902'.,
- Collection:
- Science Museum Group
- Associated concept:
- miscellanea and curiosities
- Associated concept:
- Using the Railway
- Associated person:
- Joseph Locke
- Person's association:
- sitter
- Credit line:
- Institution of Civil Engineers
- Dimension:
- depth
- Dimension measurement unit:
- in
- Dimension value:
- 1/2
- Dimension:
- depth
- Dimension measurement unit:
- mm
- Dimension value:
- 12
- Dimension:
- height
- Dimension measurement unit:
- in
- Dimension value:
- 1 3/16
- Dimension:
- height
- Dimension measurement unit:
- mm
- Dimension value:
- 30
- Dimension:
- width
- Dimension measurement unit:
- in
- Dimension value:
- 7/8
- Dimension:
- width
- Dimension measurement unit:
- mm
- Dimension value:
- 22
- Material:
- marble (limestone)
- Object name:
- portrait bust; portrait bust
- Object production date:
- Date - earliest / single:
- 1902
- Date - latest:
- 1902
- Object production date:
- Date - association:
- made
- Date - earliest / single:
- 1902
- Date - latest:
- 1902
- Object production person:
- Wyon, Edward William; Mabey, C. H.
- Object production place:
- England, United Kingdom
- Other number:
- 1970-597
- Other number type:
- accession number
- Other number:
- 928/25
- Other number type:
- file number
- Responsible department/section:
- NRM - Miscellanea & Curiosities
Persistent shareable link for this record: https://museumdata.uk/objects/a4e67403-7c35-3fc5-906a-2ad31d27d311
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/a4e67403-7c35-3fc5-906a-2ad31d27d311, Science Museum Group, CC BY
Is there a problem with this record? .
- Title:
- lithograph bath station
- Object name(s):
- print; lithograph; print; lithograph
- Brief description:
- Black and white Lithograph, Great Western Railway Bath Station, by J C Bourne, depicting interior of station from the track, showing trains and passengers on platforms.1846.
- Collection:
- Science Museum Group
- Associated concept:
- prints and lithographs
- Associated concept:
- Art
- Credit line:
- British Rail, Clapham
- Dimension:
- height
- Dimension measurement unit:
- in
- Dimension value:
- 14 9/16
- Dimension:
- height
- Dimension measurement unit:
- mm
- Dimension value:
- 370
- Dimension:
- width
- Dimension measurement unit:
- in
- Dimension value:
- 20 7/8
- Dimension:
- width
- Dimension measurement unit:
- mm
- Dimension value:
- 530
- Object name:
- print; lithograph; print; lithograph
- Object production date:
- Date - earliest / single:
- 1846
- Date - latest:
- 1846
- Object production date:
- Date - association:
- made
- Date - earliest / single:
- 1846
- Date - latest:
- 1846
- Object production person:
- Bourne, John Cooke (artist); Cheffins, Charles Frederick (printer)
- Other number:
- 1997-9486
- Other number type:
- accession number
- Other number:
- 43/26/51
- Other number type:
- Clapham number
- Responsible department/section:
- NRM - Pictorial Collection (Railway)
Persistent shareable link for this record: https://museumdata.uk/objects/a7306958-6b63-3847-90b2-e0872b55363d
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/a7306958-6b63-3847-90b2-e0872b55363d, Science Museum Group, CC BY
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- Title:
- in carved gilt wooden frame, 1813.
- Object name(s):
- Paintings; Painting
- Brief description:
- Oil on stretched canvas, portrait painting of James Asperne. He is seated, wearing a silver Master's set square suspended from a chain, the Royal medal of the Lodge of Antiquity, No. 1 (now No. 2) (see notes below) and a Grand Steward's apron trimmed with red. He is holding a Book of Constitutions in his right hand. The chair is supported on each side by two Corinthian columns surmounted with globes. The back of the chair is decorated with rays, a sun, a moon and an All-seeing eye. The canvas is framed within a carved gilt wooden frame.
- Collection:
- Museum of Freemasonry
- Acquisition method:
- Purchase
- Associated concept:
- Paintings--Masonic
- Associated concept:
- Portraits--Masonic--England
- Associated person:
- Drummond, Samuel, 1765-1844, Painter
- Comments:
- James Asperne was initiated into Freemasonry in 1792. He served as Master in at least two lodges, Foundation Lodge, No. 96 (lapsed around 1806) and St. Peter's Lodge, No. 249 (erased 1830). He also became a member of the Lodge of Antiquity, No. 1 (now No. 2), eventually becoming an Honorary Member, thus receiving the Royal medal in 1812. The Royal medal was instituted in 1812 by H.R.H., Augustus Frederick, Duke of Sussex, who was Master of the Lodge in 1809 until his death in 1843, and presented to initiates and joining members. In 1813 Asperne was elected as a Grand Steward and took part in the Grand Festival in 1814.
- Comments:
- The painter of this portrait, Samuel Drummond enrolled at the Royal Academy schools in 1791 where he exhibited over three hundred works until his death in 1844. In 1808 he was elected as an associate of the Royal Academy. He became known for portraiture and his sitters included John Gully (1783-1863), sportsman and prize-fighter, Elizabeth Fry (1780-1845), prison reformer and Sir Marc Isambard Brunel (1769-1849), civil engineer.
- Content - description:
- James Asperne, Chair, Crescent with rays, Sun, All-seeing eye, Moon, Corinthian columns, Globes, Grand Steward's apron, Book of Constitutions, Master's collar jewel and chain, Royal medal of the Lodge Of Antiquity No. 1 (now No. 2)
- Dimension:
- (Without frame) H: 1200 W: 945 D: n/a Dia: n/a Wt: n/a
- Entry date:
- 14/07/1970
- Object name:
- Paintings; Painting
- Object number:
- M2010/1197
- Object production date:
- 1813
- Object production place:
- n/k
- Reproduction format:
- Digital image
- Technique:
- Hand painted
- Technique:
- Carved frame
- Technique:
- Gilded
- Technique:
- Stretched canvas
- Text:
- JAMES ASPERNE (1757-1820), Bookseller. Past Master, St. Peter's Lodge, No. 249, 1795, Honorary Member, Lodge of Antiquity, No. 1 (now No. 2) 1795. Grand Steward, 1813. By Samuel Drummond, A.R.A., 1813.
- Text reason:
- Display caption
Persistent shareable link for this record: https://museumdata.uk/objects/8bdfa1fb-470d-346b-9783-d7e060c22a26
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/8bdfa1fb-470d-346b-9783-d7e060c22a26, Museum of Freemasonry, CC BY
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- Title:
- Information about the Automatic Timing Routine (ATR) for the Elliott Brothers 405 computer
- Object name(s):
- computer programme documentation; computer programme documentation
- Brief description:
- Folder of information about the Automatic Timing Routine (ATR) for the Elliott Brothers 405 computer, created by David Pentecost in 1961. Contents include:
a) Elliott Brothers standard documentation for the Automatic Timing Routine for customers, consisting of 5 pages of programme specification
b) Two pages of copies of hand-written programme coding sheets for the Automatic Timing Routine (by David Pentecost) (original master copy of the sheetswould have been filed elsewhere).
c) A draft Elliott typed specification for the Automatic Timing Routine
d) A blank programme sheet for the 405
e) Three draft versions of the Automatic Timing Routine
f) life-size copy of the Elliot 405 flowcharting template
g) Sheets relating to testing and timing
h) Miscellaneous working papers, handwritten (20 sheets)
- Collection:
- Science Museum Group
- Credit line:
- David Pentecost
- Dimension:
- height
- Dimension measurement unit:
- in
- Dimension value:
- 13
- Dimension:
- height
- Dimension measurement unit:
- mm
- Dimension value:
- 330
- Dimension:
- width
- Dimension measurement unit:
- in
- Dimension value:
- 8
- Dimension:
- width
- Dimension measurement unit:
- mm
- Dimension value:
- 203
- Material:
- paper (fibre product)
- Object name:
- computer programme documentation; computer programme documentation
- Object production date:
- Date - earliest / single:
- 1961
- Date - latest:
- 1961
- Object production person:
- Elliott Brothers (London) Limited
- Object production place:
- London, Greater London, England, United Kingdom
- Other number:
- 2024-717
- Other number type:
- accession number
- Other number:
- E2024.0079.2
- Other number type:
- previous number
- Responsible department/section:
- SCM - Archive
Persistent shareable link for this record: https://museumdata.uk/objects/37210e10-73df-3881-bc08-bcca7d50c1bd
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/37210e10-73df-3881-bc08-bcca7d50c1bd, Science Museum Group, CC BY
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- Title:
- Engine House, Swindon
- Object name(s):
- print; lithograph; print; lithograph
- Brief description:
- Lithograph, coloured, Great Western Railway, Engine House, Swindon, sketched and drawn on stone, by J C Bourne, printed by C F Cheffins, depicting the interior of the engine house with men at work, c1840, on card.
- Collection:
- Science Museum Group
- Associated concept:
- prints and lithographs
- Associated concept:
- Art
- Credit line:
- British Rail, Clapham
- Dimension:
- height
- Dimension measurement unit:
- in
- Dimension value:
- 14 7/16
- Dimension:
- height
- Dimension measurement unit:
- mm
- Dimension value:
- 366
- Dimension:
- width
- Dimension measurement unit:
- in
- Dimension value:
- 21 1/8
- Dimension:
- width
- Dimension measurement unit:
- mm
- Dimension value:
- 536
- Object name:
- print; lithograph; print; lithograph
- Object production date:
- Date - earliest / single:
- 1840
- Date - latest:
- 1840
- Object production date:
- Date - association:
- made
- Date - earliest / single:
- 1840
- Date - latest:
- 1840
- Object production person:
- Bourne, John Cooke (artist); Cheffins, Charles Frederick (printer)
- Other number:
- 2001-8605
- Other number type:
- accession number
- Other number:
- 633/53
- Other number type:
- Clapham number
- Responsible department/section:
- NRM - Pictorial Collection (Railway)
Persistent shareable link for this record: https://museumdata.uk/objects/ded759ea-e232-3c7f-8c1c-5f14963f6d02
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/ded759ea-e232-3c7f-8c1c-5f14963f6d02, Science Museum Group, CC BY
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- Title:
- Coloured lithograph showing Engine House at Swindon
- Object name(s):
- print; print
- Brief description:
- Coloured lithograph showing Engine House at Swindon, GWR, by J.C. Bourne, printed by C.F. Cheffins, 1846
- Collection:
- Science Museum Group
- Associated concept:
- print
- Credit line:
- Sabin, F.T.
- Material:
- paper
- Material:
- lithograph
- Object name:
- print; print
- Object production date:
- Date - earliest / single:
- 1846
- Date - latest:
- 1846
- Object production date:
- Date - association:
- made
- Date - earliest / single:
- 1846
- Date - latest:
- 1846
- Object production person:
- Cheffins, Charles Frederick; Bourne, John Cooke
- Other number:
- 1939-79
- Other number type:
- accession number
- Other number:
- 4350/430/2
- Other number type:
- file number
- Responsible department/section:
- SCM - Art
Persistent shareable link for this record: https://museumdata.uk/objects/d9c1e70e-6848-38df-ad00-706a428c77df
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/d9c1e70e-6848-38df-ad00-706a428c77df, Science Museum Group, CC BY
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- Object name(s):
- Top hat
- Brief description:
- Top hat in black silk. Tall crown slightly spreading at sides; broad flat brim. Narrow band of black velvet braid with a wavy floral stem pattern. Japanned metal buckle. Partly lined with quilted red satin, the remainder with striped pink and white silk. Stamped in gold on the lining is 'Made in Paris (?). This hat was given to me by an old Welsh cottager (near Llechryd, Cardiganshire) who has constantly worn it. It has been in my possession since 1893' (?). Much worn and discoloured.
- Collection:
- Victoria and Albert Museum
- Associated concept:
- Accessories
- Associated concept:
- Clothing
- Associated concept:
- Formal wear
- Associated concept:
- Men's clothes
- Associated place:
- Llechryd
- Associated place:
- Wales
- Credit line:
- Given by Mrs. Dodgshon, 20th October 1921
- Location type:
- Thumbnail
- Dimension:
- Height
- Dimension measurement unit:
- in
- Dimension value:
- 8.5
- Dimension:
- Width
- Dimension measured part:
- brim
- Dimension measurement unit:
- in
- Dimension value:
- 3.5
- Dimension:
- Width
- Dimension measured part:
- back to front
- Dimension measurement unit:
- in
- Dimension value:
- 14.75
- Dimension:
- Width
- Dimension measured part:
- left to right
- Dimension measurement unit:
- in
- Dimension value:
- 13.25
- Object name:
- Top hat
- Object number:
- T.335-1921
- Object production date:
- ca. 1893
- Date - association:
- made
- Date - earliest / single:
- 1888-01-01
- Date - latest:
- 1897-12-31
- Object production place:
- Paris
- Place association:
- made
- Object production place:
- France
- Place association:
- made
- Physical description:
- Top hat in black silk. Tall crown slightly spreading at sides; broad flat brim. Narrow band of black velvet braid with a wavy floral stem pattern. Japanned metal buckle. Partly lined with quilted red satin, the remainder with striped pink and white silk. Stamped in gold on the lining is 'Made in Paris (?). This hat was given to me by an old Welsh cottager (near Llechryd, Cardiganshire) who has constantly worn it. It has been in my possession since 1893' (?). Much worn and discoloured.
- Reproduction number:
- 2019MA6179
- Reproduction number:
- 2011FD3342
- Reproduction number:
- 2011FD2914
- Reproduction number:
- 2017JV9188
- Reproduction number:
- 2017JW4477
- Responsible department/section:
- T&F
- Style:
- 19th century last quarter
- Text reason:
- Collections online record
- Text:
- This hat was said to have been worn 'for many years' by a Welsh cottager in the village of Llechryd, Ceredigion. Its date of manufacture is not known, though the style is typical of the middle years of the nineteenth-century. The velvet band, richly-decorated with its floral stem pattern, is actually quite reminiscent of the style of the burgeoning Arts and Crafts movement, which began in the 1860s. It is similar in form to the hat worn by Isembard Kingdom Brunel in Robert Howlett's famous 1857 portrait, though the eminent engineer's lacked a decorative band.
The alleged creation of this hat in Paris is appropriate, since the first known depiction of what we know as a top hat was French. The 1796 painting by Charles Vernet, Un Incroyable, depicts a dandy holding an item of black headgear with a high spreading crown and wide curling brim; in other words a recognisable top hat. The top hat, with a few stylistic alterations, remained the dominant form of headwear for the next hundred years.
Top hats were the symbol of the emergent middle-class in industrial Victorian Britain. The questionable use of a relatively large amount of rich material on such an uncomfortable style of hat was expressive of an attitude to expressive luxury long-adopted by the aristocracy, whom the new industrialists longed to rub shoulders with.
- Text reason:
- Summary description
Persistent shareable link for this record: https://museumdata.uk/objects/edb85ca4-0cb9-3e80-a8dc-fb064f810454
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/edb85ca4-0cb9-3e80-a8dc-fb064f810454, Victoria and Albert Museum, CC BY-NC
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- Title:
- Bristol Station
- Object name(s):
- print; lithograph; print; lithograph
- Brief description:
- Lithograph, coloured, Great Western Railway, Bristol Station, sketched and drawn in stone, by J C Bourne, printed by C F Cheffins, 1840, depicting interior of station with trains, workers and passengers.
- Collection:
- Science Museum Group
- Associated concept:
- prints and lithographs
- Associated concept:
- Art
- Credit line:
- British Rail, Clapham
- Dimension:
- height
- Dimension measurement unit:
- in
- Dimension value:
- 15 9/16
- Dimension:
- height
- Dimension measurement unit:
- mm
- Dimension value:
- 395
- Dimension:
- width
- Dimension measurement unit:
- in
- Dimension value:
- 21 15/16
- Dimension:
- width
- Dimension measurement unit:
- mm
- Dimension value:
- 558
- Object name:
- print; lithograph; print; lithograph
- Object production date:
- Date - earliest / single:
- 1840
- Date - latest:
- 1840
- Object production date:
- Date - association:
- made
- Date - earliest / single:
- 1840
- Date - latest:
- 1840
- Object production person:
- Bourne, John Cooke (artist); Cheffins, Charles Frederick (printer)
- Other number:
- 2001-8622
- Other number type:
- accession number
- Other number:
- 860/51
- Other number type:
- Clapham number
- Responsible department/section:
- NRM - Pictorial Collection (Railway)
Persistent shareable link for this record: https://museumdata.uk/objects/0d29ca93-fe2f-3771-8d4e-470407029b20
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/0d29ca93-fe2f-3771-8d4e-470407029b20, Science Museum Group, CC BY
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- Title:
- in gilded frame.
- Object name(s):
- Paintings; Painting
- Brief description:
- Oil painting of Anthony Ten Broeke, seated in a chair, facing viewer with his right hand upon the arm rest and his left hand on his lap, holding a pair of compasses. He is wearing an apron with a rounded, pleated lower edge and with two tassel ends showing. He is also wearing the Caledonian Lodge Master's chain, from which is hanging a set square. Around his neck is a ribbon from which hangs a presentation jewel, star shaped, with an oval centre containing a female figure, seated on a globe and holding a set square and compasses.
- Collection:
- Museum of Freemasonry
- Acquisition method:
- Donation
- Associated concept:
- Paintings--Masonic
- Associated concept:
- Portraits--Masonic--England
- Associated person:
- Drummond, Samuel, 1765-1844, Painter
- Comments:
- Anthony Ten Broeke obtained British Citizenship by Private Statute in 1777. In 1764, he was a member of Caledonian Lodge, No. 325 (later New Caledonian Lodge, No. 134). In 1768 he was presented with a jewel for great service as Master. In 1771 he was expelled with 10 other members of the lodge from the Craft for writing a letter to the Provincial Grand Master of the Austrian Netherlands which the Grand Lodge (Moderns) considered defamatory. He was reinstated in 1777 after apologising. He joined Shakespear Lodge in 1780 and was elected Master in 1783 and 1784, but he resigned from this lodge in 1785. In 1788 he was a founder member of the committee of the Royal Cumberland Freemasons' School, later the Royal Masonic Institution for Girls, and as Governor of that charity was present at Freemasons' Hall in 1801. He died on 30th September 1812.
- Comments:
- The collar Anthony Ten-Broeke is seen wearing in the painting is one of a number of similar collars made for the officers of Caledonian Lodge, No.134 and still used by them today. They are currenly on loan to the Library and Museum of Freemasonry, as is the Past Master's presentation jewel that also features in the painting.
- Comments:
- Portrait painter Samuel Drummond enrolled at the Royal Academy schools in 1791 where he exhibited over three hundred works until his death in 1844. In 1808 he was elected as an associate of the Royal Academy. He became known for portraiture and his sitters included John Gully (1783-1863), sportsman and prize-fighter, Elizabeth Fry (1780-1845), prison reformer and Sir Marc Isambard Brunel (1769-1849), civil engineer.
- Content - description:
- Anthony Ten Broeke, Chair, Pair of compasses, Apron, Tassels, Caledonian Lodge Master's chain, Set square, Globe, Set square and compass, Sun, Moon
- Dimension:
- (Without frame) H: 1245 W: 990 D: n/a Dia: n/a Wt: n/a
- Entry date:
- 10/01/1938
- Object name:
- Paintings; Painting
- Object number:
- M2008/256
- Object production date:
- n/k
- Object production place:
- England
- Related object number:
- 35325178
- Related object note:
- Related object database number
- Reproduction format:
- Digital image
- Technique:
- Hand painted
- Technique:
- Gilded
- Technique:
- Carved frame
- Technique:
- Stretched canvas
Persistent shareable link for this record: https://museumdata.uk/objects/dc9e5072-6159-32d8-a9f8-86968fe0e3f7
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/dc9e5072-6159-32d8-a9f8-86968fe0e3f7, Museum of Freemasonry, CC BY
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- Title:
- Iron and Coal: the Industry of the Tyne
- Object name(s):
- Watercolour
- Brief description:
- Watercolour depicting a group of men working in an iron foundry, their arms raised in labour, using long-handled hammers to pound an object in the fire. They are surrounded by machinery, and in the lower left corner sits a young girl and her dog.
- Collection:
- Victoria and Albert Museum
- Associated concept:
- Paintings
- Associated concept:
- Industry & Trade
- Content - concept:
- Industry, Mining
- Content - concept:
- Machinery, Tools
- Content - place:
- Northumberland
- Location type:
- Thumbnail
- Dimension:
- Height
- Dimension measured part:
- painted area
- Dimension measurement unit:
- mm
- Dimension value:
- 245
- Dimension:
- Width
- Dimension measured part:
- painted area
- Dimension measurement unit:
- mm
- Dimension value:
- 238
- Material:
- watercolour
- Object history note:
- Many patrons of the Pre-Raphaelites and buyers of their works were not based in London and the south, but in the midlands and the north: the new industrialists and manufacturers. In 1856, Sir Walter Trevelyan, whose ancestors had made the family fortune in the coal and lead mining industry, commissioned Scott to decorate the large hall of their house, Wallington, thirty miles north-west of Newcastle. The eight large panels narrated the history of Northumberland, and Iron and coal is the last in the series, bringing the story up to the present day. This is a watercolour version of the composition, a celebration of the contemporary success of the city of Newcastle, its industry and commerce. The small girl looking away from the scene, prettily dressed and holding her school arithmetic book, like others of her class and generation will benefit from the new prosperity brought by mining, engineering, and invention.
- Object name:
- Watercolour
- Object number:
- 362-1891
- Object production date:
- ca. 1857-1861
- Date - association:
- painted
- Date - earliest / single:
- 1852-01-01
- Date - latest:
- 1861-12-31
- Object production person:
- Scott, William Bell
- Person's association:
- artist
- Object production place:
- England
- Place association:
- painted
- Physical description:
- Watercolour depicting a group of men working in an iron foundry, their arms raised in labour, using long-handled hammers to pound an object in the fire. They are surrounded by machinery, and in the lower left corner sits a young girl and her dog.
- Reproduction number:
- 2011FA5587
- Reproduction number:
- 2006AV7631
- Responsible department/section:
- PDP
- Style:
- British school
- Technique:
- painting
- Technique:
- Watercolour
- Text reason:
- Collections online record
- Text:
- In the 19th century, newly rich industrialists and manufacturers from the North of England were keen to purchase works of art. In 1856 Sir Walter Trevelyan, whose ancestors had founded the family fortune in the lead and mining industry, commissioned William Bell Scott (1811-1890) to decorate the hall of his house, Wallington, in Northumberland. This watercolour is a version of the work that Scott carried out at Wallington. It is a celebration of the contemporary success of the city of Newcastle upon Tyne, its industry and commerce.
- Text reason:
- Summary description
- User's reference:
- Reference:
- Coombs, Katherine British watercolours : 1750-1950 . London: V&A Publications, 2012
- User's reference:
- Reference:
- O'Mahony, Claire. Brunel and the Art of Invention . Bristol: Samsom & Company Ltd., 2006. 64 p. : col. ill. ISBN 1904537502
- User's reference:
- Reference details:
- p.97, pl.87
- User's reference:
- Reference:
- Ge,,a Brace, Rachael Nee and Christina Payne, 'Fire. Flashes to Ashes in British Art 1692 - 2019', RWA, Sanson & Company, 2019.
- Reference details:
- pp. 52-3
Persistent shareable link for this record: https://museumdata.uk/objects/5641bb8f-d845-3399-b273-40956e47a676
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/5641bb8f-d845-3399-b273-40956e47a676, Victoria and Albert Museum, CC BY-NC
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- Object name(s):
- Hat stand
- Brief description:
- Cast iron with a painted finish, Coalbrookdale, ca.1880, designed by Christopher Dresser.
- Collection:
- Victoria and Albert Museum
- Associated concept:
- Metalwork
- Associated concept:
- Furniture
- Associated concept:
- Interiors
- Associated concept:
- Scotland
- Location type:
- Thumbnail
- Dimension:
- Height
- Dimension measurement unit:
- cm
- Dimension value:
- 190
- Dimension:
- Width
- Dimension measured part:
- base
- Dimension measurement unit:
- cm
- Dimension value:
- 65
- Dimension:
- Depth
- Dimension measured part:
- base
- Dimension measurement unit:
- cm
- Dimension value:
- 22.3
- Inscription content:
- Stamped in the drip pan: a rgistered design mark, the numerals 214963 and the name, COALBROOKDALE
- Inscription content:
- Stamped on the back of the upper section of the stand: COALBROOKDALE
- Object history note:
- Designed by Christopher Dresser (born in Glasgow, 1834, died in Mulhouse, France, 1904); manufactured by the Coalbrookdale Company, Shropshire
Brunel Exhibition RF.2006/18
- Object name:
- Hat stand
- Object number:
- M.22-1971
- Object production date:
- ca. 1880
- Date - association:
- made
- Date - earliest / single:
- 1875-01-01
- Date - latest:
- 1884-12-31
- Object production organisation:
- Coalbrookdale Company
- Organisation's association:
- manufacturer
- Object production person:
- Dresser, Christopher
- Person's association:
- designer
- Object production place:
- Shropshire
- Place association:
- made
- Reproduction number:
- 2006AL2671
- Reproduction number:
- 2018KN5634
- Responsible department/section:
- MET
- Technique:
- Cast iron, painted
- Text reason:
- Collections online record
- Text:
- Object Type
A hatstand is an item of hall furniture with a number of pegs or arms attached to the upper half from which hats and coats can be hung. The lower half often had a rail and a removable tray at the base for storing umbrellas and walking sticks. Cast-iron furniture became popular in the 19th century. After the introduction of coke for smelting in iron manufacture in the mid-18th century, cast iron became cheaper and more widely available. It was also of sufficiently high quality to be used widely in architecture and decorative ironwork.
Design & Designing
The designer Christopher Dresser (1834-1904) distinguished between the different types of design suitable for wrought and cast iron. He regarded sinuous plant forms, some of which were influenced by Medieval, Byzantine and Middle Eastern sources, as appropriate for cast iron, which, when molten, can be poured into a mould. Such features on this hatstand include the acanthus scrolls at the base, which contrast with the more rigorous and geometrical patterns in the spandrels (curved arched supports).
People
In Britain the cast iron industry began to flourish from the 1770s onwards. Abraham Darby III (1750-1791) of the Coalbrookdale Company in Ironbridge, Shropshire, constructed the first cast-iron bridge in the world in 1779 to span the local river, the Severn. The family foundry became an established producer of a wide range of gates, grates and stoves and later furniture. By the 19th century the Coalbrookdale Company, which manufactured this hatstand, came to dominate the market, exporting its products all over the world. - Text reason:
- Summary description
- Text:
- British Galleries:
Dresser distinguished between the different types of ornament appropriate to wrought and cast iron. These complex stylised plant forms and geometric patterns could only have been produced in cast iron. Hatstands like this could be bought from the Coalbrookdale catalogue in a variety of colours, such as this 'Antiqued Bronze'.
- Text date:
- 27/03/2003
- Text reason:
- Gallery label text
- User's reference:
- Reference:
- Simon Metcalf and Eric Turner "The conservation of a ca.1867 cast iron hat stand: a Dresser design and original Coalbrookdale paint scheme revealed." in The Decorative Arts Society 1850 to the Present, Journal 26, London 2002, pp.26-39. ill. ISSN. 02609568
Persistent shareable link for this record: https://museumdata.uk/objects/296cddb8-c83d-31ea-8a18-f1903bf8720d
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/296cddb8-c83d-31ea-8a18-f1903bf8720d, Victoria and Albert Museum, CC BY-NC
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- Title:
- Paddle steamer in dry dock
- Object name(s):
- Photograph
- Brief description:
- Paddle Steamer photographed in a dry dock. In the foreground left, behind overlapping planks of wood, a man in top hat stands with his foot on a gang plank. The paddle box is in the centre of the image, blurred shapes in the foreground next to it indicate the movement of objects. The damage to this starboard side of the ship is evident. There is a works building at the end of the quay on the right.This is a deep brown print with a good tonal range, there is evidence of fading to the corners of the image..
- Collection:
- Victoria and Albert Museum
- Associated concept:
- Images Online
- Associated concept:
- Photographs
- Content - concept:
- paddle steamer
- Content - concept:
- dry dock
- Content - concept:
- works
- Content - person:
- Demarara (ship)
- Content - place:
- Bristol
- Credit line:
- Purchased 1983
- Location type:
- Thumbnail
- Dimension:
- Height
- Dimension measurement unit:
- cm
- Dimension value:
- 20.6
- Dimension:
- Width
- Dimension measurement unit:
- cm
- Dimension value:
- 16.4
- Object history note:
- Calvert Richard Jones was one of the first to learn of W.H.F. Talbot's photographic discoveries of the late 1830s through Talbot's friends and relations who lived near Jones in South Wales. Subsequently, Jones became one of the few Britons to produce a substantial body of calotypes in Britain and abroad. His work stands out in the early development of photography because of his ability to fuse his technical skill with the influence of his training as a watercolorist.
Many of Jones' marine studies were made at a time of transition in shipping from sail to steam. His photographs demonstrate a movement from predominately picturesque studies of boats to shipyard records and early photo reportage. The newly-built paddle steamer was the second-largest vessel in the world, she was badly damaged on her way to have her engines fitted and towed back to this dry dock for assessment and repair.
- Object history note:
- The photograph shows the paddle box and starboard side of the SS Demerara, where the damage from the stranding in the tidal River Avon is apparent. The tall building on the right is the engine works of the Great Western Steamship Company.
The Demarara was not built in this dock, but was returned here by William Patterson, the Bristol ship-builder, who built her. She was adapted as a sailing ship between 1853 and 1855 when she was undocked under a new name, the British Empire. Bristol Museum and Art Gallery hold a painting of her dated 1853.
- Object name:
- Photograph
- Object number:
- PH.56-1983
- Object production date:
- 1851
- Date - association:
- made
- Date - earliest / single:
- 1851-01-01
- Date - latest:
- 1851-12-31
- Object production person:
- Jones, Calvert Richard (Rev.)
- Person's association:
- photographer
- Object production place:
- Bristol
- Place association:
- made
- Physical description:
- Paddle Steamer photographed in a dry dock. In the foreground left, behind overlapping planks of wood, a man in top hat stands with his foot on a gang plank. The paddle box is in the centre of the image, blurred shapes in the foreground next to it indicate the movement of objects. The damage to this starboard side of the ship is evident. There is a works building at the end of the quay on the right.This is a deep brown print with a good tonal range, there is evidence of fading to the corners of the image..
- Reproduction number:
- 2010EJ6070
- Reproduction number:
- 2006AW1328
- Responsible department/section:
- PDP
- Technique:
- Salted paper print from calotype negative
- Text reason:
- Collections online record
- Text:
- This view of a paddle steam is an example of early photo reportage. The SS Demerara was the second largest vessel in the world. In a nationally reported incident, she was ran aground and was badly damaged on her way to have her engines fitted. Newly build by William Patterson, who assisted Brunel with both his Bristol built ships, the Demera was towed back to this dry dock for repair.
Calvert Jones made many marine studies in watercolour as well as by photography. He was one of the first to learn of W.H.F. Talbot's photographic discoveries of the late 1830s through Talbot's friends and relations who lived near Jones in South Wales. His work stands out in the early development of photography because of his ability to fuse his technical skill with the influence of his training as a watercolorist.
- Text reason:
- Summary description
- User's reference:
- Reference:
- The Origin of Photography: Great Britain. Tokyo Photographic Art Museum, 2019.
- Reference details:
- p. 162
Persistent shareable link for this record: https://museumdata.uk/objects/ab7ce17b-e1bd-3ad6-8ff1-886b527ae0cd
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/ab7ce17b-e1bd-3ad6-8ff1-886b527ae0cd, Victoria and Albert Museum, CC BY-NC
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- Title:
- Portrait of Robert Howlett
- Object name(s):
- Photograph
- Brief description:
- Portrait of the photographer Robert Howlett in a seated position.
- Collection:
- Victoria and Albert Museum
- Associated concept:
- Photographs
- Content - description:
- From the mid 1850s Turner built a studio – a ‘glass house’ above his London business premises – and a darkroom. He made many portraits here, very likely including this one, although he seems never to have exhibited them. His subjects were his family and household members, business associates and fellow photographers. For portraits, Turner often used glass rather than paper negatives which had short exposure times and rendered a high level of detail. The subject is Robert Howlett (1831-1858) whose best-known work is the series on the Great Eastern (1857), which includes the iconic portrait of Isambard Kingdom Brunel, of which one of the finest prints is in the V&A collection. Howlett’s obituary suggested that he might have inadvertently poisoned himself with his own photographic chemicals: this was not at all uncommon. This image must have been made shortly before his death.
- Credit line:
- Purchased through the Cecil Beaton Royalties Fund
- Location type:
- Thumbnail
- Dimension:
- Height
- Dimension measurement unit:
- cm
- Dimension value:
- 19.2
- Dimension:
- Length
- Dimension measurement unit:
- cm
- Dimension value:
- 14.3
- Material:
- photographic paper
- Object name:
- Photograph
- Object number:
- E.2-2009
- Object production date:
- 1850s
- Date - association:
- made
- Date - earliest / single:
- 1850-01-01
- Date - latest:
- 1859-12-31
- Object production person:
- Turner, Benjamin Brecknell
- Person's association:
- maker
- Object production place:
- UK
- Place association:
- made
- Physical description:
- Portrait of the photographer Robert Howlett in a seated position.
- Reproduction number:
- 2009BY6477
- Reproduction number:
- 2019MJ9223
- Responsible department/section:
- PDP
- Technique:
- albumen process
- Technique:
- calotype
- Technique:
- Albumen print from a calotype negative
- Text reason:
- Collections online record
- Text:
- Benjamin Brecknell Turner (1815-1894) was one of the first, and remains one of the greatest, British photographers. He began practising photography in 1849 according to the ‘calotype’ technique patented in 1841 by the British inventor of photography W. H. Fox Talbot (1800-1877), taking out a license directly from him. Turner exhibited at the world’s first public photographic exhibition, held at London’s Society of Arts in 1852, where he was singled out by a reviewer from the Times as one of the best contributors. In 1855 he won a medal at the Paris Exhibition Universelle and continued exhibiting his photographs in photographic society exhibitions across Britain until the 1880s.
Turner is best known for his bold and large-scale (30 x 40 cm) albumen prints from calotype negatives showing rural English scenes in the picturesque tradition: ruined abbeys, castles, farmhouses and the rural landscape. However, he also made accomplished portraits of family, friends, and fellow photographers, and for these he often used the newer wet collodion on glass process.
Turner earned his living from running a successful tallow chandler’s business in the Haymarket, London, making candles and saddle soap. Rather than the professional photographers, it was the Gentleman-amateurs like Turner who contributed the most significantly to the rapid technical and aesthetic development of the medium that occurred in the 1850s. They furthered discussion through meetings and journals, exchanged experimental and technical findings and photographic prints and exhibited in a network of clubs and societies devoted to the art of the photograph. Turner played an active role in such bodies in his role as a founder member, and later vice-president of the Photographic Society of London.
This selection of photographs encompasses Turner’s earliest experiments in photography, made barely ten years after the announcement of the invention of the medium.
- Text reason:
- Summary description
Persistent shareable link for this record: https://museumdata.uk/objects/ddbc7e1f-3234-37a9-9bc5-40cc9862fb76
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/ddbc7e1f-3234-37a9-9bc5-40cc9862fb76, Victoria and Albert Museum, CC BY-NC
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- Title:
- Stern of the Demerara in Dry Dock
- Object name(s):
- Photograph
- Brief description:
- Photograph of a ship's stern in a dry dock of rough-hewn wooden props. In the foreground, a man leans against a dockside prop, on deck there are 3 women -one with a parasol. Rich dark tone print with fading to yellow to the right and lower edges of the image. Touching-out to two white spots and to the lower left corner suggests that the image was blacker when first printed. A finger mark on the photographic emulsion in the centre foreground is printed into the image.
- Collection:
- Victoria and Albert Museum
- Associated concept:
- Photographs
- Associated object:
- PH.60-1983
- Associated object:
- PH.56-1983
- Content - concept:
- ship
- Content - concept:
- dry dock
- Content - concept:
- man
- Content - concept:
- women
- Content - concept:
- props
- Content - concept:
- harbour
- Credit line:
- Purchased 1983
- Location type:
- Thumbnail
- Dimension:
- Height
- Dimension measurement unit:
- cm
- Dimension value:
- 18.8
- Dimension:
- Width
- Dimension measurement unit:
- cm
- Dimension value:
- 22.5
- Material:
- salted paper
- Object history note:
- Calvert Richard Jones was one of the first to learn of W.H. F Talbot's photographic discoveries in the late 1830s through Talbot's friends and relations who lived near to Jones in South Wales. Jones subsequently became one of the few Britons to produced a substantial body of calotypes in Britain and abroad. His work stands out in the early development of photography because of his ability to fuse his technical skill with the influence of his training as a watercolorist.
Jones' many marine studies were made at a time of transition in shipping from sail to steam. In this photograph, the presence of the figure in the foreground and the three women on deck is indicative of the contemporary interest in this ship. Newly built and the second largest ship in Britain, the Demerara went aground through the actions of the tug skipper taking her for her engines to be fitted. Badly damaged in this nationally reported incident, the Demarara was towed back to the harbour and dry docked, as this early example of photoreportage demonstrates.
- Object history note:
- The SS Demerara was built by Patterson, the ship builder who assisted Brunel with both his Bristol built ships. In 1851, on her way to have her engines fitted, she went aground in the River Avon, through the actions of the tug skipper. She remained aground through several tides and, badly damaged, she was eventually towed back to harbour. She was shored up in the dry dock at Bristol, which now holds the SS Great Britain, where she was converted to a sailing vessel. Her name was changed and she worked for many years as the 'British Empire'.
- Object name:
- Photograph
- Object number:
- PH.38-1983
- Object production date:
- 1851
- Date - association:
- photographed
- Date - earliest / single:
- 1851-01-01
- Date - latest:
- 1851-12-31
- Object production person:
- Jones, Calvert Richard (Rev.)
- Person's association:
- photographer
- Object production place:
- Bristol
- Place association:
- photographed
- Physical description:
- Photograph of a ship's stern in a dry dock of rough-hewn wooden props. In the foreground, a man leans against a dockside prop, on deck there are 3 women -one with a parasol. Rich dark tone print with fading to yellow to the right and lower edges of the image. Touching-out to two white spots and to the lower left corner suggests that the image was blacker when first printed. A finger mark on the photographic emulsion in the centre foreground is printed into the image.
- Reproduction number:
- 2010EJ6060
- Reproduction number:
- 2006AW1330
- Responsible department/section:
- PDP
- Technique:
- calotype
- Technique:
- Salted paper print from calotype negative
- Text reason:
- Collections online record
- Text:
- This shipyard scene is an early example of photo reportage. The three women on the deck and the man leaning against one of the timbers are viewing the SS Demerara, the second largest ship in Britain, in the aftermath of a nationally reported incident. On her way to have her engines fitted, the newly built ship ran aground and her back was broken. She was towed back to this dry dock.
The photograph was made by an early photographic process, the calotype process. During the 1830s William Henry Fox Talbot invented a way of making paper negatives and from them multiple paper prints. In doing so, he laid the foundations of modern photography. Calvert Richard Jones learned of these developments in 1839 through a neighbour in South Wales who was Talbot's first cousin. Jones was one of the first to apply a schooled artist's eye to photography.
- Text reason:
- Summary description
Persistent shareable link for this record: https://museumdata.uk/objects/bad7c082-acbf-3f4e-8035-2305f828da5d
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/bad7c082-acbf-3f4e-8035-2305f828da5d, Victoria and Albert Museum, CC BY-NC
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- Title:
- Fishermen in a Gorge (one of eleven panels of Chinoiserie decoration)
- Object name(s):
- Oil painting
- Brief description:
- Oil painted panel with Chinoiserie decoration, [one of a set of 11] showing a fantastic scene of a team of men hauling a dragon boat along a rocky gorge, and two fishermen in a boat using a small net, and two men in a canoe. Overhead, a fantastic bird in the sky.
- Collection:
- Victoria and Albert Museum
- Associated concept:
- Paintings
- Associated concept:
- Maritime
- Content - concept:
- fishermen (people)
- Credit line:
- Presented by Art Fund
- Location type:
- Thumbnail
- Dimension:
- Height
- Dimension measured part:
- estimate
- Dimension measurement unit:
- in
- Dimension value:
- 85
- Dimension:
- Width
- Dimension measured part:
- estimate
- Dimension measurement unit:
- in
- Dimension value:
- 31.25
- Dimension:
- Height
- Dimension measured part:
- framed
- Dimension measurement unit:
- cm
- Dimension value:
- 221
- Dimension:
- Width
- Dimension measured part:
- framed
- Dimension measurement unit:
- cm
- Dimension value:
- 91
- Dimension:
- Depth
- Dimension measured part:
- framed
- Dimension measurement unit:
- cm
- Dimension value:
- 6
- Material:
- oil
- Material:
- tempera
- Material:
- panel
- Object history note:
- Given by the National Art Collections Fund, 1954
- Object history note:
- It is not known which house this set of panels was originally intended for, but they relate closely to a set of similar panels, which were painted in 1696 for a house at 5 Botolph Lane, in the City of London and removed to Sir John Cass's Foundation Primary School, Aldgate, London, in 1906. Very little is known about the painter Robert Robinson and not much of his work survives, apart from these two sets of panels. Robinson's work anticipates the mania for Chinoiserie in England by 30 years or more. The Botolph Lane panels are a mixture of Chinese and Peruvian scenes, whereas the set now in the Museum is mainly Chinese in inspiration. Throughout the 17th century goods from the Far East were highly fashionable. However, these painted panels are one of the earliest manifestations of chinoiserie, i.e. purely decorative fantasies by European artists, based roughly upon Far Eastern themes, as opposed to imitation of true Chinese forms such as lacquer work. In the V&A panels all kinds of whimsical grotesques are mingled with reminiscences of Chinese, Tartar, and Indian themes.
- Object name:
- Oil painting
- Object number:
- P.9-1954
- Object production date:
- ca. 1696
- Date - association:
- made
- Date - earliest / single:
- 1691-01-01
- Date - latest:
- 1700-12-31
- Object production person:
- Robinson, Robert
- Person's association:
- artist
- Object production place:
- Britain
- Place association:
- made
- Object status:
- Unique
- Physical description:
- Oil painted panel with Chinoiserie decoration, [one of a set of 11] showing a fantastic scene of a team of men hauling a dragon boat along a rocky gorge, and two fishermen in a boat using a small net, and two men in a canoe. Overhead, a fantastic bird in the sky.
- Reproduction number:
- 2007BM8498
- Reproduction number:
- 2018KV7385
- Responsible department/section:
- PDP
- Style:
- Chinoiserie
- Technique:
- painting
- Technique:
- oil and tempera on panel
- Text reason:
- Collections online record
- Text:
- Object Type
This is one of a set of 11 Chinoiserie panels (Museum nos. P.6 to 16-1954) that was acquired by the Museum in 1954. It is not known which house they were originally intended for, but they relate closely to a set of similar panels painted in 1696 for a house in Botolph Lane, London.
People
Very little is known about the painter and printmaker Robert Robinson and not much of his work survives, apart from the two sets of panels. The panels' dramatic quality may be attributable to Robinson's work as a scene painter for the theatre.
Subjects Depicted
Throughout the 17th century goods from East Asia were highly fashionable. However, these painted panels are one of the earliest manifestations of Chinoiserie. The term denotes purely decorative fantasies produced by European artists and based roughly on East Asian themes, as opposed to imitation of true Chinese forms in such techniques as lacquer work. In these panels all manner of whimsical grotesques are mingled with reminiscences of Chinese, Tartar, and Indian themes. - Text reason:
- Summary description
- User's reference:
- Reference:
- Brunel, Georges, Pagodes et Dragons: exotisme et fantaisie dans L'Europe rococo 1720-1770, Paris, Paris musées, 2007.
- Reference:
- Beevers, David (ed.) Chinese Whispers: Chinoiserie in Britain 1650-1930, Brighton: The Royal Pavilion and Museums, 2008
- User's reference:
- Reference:
- E. Croft-Murray: Decorative Painting in England, 1537-1837, i (London, 1962), pp. 46-7
E. Croft-Murray: An English Painter of Chinoiseries (Country Life Annual, 1955) pp174-179
- User's reference:
- Reference:
- Victoria and Albert Museum Department of Prints and Drawings and Department of Paintings Accessions 1954 London: HMSO, 1963
Persistent shareable link for this record: https://museumdata.uk/objects/a45578b7-bc9c-3e2d-9a5a-8893b691d90b
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/a45578b7-bc9c-3e2d-9a5a-8893b691d90b, Victoria and Albert Museum, CC BY-NC
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