1211 records match your search. Use the filters to refine your results. Using data FAQs
Open filters- Object name(s):
- insect: moth; SPHINGIDAE: Hyles livornica: striped hawk-moth; striped hawk-moth
- Brief description:
- The striped hawk-moth is an uncommon immigrant to the southern UK. It can be seen April-October but is more common in the summer months. Frank Lees collected this specimen near his home at Maidencombe 11 June 1943.
This object is not on display.
- Collection:
- Royal Albert Memorial Museum & Art Gallery
- Associated concept:
- Insect
- Current location:
- Not on display
- Field collection place:
- Maidencombe
- Place coordinates:
- -3.517,50.505
- Field collection place:
- Torquay
- Place coordinates:
- -3.517,50.505
- Field collection place:
- Devon
- Place coordinates:
- -3.517,50.505
- Field collection place:
- United Kingdom: England
- Place coordinates:
- -3.517,50.505
- Field collection place:
- Northern Europe
- Place coordinates:
- -3.517,50.505
- Field collection place:
- Europe
- Place coordinates:
- -3.517,50.505
- Field collector:
- Devon & Exeter Institution (from the collection of)
- Field collector:
- Mr Frank H Lees (collector)
- Object name:
- insect: moth; SPHINGIDAE: Hyles livornica (Esper, 1780): striped hawk-moth; striped hawk-moth
- Object number:
- 9/1997/14
- Reproduction number:
- 9-1997-14.jpg
- Reproduction number:
- 9-1997-14-shot1.jpg
- Responsible department/section:
- Natural Sciences
- Responsible department/section:
- Arthropods
Persistent shareable link for this record: https://museumdata.uk/objects/9fc466b1-7036-3fef-b77a-2a5b1102172e
Use licence for this record: CC 0
Attribution for this record: https://museumdata.uk/objects/9fc466b1-7036-3fef-b77a-2a5b1102172e, Royal Albert Memorial Museum & Art Gallery, CC 0
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- Object name(s):
- fossil: coral; coral; fossilised coral
- Brief description:
- A Devonian age coral from Devon, 416 – 359 million years old. This period in Earth’s history was first recognised when studying the geology of Devon, hence its name. In the Devonian, southern England was located underwater to the south of the equator on the fringe of the tropics. This specimen is from the shallow, warm water limestone outcropping on the south Devon coast.
This object is on display at RAMM in the Down to Earth gallery.
- Collection:
- Royal Albert Memorial Museum & Art Gallery
- Current location:
- On display
- Dimension:
- whole length 140 mm
- Dimension:
- whole W 95 mm
- Dimension:
- whole H 10 mm
- Field collection place:
- Torquay
- Place coordinates:
- -3.53,50.47
- Field collection place:
- Devon
- Place coordinates:
- -3.53,50.47
- Field collection place:
- United Kingdom: England
- Place coordinates:
- -3.53,50.47
- Field collection place:
- Northern Europe
- Place coordinates:
- -3.53,50.47
- Field collection place:
- Europe
- Place coordinates:
- -3.53,50.47
- Object name:
- fossil: coral; coral; fossilised coral
- Object number:
- 56/2009
- Reproduction number:
- 56-2009.jpg
- Reproduction number:
- 56-2009-shot1.jpg
- Responsible department/section:
- Natural Sciences
- Responsible department/section:
- Fossils
Persistent shareable link for this record: https://museumdata.uk/objects/fb20b8a4-f599-3e6c-a3ae-0e7b1f9e1044
Use licence for this record: CC 0
Attribution for this record: https://museumdata.uk/objects/fb20b8a4-f599-3e6c-a3ae-0e7b1f9e1044, Royal Albert Memorial Museum & Art Gallery, CC 0
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- Title:
- postcard
- Object name(s):
- postcard; POLITICAL PROTEST; WOMEN'S MOVEMENTS
- Brief description:
- Postcard featuring a colour photograph of a banner designed by the Leicester Co-operative Society and made in 1983 by members of the Torquay Branch. The banner is inscribed: 'Co-operative Women's Guild / 1883 / Centenary / 1983'. Printed by Gomer press, Llandysul.
From the collection of Thalia Campbell – a member of the Women for Life on Earth group who established the peace camp at Greenham Common in September 1981.
- Collection:
- Amgueddfa Cymru - Museum Wales
- Acquisition date:
- 5/9/2016
- Acquisition method:
- Donation
- Associated concept:
- Environmental Activism
- Dimension:
- length (mm):103
- Dimension:
- width (mm):149
- Entry date:
- 12/3/2019
- Material:
- card
- Number of objects:
- 1
- Object name:
- postcard; POLITICAL PROTEST; WOMEN'S MOVEMENTS
- Object production person:
- Co-operative Women's Guild
- Person's association:
- publisher
- Person's biographical note:
- person
- Other number:
- F2019.20.55
- Other number type:
- accession number
- Other number:
- Entry number:E016349
- Other number type:
- other
- Reproduction number:
- media-112485
- Reproduction number:
- media-112486
- Reproduction type:
- image
Persistent shareable link for this record: https://museumdata.uk/objects/d8921e1f-1c04-3b44-a007-5af79b55c86d
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/d8921e1f-1c04-3b44-a007-5af79b55c86d, Amgueddfa Cymru - Museum Wales, CC BY-NC
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- Object name(s):
- Bracket
- Brief description:
- Console of carved oak. In the middle a grotesque animal's mask enriched with wings in carved high relief; above, in low relief, are curved bands and leaf ornament and below, a moulding incised with feather ornament
- Collection:
- Victoria and Albert Museum
- Associated concept:
- Woodwork
- Location type:
- Thumbnail
- Dimension:
- Height
- Dimension measurement unit:
- cm
- Dimension value:
- 41
- Dimension:
- Width
- Dimension measurement unit:
- cm
- Dimension value:
- 17.5
- Dimension:
- Depth
- Dimension measurement unit:
- cm
- Dimension value:
- 8
- Material:
- oak
- Object history note:
- Bought from Mr J.R. Middleweek, Abbey Place, Torquay
- Object name:
- Bracket
- Object number:
- 517-1908
- Object production date:
- 1600-1650
- Date - association:
- made
- Date - earliest / single:
- 1600-01-01
- Date - latest:
- 1650-12-31
- Object production person:
- Unknown
- Person's association:
- maker
- Object production place:
- England
- Place association:
- made
- Physical description:
- Console of carved oak. In the middle a grotesque animal's mask enriched with wings in carved high relief; above, in low relief, are curved bands and leaf ornament and below, a moulding incised with feather ornament
- Reproduction number:
- 2006AE6084
- Responsible department/section:
- FWK
- Technique:
- carving
- Text reason:
- Collections online record
Persistent shareable link for this record: https://museumdata.uk/objects/b3f5d26d-c694-3993-a65e-f4f516d8da11
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/b3f5d26d-c694-3993-a65e-f4f516d8da11, Victoria and Albert Museum, CC BY-NC
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- Title:
- The Bard
- Object name(s):
- Drawing
- Brief description:
- General William Chamberlayne (Charlton 1821–1910 Torquay). Indian ink wash illustration to 'The Bard' by Thomas Gray. 1880-1900
- Collection:
- Victoria and Albert Museum
- Associated person:
- Thomas Gray
- Credit line:
- Bequeathed by Miss C. H. Chamberlayne, daughter of the artist
- Dimension:
- Height
- Dimension measurement unit:
- in
- Dimension value:
- 9.25
- Dimension:
- Width
- Dimension measurement unit:
- in
- Dimension value:
- 8.5
- Material:
- Indian ink
- Object name:
- Drawing
- Object number:
- E.412-1947
- Object production date:
- 1880-1900
- Date - association:
- made
- Date - earliest / single:
- 1880-01-01
- Date - latest:
- 1900-12-31
- Object production person:
- General William John Chamberlayne
- Person's association:
- artist
- Object production place:
- United Kingdom
- Place association:
- made
- Place note:
- probably
- Responsible department/section:
- PDP
- Technique:
- wash
- Text reason:
- Collections online record
- User's reference:
- Reference:
- Victoria and Albert Museum, Department of Engraving, Illustration and Design & Department of Paintings, Accessions 1947, London: HMSO, 1950.
Persistent shareable link for this record: https://museumdata.uk/objects/91fedf0f-f0db-381e-8419-dc9ee75187b9
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/91fedf0f-f0db-381e-8419-dc9ee75187b9, Victoria and Albert Museum, CC BY-NC
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- Title:
- Torquay
- Object name(s):
- Photograph
- Brief description:
- Black and white calotype paper negative of rocks at sea edge with a pillar of rocks and wooden cover over hole
- Collection:
- Victoria and Albert Museum
- Associated concept:
- Photographs
- Associated concept:
- The Royal Photographic Society
- Associated concept:
- Children & Childhood
- Content - place:
- Torquay
- Credit line:
- The Royal Photographic Society Collection at the V&A, acquired with the generous assistance of the National Lottery Heritage Fund and Art Fund.
- Location type:
- Thumbnail
- Dimension:
- Height
- Dimension measurement unit:
- mm
- Dimension value:
- 298
- Dimension:
- Width
- Dimension measurement unit:
- mm
- Dimension value:
- 392
- Material:
- photographic paper
- Object history note:
- Part of a collection of ca. 250 paper negatives that were given to the Royal Photographic Society by Turner’s family in the 1930’s.
- Object name:
- Photograph
- Object number:
- RPS.1538-2018
- Object production date:
- 1852-54
- Date - association:
- photographed
- Date - earliest / single:
- 1852-01-01
- Date - latest:
- 1854-12-31
- Object production person:
- Benjamin Brecknell Turner
- Person's association:
- photographer
- Object production place:
- Torquay
- Place association:
- photographed
- Other number:
- 17845
- Other number type:
- Royal Photographic Society number
- Physical description:
- Black and white calotype paper negative of rocks at sea edge with a pillar of rocks and wooden cover over hole
- Reproduction number:
- 2018LG0386
- Responsible department/section:
- DOP
- Style:
- 19th century
- Technique:
- calotype
- Technique:
- photography
- Technique:
- Calotype Paper negative (waxed after exposure)
- Text reason:
- Collections online record
- Text:
- Benjamin Brecknell Turner (1815-1894) was one of the first British amateur photographers. Born in London, he became a ‘tallow-chandler’ and helped to run his family’s business, which sold wax-based products, such as candles and saddle soap. As noted in his perpetual diary Turner began using a camera on 10th of March 1849. He took out a license from William Henry Fox Talbot, the inventor of the calotype negative-positive process, to practice this form of photography. Talbot had only introduced this process to the public in 1841. Put simply, the process involves coating a sheet of paper with silver chloride. After exposure to light, the areas of the paper hit by the light appear darker in tone. The resulting negative is then waxed to make it transparent. From this negative a contact print can be made by putting another sheet of photosensitised paper underneath the negative and leaving it in the sun to develop.
Turner’s paper negatives are among the earliest photographic negatives ever made. He worked on a large-scale; most of his negatives are around 30 x 40 cm. His images result from a long exposure time (up to thirty minutes), which means that many of the negatives do not show any figures or animals. As these are moving objects, they would not have remained still enough during the exposure to be recorded on the negative. As his subjects he often chose (ruined) churches and abbeys, castles and manors, the countryside, villages and cottages, trees and the seaside. Most of his pictures were taken during his travels around the English countryside. He seems to have been particularly fond of Worcestershire and the village of Bredicot, where his father-in-law owned Bredicot Court. Turner compiled 60 of these pictures in the album Photographic Views of Nature (of which the V&A owns the only copy). In 1857 Turner toured Holland and took some of the earliest photographs of Amsterdam.
For his photographic excursions the calotype process was ideal. Notwithstanding the arrival of the glass plate negative or wet collodion process, pioneered by Frederick Scott Archer in 1851, Turner still preferred paper negatives. In comparison to calotypes, the wet collodion process enables a higher resolution and shorter exposure times. However, paper was lighter to carry than glass and easier to handle, as a glass plate negative had to be exposed while still wet, and developed immediately. The paper fibres of the paper also produced a distinctive aesthetic when developing images: it makes them slightly rough, with a grainy texture that seems to be a good fit for Turner’s photographs of rural scenes.
- Text reason:
- Summary description
- User's reference:
- Reference:
- Barnes, Martin (with Daniel, Malcolm and Haworth-Booth, Mark). Benjamin Brecknell Turner: Rural England Through a Victorian Lens, London and New York: V&A Publications and Harry N. Abrams, 2001.
- User's reference:
- Reference:
- Brettel, Richard with Flukinger, Roy, Keeler, Nancy and Kilgore, Sydney Mallett. Paper and Light. The Calotype in France and Great Britain, 1839-1870. Boston and London: Kudos & Godine, in association with The Museum of Fine Arts, Houston and the Art Institute of Chicago, 1984.
- User's reference:
- Reference:
- Taylor, Roger (with a Dictionary of Calotypists by Larry J. Schaaf, in collaboration with Roger Taylor), Impressed by Light: British Photographs from Paper Negatives, 1840-1860. New Haven: Yale University Press, in association with The Metropolitan Museum of Art, 2007.
Persistent shareable link for this record: https://museumdata.uk/objects/f04edd08-80f2-3304-92e6-8b51f2eeace8
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/f04edd08-80f2-3304-92e6-8b51f2eeace8, Victoria and Albert Museum, CC BY-NC
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- Title:
- Torquay
- Object name(s):
- Photograph
- Brief description:
- Black and white calotype paper negative of cliffs with shingle at the bottom
- Collection:
- Victoria and Albert Museum
- Associated concept:
- Photographs
- Associated concept:
- The Royal Photographic Society
- Associated concept:
- Children & Childhood
- Content - place:
- Torquay
- Credit line:
- The Royal Photographic Society Collection at the V&A, acquired with the generous assistance of the National Lottery Heritage Fund and Art Fund.
- Location type:
- Thumbnail
- Dimension:
- Height
- Dimension measurement unit:
- mm
- Dimension value:
- 297
- Dimension:
- Width
- Dimension measurement unit:
- mm
- Dimension value:
- 397
- Material:
- photographic paper
- Object history note:
- Part of a collection of ca. 250 paper negatives that were given to the Royal Photographic Society by Turner’s family in the 1930’s.
- Object name:
- Photograph
- Object number:
- RPS.1536-2018
- Object production date:
- 1852-54
- Date - association:
- photographed
- Date - earliest / single:
- 1852-01-01
- Date - latest:
- 1854-12-31
- Object production person:
- Benjamin Brecknell Turner
- Person's association:
- photographer
- Object production place:
- Torquay
- Place association:
- photographed
- Other number:
- 17843
- Other number type:
- Royal Photographic Society number
- Physical description:
- Black and white calotype paper negative of cliffs with shingle at the bottom
- Reproduction number:
- 2018LG0374
- Responsible department/section:
- DOP
- Style:
- 19th century
- Technique:
- calotype
- Technique:
- photography
- Technique:
- Calotype Paper negative (waxed after exposure)
- Text reason:
- Collections online record
- Text:
- Benjamin Brecknell Turner (1815-1894) was one of the first British amateur photographers. Born in London, he became a ‘tallow-chandler’ and helped to run his family’s business, which sold wax-based products, such as candles and saddle soap. As noted in his perpetual diary Turner began using a camera on 10th of March 1849. He took out a license from William Henry Fox Talbot, the inventor of the calotype negative-positive process, to practice this form of photography. Talbot had only introduced this process to the public in 1841. Put simply, the process involves coating a sheet of paper with silver chloride. After exposure to light, the areas of the paper hit by the light appear darker in tone. The resulting negative is then waxed to make it transparent. From this negative a contact print can be made by putting another sheet of photosensitised paper underneath the negative and leaving it in the sun to develop.
Turner’s paper negatives are among the earliest photographic negatives ever made. He worked on a large-scale; most of his negatives are around 30 x 40 cm. His images result from a long exposure time (up to thirty minutes), which means that many of the negatives do not show any figures or animals. As these are moving objects, they would not have remained still enough during the exposure to be recorded on the negative. As his subjects he often chose (ruined) churches and abbeys, castles and manors, the countryside, villages and cottages, trees and the seaside. Most of his pictures were taken during his travels around the English countryside. He seems to have been particularly fond of Worcestershire and the village of Bredicot, where his father-in-law owned Bredicot Court. Turner compiled 60 of these pictures in the album Photographic Views of Nature (of which the V&A owns the only copy). In 1857 Turner toured Holland and took some of the earliest photographs of Amsterdam.
For his photographic excursions the calotype process was ideal. Notwithstanding the arrival of the glass plate negative or wet collodion process, pioneered by Frederick Scott Archer in 1851, Turner still preferred paper negatives. In comparison to calotypes, the wet collodion process enables a higher resolution and shorter exposure times. However, paper was lighter to carry than glass and easier to handle, as a glass plate negative had to be exposed while still wet, and developed immediately. The paper fibres of the paper also produced a distinctive aesthetic when developing images: it makes them slightly rough, with a grainy texture that seems to be a good fit for Turner’s photographs of rural scenes.
- Text reason:
- Summary description
- User's reference:
- Reference:
- Barnes, Martin (with Daniel, Malcolm and Haworth-Booth, Mark). Benjamin Brecknell Turner: Rural England Through a Victorian Lens, London and New York: V&A Publications and Harry N. Abrams, 2001.
- User's reference:
- Reference:
- Brettel, Richard with Flukinger, Roy, Keeler, Nancy and Kilgore, Sydney Mallett. Paper and Light. The Calotype in France and Great Britain, 1839-1870. Boston and London: Kudos & Godine, in association with The Museum of Fine Arts, Houston and the Art Institute of Chicago, 1984.
- User's reference:
- Reference:
- Taylor, Roger (with a Dictionary of Calotypists by Larry J. Schaaf, in collaboration with Roger Taylor), Impressed by Light: British Photographs from Paper Negatives, 1840-1860. New Haven: Yale University Press, in association with The Metropolitan Museum of Art, 2007.
Persistent shareable link for this record: https://museumdata.uk/objects/dd772f50-85e6-34f4-ba01-458e1f5206b4
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/dd772f50-85e6-34f4-ba01-458e1f5206b4, Victoria and Albert Museum, CC BY-NC
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- Title:
- Torquay
- Object name(s):
- Photograph
- Brief description:
- Black and white calotype paper negative of large rocks on sea edge
- Collection:
- Victoria and Albert Museum
- Associated concept:
- Photographs
- Associated concept:
- The Royal Photographic Society
- Associated concept:
- Children & Childhood
- Content - place:
- Torquay
- Credit line:
- The Royal Photographic Society Collection at the V&A, acquired with the generous assistance of the National Lottery Heritage Fund and Art Fund.
- Location type:
- Thumbnail
- Dimension:
- Height
- Dimension measurement unit:
- mm
- Dimension value:
- 297
- Dimension:
- Width
- Dimension measurement unit:
- mm
- Dimension value:
- 396
- Material:
- photographic paper
- Object history note:
- Part of a collection of ca. 250 paper negatives that were given to the Royal Photographic Society by Turner’s family in the 1930’s.
- Object name:
- Photograph
- Object number:
- RPS.1535-2018
- Object production date:
- 1852-54
- Date - association:
- photographed
- Date - earliest / single:
- 1852-01-01
- Date - latest:
- 1854-12-31
- Object production person:
- Benjamin Brecknell Turner
- Person's association:
- photographer
- Object production place:
- Torquay
- Place association:
- photographed
- Other number:
- 17841
- Other number type:
- Royal Photographic Society number
- Physical description:
- Black and white calotype paper negative of large rocks on sea edge
- Reproduction number:
- 2018LG0371
- Responsible department/section:
- DOP
- Style:
- 19th century
- Technique:
- calotype
- Technique:
- photography
- Technique:
- Calotype Paper negative (waxed after exposure)
- Text reason:
- Collections online record
- Text:
- Benjamin Brecknell Turner (1815-1894) was one of the first British amateur photographers. Born in London, he became a ‘tallow-chandler’ and helped to run his family’s business, which sold wax-based products, such as candles and saddle soap. As noted in his perpetual diary Turner began using a camera on 10th of March 1849. He took out a license from William Henry Fox Talbot, the inventor of the calotype negative-positive process, to practice this form of photography. Talbot had only introduced this process to the public in 1841. Put simply, the process involves coating a sheet of paper with silver chloride. After exposure to light, the areas of the paper hit by the light appear darker in tone. The resulting negative is then waxed to make it transparent. From this negative a contact print can be made by putting another sheet of photosensitised paper underneath the negative and leaving it in the sun to develop.
Turner’s paper negatives are among the earliest photographic negatives ever made. He worked on a large-scale; most of his negatives are around 30 x 40 cm. His images result from a long exposure time (up to thirty minutes), which means that many of the negatives do not show any figures or animals. As these are moving objects, they would not have remained still enough during the exposure to be recorded on the negative. As his subjects he often chose (ruined) churches and abbeys, castles and manors, the countryside, villages and cottages, trees and the seaside. Most of his pictures were taken during his travels around the English countryside. He seems to have been particularly fond of Worcestershire and the village of Bredicot, where his father-in-law owned Bredicot Court. Turner compiled 60 of these pictures in the album Photographic Views of Nature (of which the V&A owns the only copy). In 1857 Turner toured Holland and took some of the earliest photographs of Amsterdam.
For his photographic excursions the calotype process was ideal. Notwithstanding the arrival of the glass plate negative or wet collodion process, pioneered by Frederick Scott Archer in 1851, Turner still preferred paper negatives. In comparison to calotypes, the wet collodion process enables a higher resolution and shorter exposure times. However, paper was lighter to carry than glass and easier to handle, as a glass plate negative had to be exposed while still wet, and developed immediately. The paper fibres of the paper also produced a distinctive aesthetic when developing images: it makes them slightly rough, with a grainy texture that seems to be a good fit for Turner’s photographs of rural scenes.
- Text reason:
- Summary description
- User's reference:
- Reference:
- Barnes, Martin (with Daniel, Malcolm and Haworth-Booth, Mark). Benjamin Brecknell Turner: Rural England Through a Victorian Lens, London and New York: V&A Publications and Harry N. Abrams, 2001.
- User's reference:
- Reference:
- Brettel, Richard with Flukinger, Roy, Keeler, Nancy and Kilgore, Sydney Mallett. Paper and Light. The Calotype in France and Great Britain, 1839-1870. Boston and London: Kudos & Godine, in association with The Museum of Fine Arts, Houston and the Art Institute of Chicago, 1984.
- User's reference:
- Reference:
- Taylor, Roger (with a Dictionary of Calotypists by Larry J. Schaaf, in collaboration with Roger Taylor), Impressed by Light: British Photographs from Paper Negatives, 1840-1860. New Haven: Yale University Press, in association with The Metropolitan Museum of Art, 2007.
Persistent shareable link for this record: https://museumdata.uk/objects/be2ec391-8328-3352-a701-a8fbb9a284d4
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/be2ec391-8328-3352-a701-a8fbb9a284d4, Victoria and Albert Museum, CC BY-NC
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- Title:
- Torquay
- Object name(s):
- Photograph
- Brief description:
- Black and white calotype paper negative of detailed rock face by sea, land in distance
- Collection:
- Victoria and Albert Museum
- Associated concept:
- Photographs
- Associated concept:
- The Royal Photographic Society
- Associated concept:
- Children & Childhood
- Content - place:
- Torquay
- Credit line:
- The Royal Photographic Society Collection at the V&A, acquired with the generous assistance of the National Lottery Heritage Fund and Art Fund.
- Location type:
- Thumbnail
- Dimension:
- Height
- Dimension measurement unit:
- mm
- Dimension value:
- 300
- Dimension:
- Width
- Dimension measurement unit:
- mm
- Dimension value:
- 396
- Material:
- photographic paper
- Object history note:
- Part of a collection of ca. 250 paper negatives that were given to the Royal Photographic Society by Turner’s family in the 1930’s.
- Object name:
- Photograph
- Object number:
- RPS.1527-2018
- Object production date:
- 1852-54
- Date - association:
- photographed
- Date - earliest / single:
- 1852-01-01
- Date - latest:
- 1854-12-31
- Object production person:
- Benjamin Brecknell Turner
- Person's association:
- photographer
- Object production place:
- Torquay
- Place association:
- photographed
- Other number:
- 17850
- Other number type:
- Royal Photographic Society number
- Physical description:
- Black and white calotype paper negative of detailed rock face by sea, land in distance
- Reproduction number:
- 2018LG0378
- Responsible department/section:
- DOP
- Style:
- 19th century
- Technique:
- calotype
- Technique:
- photography
- Technique:
- Calotype Paper negative (waxed after exposure)
- Text reason:
- Collections online record
- Text:
- Benjamin Brecknell Turner (1815-1894) was one of the first British amateur photographers. Born in London, he became a ‘tallow-chandler’ and helped to run his family’s business, which sold wax-based products, such as candles and saddle soap. As noted in his perpetual diary Turner began using a camera on 10th of March 1849. He took out a license from William Henry Fox Talbot, the inventor of the calotype negative-positive process, to practice this form of photography. Talbot had only introduced this process to the public in 1841. Put simply, the process involves coating a sheet of paper with silver chloride. After exposure to light, the areas of the paper hit by the light appear darker in tone. The resulting negative is then waxed to make it transparent. From this negative a contact print can be made by putting another sheet of photosensitised paper underneath the negative and leaving it in the sun to develop.
Turner’s paper negatives are among the earliest photographic negatives ever made. He worked on a large-scale; most of his negatives are around 30 x 40 cm. His images result from a long exposure time (up to thirty minutes), which means that many of the negatives do not show any figures or animals. As these are moving objects, they would not have remained still enough during the exposure to be recorded on the negative. As his subjects he often chose (ruined) churches and abbeys, castles and manors, the countryside, villages and cottages, trees and the seaside. Most of his pictures were taken during his travels around the English countryside. He seems to have been particularly fond of Worcestershire and the village of Bredicot, where his father-in-law owned Bredicot Court. Turner compiled 60 of these pictures in the album Photographic Views of Nature (of which the V&A owns the only copy). In 1857 Turner toured Holland and took some of the earliest photographs of Amsterdam.
For his photographic excursions the calotype process was ideal. Notwithstanding the arrival of the glass plate negative or wet collodion process, pioneered by Frederick Scott Archer in 1851, Turner still preferred paper negatives. In comparison to calotypes, the wet collodion process enables a higher resolution and shorter exposure times. However, paper was lighter to carry than glass and easier to handle, as a glass plate negative had to be exposed while still wet, and developed immediately. The paper fibres of the paper also produced a distinctive aesthetic when developing images: it makes them slightly rough, with a grainy texture that seems to be a good fit for Turner’s photographs of rural scenes.
- Text reason:
- Summary description
- User's reference:
- Reference:
- Barnes, Martin (with Daniel, Malcolm and Haworth-Booth, Mark). Benjamin Brecknell Turner: Rural England Through a Victorian Lens, London and New York: V&A Publications and Harry N. Abrams, 2001.
- User's reference:
- Reference:
- Brettel, Richard with Flukinger, Roy, Keeler, Nancy and Kilgore, Sydney Mallett. Paper and Light. The Calotype in France and Great Britain, 1839-1870. Boston and London: Kudos & Godine, in association with The Museum of Fine Arts, Houston and the Art Institute of Chicago, 1984.
- User's reference:
- Reference:
- Taylor, Roger (with a Dictionary of Calotypists by Larry J. Schaaf, in collaboration with Roger Taylor), Impressed by Light: British Photographs from Paper Negatives, 1840-1860. New Haven: Yale University Press, in association with The Metropolitan Museum of Art, 2007.
Persistent shareable link for this record: https://museumdata.uk/objects/003ae13f-55ae-38e9-bff5-0b87858101c2
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/003ae13f-55ae-38e9-bff5-0b87858101c2, Victoria and Albert Museum, CC BY-NC
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- Title:
- Torquay
- Object name(s):
- Photograph
- Brief description:
- Black and white calotype paper negative of cliff arch into the sea with railing along the top
- Collection:
- Victoria and Albert Museum
- Associated concept:
- Photographs
- Associated concept:
- The Royal Photographic Society
- Associated concept:
- Children & Childhood
- Content - place:
- Torquay
- Credit line:
- The Royal Photographic Society Collection at the V&A, acquired with the generous assistance of the National Lottery Heritage Fund and Art Fund.
- Location type:
- Thumbnail
- Dimension:
- Height
- Dimension measurement unit:
- mm
- Dimension value:
- 297
- Dimension:
- Width
- Dimension measurement unit:
- mm
- Dimension value:
- 397
- Material:
- photographic paper
- Object history note:
- Part of a collection of ca. 250 paper negatives that were given to the Royal Photographic Society by Turner’s family in the 1930’s.
- Object name:
- Photograph
- Object number:
- RPS.1522-2018
- Object production date:
- 1852-54
- Date - association:
- photographed
- Date - earliest / single:
- 1852-01-01
- Date - latest:
- 1854-12-31
- Object production person:
- Benjamin Brecknell Turner
- Person's association:
- photographer
- Object production place:
- Torquay
- Place association:
- photographed
- Other number:
- 17846
- Other number type:
- Royal Photographic Society number
- Physical description:
- Black and white calotype paper negative of cliff arch into the sea with railing along the top
- Reproduction number:
- 2018LG0375
- Responsible department/section:
- DOP
- Style:
- 19th century
- Technique:
- calotype
- Technique:
- photography
- Technique:
- Calotype Paper negative (waxed after exposure)
- Text reason:
- Collections online record
- Text:
- Benjamin Brecknell Turner (1815-1894) was one of the first British amateur photographers. Born in London, he became a ‘tallow-chandler’ and helped to run his family’s business, which sold wax-based products, such as candles and saddle soap. As noted in his perpetual diary Turner began using a camera on 10th of March 1849. He took out a license from William Henry Fox Talbot, the inventor of the calotype negative-positive process, to practice this form of photography. Talbot had only introduced this process to the public in 1841. Put simply, the process involves coating a sheet of paper with silver chloride. After exposure to light, the areas of the paper hit by the light appear darker in tone. The resulting negative is then waxed to make it transparent. From this negative a contact print can be made by putting another sheet of photosensitised paper underneath the negative and leaving it in the sun to develop.
Turner’s paper negatives are among the earliest photographic negatives ever made. He worked on a large-scale; most of his negatives are around 30 x 40 cm. His images result from a long exposure time (up to thirty minutes), which means that many of the negatives do not show any figures or animals. As these are moving objects, they would not have remained still enough during the exposure to be recorded on the negative. As his subjects he often chose (ruined) churches and abbeys, castles and manors, the countryside, villages and cottages, trees and the seaside. Most of his pictures were taken during his travels around the English countryside. He seems to have been particularly fond of Worcestershire and the village of Bredicot, where his father-in-law owned Bredicot Court. Turner compiled 60 of these pictures in the album Photographic Views of Nature (of which the V&A owns the only copy). In 1857 Turner toured Holland and took some of the earliest photographs of Amsterdam.
For his photographic excursions the calotype process was ideal. Notwithstanding the arrival of the glass plate negative or wet collodion process, pioneered by Frederick Scott Archer in 1851, Turner still preferred paper negatives. In comparison to calotypes, the wet collodion process enables a higher resolution and shorter exposure times. However, paper was lighter to carry than glass and easier to handle, as a glass plate negative had to be exposed while still wet, and developed immediately. The paper fibres of the paper also produced a distinctive aesthetic when developing images: it makes them slightly rough, with a grainy texture that seems to be a good fit for Turner’s photographs of rural scenes.
- Text reason:
- Summary description
- User's reference:
- Reference:
- Barnes, Martin (with Daniel, Malcolm and Haworth-Booth, Mark). Benjamin Brecknell Turner: Rural England Through a Victorian Lens, London and New York: V&A Publications and Harry N. Abrams, 2001.
- User's reference:
- Reference:
- Brettel, Richard with Flukinger, Roy, Keeler, Nancy and Kilgore, Sydney Mallett. Paper and Light. The Calotype in France and Great Britain, 1839-1870. Boston and London: Kudos & Godine, in association with The Museum of Fine Arts, Houston and the Art Institute of Chicago, 1984.
- User's reference:
- Reference:
- Taylor, Roger (with a Dictionary of Calotypists by Larry J. Schaaf, in collaboration with Roger Taylor), Impressed by Light: British Photographs from Paper Negatives, 1840-1860. New Haven: Yale University Press, in association with The Metropolitan Museum of Art, 2007.
Persistent shareable link for this record: https://museumdata.uk/objects/3cde6a59-7165-3981-a3da-94ee7c87f59e
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/3cde6a59-7165-3981-a3da-94ee7c87f59e, Victoria and Albert Museum, CC BY-NC
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- Title:
- Torquay
- Object name(s):
- Photograph
- Brief description:
- Black and white calotype paper negative of view looking across bay to cliff arch, with steps up side
- Collection:
- Victoria and Albert Museum
- Associated concept:
- Photographs
- Associated concept:
- The Royal Photographic Society
- Associated concept:
- Children & Childhood
- Content - place:
- Torquay
- Credit line:
- The Royal Photographic Society Collection at the V&A, acquired with the generous assistance of the National Lottery Heritage Fund and Art Fund.
- Location type:
- Thumbnail
- Dimension:
- Height
- Dimension measurement unit:
- mm
- Dimension value:
- 297
- Dimension:
- Width
- Dimension measurement unit:
- mm
- Dimension value:
- 398
- Material:
- photographic paper
- Object history note:
- Part of a collection of ca. 250 paper negatives that were given to the Royal Photographic Society by Turner’s family in the 1930’s.
- Object name:
- Photograph
- Object number:
- RPS.1523-2018
- Object production date:
- 1852-54
- Date - association:
- photographed
- Date - earliest / single:
- 1852-01-01
- Date - latest:
- 1854-12-31
- Object production person:
- Benjamin Brecknell Turner
- Person's association:
- photographer
- Object production place:
- Torquay
- Place association:
- photographed
- Other number:
- 17847
- Other number type:
- Royal Photographic Society number
- Physical description:
- Black and white calotype paper negative of view looking across bay to cliff arch, with steps up side
- Reproduction number:
- 2018LG0381
- Responsible department/section:
- DOP
- Style:
- 19th century
- Technique:
- calotype
- Technique:
- photography
- Technique:
- Calotype Paper negative (waxed after exposure)
- Text reason:
- Collections online record
- Text:
- Benjamin Brecknell Turner (1815-1894) was one of the first British amateur photographers. Born in London, he became a ‘tallow-chandler’ and helped to run his family’s business, which sold wax-based products, such as candles and saddle soap. As noted in his perpetual diary Turner began using a camera on 10th of March 1849. He took out a license from William Henry Fox Talbot, the inventor of the calotype negative-positive process, to practice this form of photography. Talbot had only introduced this process to the public in 1841. Put simply, the process involves coating a sheet of paper with silver chloride. After exposure to light, the areas of the paper hit by the light appear darker in tone. The resulting negative is then waxed to make it transparent. From this negative a contact print can be made by putting another sheet of photosensitised paper underneath the negative and leaving it in the sun to develop.
Turner’s paper negatives are among the earliest photographic negatives ever made. He worked on a large-scale; most of his negatives are around 30 x 40 cm. His images result from a long exposure time (up to thirty minutes), which means that many of the negatives do not show any figures or animals. As these are moving objects, they would not have remained still enough during the exposure to be recorded on the negative. As his subjects he often chose (ruined) churches and abbeys, castles and manors, the countryside, villages and cottages, trees and the seaside. Most of his pictures were taken during his travels around the English countryside. He seems to have been particularly fond of Worcestershire and the village of Bredicot, where his father-in-law owned Bredicot Court. Turner compiled 60 of these pictures in the album Photographic Views of Nature (of which the V&A owns the only copy). In 1857 Turner toured Holland and took some of the earliest photographs of Amsterdam.
For his photographic excursions the calotype process was ideal. Notwithstanding the arrival of the glass plate negative or wet collodion process, pioneered by Frederick Scott Archer in 1851, Turner still preferred paper negatives. In comparison to calotypes, the wet collodion process enables a higher resolution and shorter exposure times. However, paper was lighter to carry than glass and easier to handle, as a glass plate negative had to be exposed while still wet, and developed immediately. The paper fibres of the paper also produced a distinctive aesthetic when developing images: it makes them slightly rough, with a grainy texture that seems to be a good fit for Turner’s photographs of rural scenes.
- Text reason:
- Summary description
- User's reference:
- Reference:
- Barnes, Martin (with Daniel, Malcolm and Haworth-Booth, Mark). Benjamin Brecknell Turner: Rural England Through a Victorian Lens, London and New York: V&A Publications and Harry N. Abrams, 2001.
- User's reference:
- Reference:
- Brettel, Richard with Flukinger, Roy, Keeler, Nancy and Kilgore, Sydney Mallett. Paper and Light. The Calotype in France and Great Britain, 1839-1870. Boston and London: Kudos & Godine, in association with The Museum of Fine Arts, Houston and the Art Institute of Chicago, 1984.
- User's reference:
- Reference:
- Taylor, Roger (with a Dictionary of Calotypists by Larry J. Schaaf, in collaboration with Roger Taylor), Impressed by Light: British Photographs from Paper Negatives, 1840-1860. New Haven: Yale University Press, in association with The Metropolitan Museum of Art, 2007.
Persistent shareable link for this record: https://museumdata.uk/objects/6c39b042-25dc-3593-b2f3-1f737a34c6bf
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/6c39b042-25dc-3593-b2f3-1f737a34c6bf, Victoria and Albert Museum, CC BY-NC
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- Title:
- Past Master's jewel for Lodge of St. John, No. 328 presented to W. Bro. W. Pitt Palmer, 1905.
- Object name(s):
- Jewels; Jewel, Past Master
- Brief description:
- First hanging device: Standard flag in gold plated silver, infilled with light blue enamel and bearing the United Grand Lodge of England coat of arms in enamel, being a shield divided into vertical halves. The left half is the Moderns coat of arms consisting of a central chevron in white enamel with a pair of gold compasses within it. Above this are two white enamel castle towers and a third below, all on a red enamel background. On the right is the Antients coat of arms, consisting of a shield divided into four equal quadrants. These are formed by a green and white enamel cross. The top left quadrant shows a gold lion rearing on its hind legs on a dark blue enamel background. The top right quadrant shows an ox painted in black enamel on a gold background. The bottom right quadrant shows a spread eagle in gold on a dark blue enamel background. The bottom left quadrant shows a man with his hands raised painted in enamel. First hanging device (cont.): Above and below the coat of arms is gold text in Gothic script reading 'Torquay / Lodge of St. John / 328'. There is a presentation inscription on the reverse. Second hanging device: Gold set square with engraved foliage designs, beneath which is suspended the 47th proposition of Euclid, also in gold. Pin: Missing.
- Collection:
- Museum of Freemasonry
- Acquisition method:
- Donation
- Associated concept:
- Jewels--Freemasonry--England--1900-1909--Past Masters
- Associated concept:
- St. John's Lodge, No. 328, Torquay--Jewels
- Associated concept:
- Heraldry--England--United Grand Lodge of England
- Associated person:
- Conroy Couch (Firm)
- Associated person:
- Palmer, W. Pitt, Former owner
- Comments:
- Early lodges in England and Wales may have had several different numbers, due to a renumbering process that took place many times. The final renumbering took place in 1863. We record the Lodge with the number it has now, or last had. For lodges founded before the final renumbering of 1863, the Library and Museum also ascribed a serial number. This is a unique number attributed in accordance with the date the lodge was founded. The serial number of this Lodge is 1536.
- Comments:
- As most jewels are manufactured in the same year they are presented, date of manufacture for this jewel is taken to be the same as its presentation date. Please note this manufacture date is speculative as occasionally jewels are manufactured before or even after the date of presentation.
- Content - description:
- Set square, United Grand Lodge coat of arms, Standard flag, 47th proposition of Euclid, Foliage
- Dimension:
- H: 95 W: 53 D: 7 Dia: n/a Wt: n/a
- Entry date:
- 01/03/1950
- Inscription content:
- 'BRO. CONROY COUCH'
- Inscription content:
- 'JEWELLER'
- Inscription content:
- 'TORQUAY'
- Inscription content:
- [First hanging device] 'SILVER'
- Inscription content:
- [Second hanging device] 15ct
- Inscription type:
- Hallmark
- Inscription content:
- POSITION: Reverse of first hanging device TEXT: 'Presented to / WOR. BRO. W. PITT PALMER, P.M. / as a token / of their / appreciation / and esteem / BY THE BRETHREN OF / THE / LODGE OF ST. JOHN 328 / Feb. 6th, 1906'. METHOD: Engraved SCRIPT TYPE: Block LANGUAGE: English TRANSLATION: n/a NOTE: n/a
- Object name:
- Jewels; Jewel, Past Master
- Object number:
- M2006/179
- Object production date:
- 1905 (circa)
- Object production place:
- England
- Reproduction format:
- Digital image
- Technique:
- Cast metal
- Technique:
- Engraved
- Technique:
- Enamelled
- Technique:
- Plated
Persistent shareable link for this record: https://museumdata.uk/objects/6905f744-4d72-37f0-9c03-8515bad8f91c
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/6905f744-4d72-37f0-9c03-8515bad8f91c, Museum of Freemasonry, CC BY
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- Object name(s):
- satyridae; caniola; caniola
- Collection:
- Nottingham Museums
- Comments:
- the specimens have an irregular arrangement in the box / there are species names written in pencil on the lining of the box, but it is unclear which specimens they relate to
- Condition:
- 2 Good
- Condition note:
- Netted by G.R. Garland [original input file date entry read: '10.viii.[18]99']
- Field collection date:
- 10.viii.1899
- Field collection place:
- Torquay
- Field collection place:
- UK, England, Devon
- Place status:
- region
- Field collection place:
- Torquay
- Field collector:
- Garland, G R
- Normal location:
- , STB 0075
- Number of objects:
- 118 specimens
- Number of objects:
- 2
- Object name:
- satyridae; caniola; caniola
- Other number:
- STB0075B
- Other number type:
- file name
- Responsible department/section:
- Lepidoptera
- Text:
- 'BOX 0075'[scrap of paper loose inside the box]
- Text reason:
- Interior storage label
- Text:
- 'British BUTTS. & MOTHS' + 'CHECKED FEB. 75' + 'LEPIDOPTERA - British'
- Text reason:
- label
Persistent shareable link for this record: https://museumdata.uk/objects/8b499ff8-3eb5-32da-857f-2ece1ce3b226
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/8b499ff8-3eb5-32da-857f-2ece1ce3b226, Nottingham Museums, CC BY
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- Object name(s):
- insect: moth; SPHINGIDAE: Hyles livornica: striped hawk-moth; striped hawk-moth
- Brief description:
- The striped hawk-moth is an uncommon immigrant to the southern UK. It can be seen April-October but is more common in the summer months. Frank Lees collected this specimen near his home at Maidencombe 6 June 1943.
This object is not on display.
- Collection:
- Royal Albert Memorial Museum & Art Gallery
- Associated concept:
- Insect
- Current location:
- Not on display
- Field collection place:
- Maidencombe
- Place coordinates:
- -3.517,50.505
- Field collection place:
- Torquay
- Place coordinates:
- -3.517,50.505
- Field collection place:
- Devon
- Place coordinates:
- -3.517,50.505
- Field collection place:
- United Kingdom: England
- Place coordinates:
- -3.517,50.505
- Field collection place:
- Northern Europe
- Place coordinates:
- -3.517,50.505
- Field collection place:
- Europe
- Place coordinates:
- -3.517,50.505
- Field collector:
- Devon & Exeter Institution (from the collection of)
- Field collector:
- Mr Frank H Lees (collector)
- Object name:
- insect: moth; SPHINGIDAE: Hyles livornica (Esper, 1780): striped hawk-moth; striped hawk-moth
- Object number:
- 9/1997/11
- Reproduction number:
- 9-1997-11.jpg
- Reproduction number:
- 9-1997-11-shot1.jpg
- Responsible department/section:
- Natural Sciences
- Responsible department/section:
- Arthropods
Persistent shareable link for this record: https://museumdata.uk/objects/119efb51-abf4-3762-9781-1016f995b0aa
Use licence for this record: CC 0
Attribution for this record: https://museumdata.uk/objects/119efb51-abf4-3762-9781-1016f995b0aa, Royal Albert Memorial Museum & Art Gallery, CC 0
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- Title:
- S.S. HELLENIC PRINCE, glass negative
- Object name(s):
- S.S. HELLENIC PRINCE, glass negative; glass negative; accessioned photograph
- Brief description:
- Port broadside view of S.S. HELLENIC PRINCE at Barry Docks.
- Collection:
- Amgueddfa Cymru - Museum Wales
- Acquisition date:
- 20/9/1979
- Acquisition method:
- purchase
- Associated concept:
- South Glamorgan
- Associated concept:
- 1940s
- Associated concept:
- Hellenic Prince (S.S.)
- Associated concept:
- steam (maritime)
- Associated concept:
- maritime
- Associated concept:
- steam powered (water)
- Dimension:
- length (mm):81
- Dimension:
- width (mm):106
- Entry date:
- 20/9/1979
- Material:
- glass
- Number of objects:
- 1
- Object name:
- S.S. HELLENIC PRINCE, glass negative; glass negative; accessioned photograph
- Object production date:
- 1948 (circa)
- Object production date:
- Date - earliest / single:
- 1/1/1948
- Date - latest:
- 31/12/1948
- Object production person:
- Hansen, Leslie W.
- Person's association:
- photographer
- Person's biographical note:
- person
- Other number:
- 79.76I/2768
- Other number type:
- accession number
- Other number:
- Hansen negative no.:2768/2792
- Other number type:
- other
- Ownership place:
- Barry Docks
- Place status:
- place name
- Technique:
- gelatin dry plate glass negative
- Technique:
- glass negative
- Technique:
- negative
Persistent shareable link for this record: https://museumdata.uk/objects/ce692456-ae6c-37dd-a2a0-0f4d50ae1abe
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/ce692456-ae6c-37dd-a2a0-0f4d50ae1abe, Amgueddfa Cymru - Museum Wales, CC BY-NC
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- Object name(s):
- Cladostephus; verticillatus/Lyngb.
- Brief description:
- Nat. Hist. Museum, University College, Nottingham
- Collection:
- Nottingham Museums
- Acquisition method:
- [purchase?]
- Acquisition note:
- No seaweeds or other algae mentioned in references to the acquisition of the Holmes Lichens. Until such time as we can work this out these items are reconciled as 'cf. 1906.01' (MPC 08/06/2005)
- Acquisition reference number:
- cf. 1906.01
- Acquisition source:
- [Holmes, Edward Morrell]
- Associated person:
- Teste E.M. Holmes
- Person's association:
- determiner
- Condition:
- Good
- Field collection date:
- vii.1910
- Field collection place:
- -
- Place note:
- (1) near Port of Erin, Isle of Man + (2) Torquay
- Field collection place:
- UK, Isle of Man; UK, England, Devon
- Place status:
- region
- Field collector:
- Holden, HS (B. Sc.)
- Number of objects:
- 4
- Object name:
- Cladostephus; verticillatus/Lyngb.
- Object status:
- cuttings
- Other number:
- 074
- Other number type:
- specimen or sheet number
- Other number:
- MISC568B
- Other number type:
- file name
- Physical description:
- [Outer folder] Cladostephus, C. Ag. [On label] 25
- Responsible department/section:
- E.M. Holmes Collection
- Text:
- ALGAE - E.M. Holmes Collection and others. 2. PHAEOPHYCEAE. BROWN
- Text reason:
- Exterior storage label
Persistent shareable link for this record: https://museumdata.uk/objects/195987cc-0f7a-32ef-bb21-2ea4c54fb562
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/195987cc-0f7a-32ef-bb21-2ea4c54fb562, Nottingham Museums, CC BY
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- Object name(s):
- Gigartina; acicularis/Lx.
- Brief description:
- Nat. Hist. Museum, University College, Nottingham
- Collection:
- Nottingham Museums
- Acquisition date:
- [17.6.1906]
- Acquisition method:
- [purchase?]
- Acquisition note:
- No seaweeds or other algae mentioned in references to the acquisition of the Holmes Lichens. Until such time as we can work this out these items are reconciled as 'cf. 1906.01' (MPC 08/06/2005)
- Acquisition reference number:
- cf. 1906.01
- Acquisition source:
- [Holmes, Edward Morrell]
- Condition:
- Good
- Field collection date:
- (5) vii.1845
- Field collection place:
- -
- Place note:
- (1-2) Devonshire + (3) Torbay [?] + (4) Torquay, Devon + (5) Valentia
- Field collection place:
- UK, England, Devon
- Place status:
- region
- Field collector:
- (4) Holmes, E M + (5) WHH
- Number of objects:
- 5
- Object name:
- Gigartina; acicularis/Lx.
- Object status:
- cuttings
- Other number:
- 032
- Other number type:
- specimen or sheet number
- Other number:
- MISC569B
- Other number type:
- file name
- Physical description:
- [Outer folder] Gigartina, Stackh. [On label] 95.
- Responsible department/section:
- E.M. Holmes Collection
- Text:
- ALGAE - E.M. Holmes Collection and others. 3. RHODOPHYCEAE6 1. RED
- Text reason:
- Exterior storage label
Persistent shareable link for this record: https://museumdata.uk/objects/5dd8261e-f8f6-3a54-a560-6641a71ca7fa
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/5dd8261e-f8f6-3a54-a560-6641a71ca7fa, Nottingham Museums, CC BY
Is there a problem with this record? .
- Object name(s):
- tea pot; tea pot
- Brief description:
- Tea pot of blue glazed earthenware with a brown handle and spout; on the base is 1476 Watrumbo (?) Torquay England; there is a white sheath ion the spout to prevent dripping; the lid is missing; from the effects of the late Miss Inman, 87 Westgate, Hunstanton)
- Collection:
- Norfolk Museums
- Acquisition date:
- 18.9.1981
- Acquisition method:
- gift
- Associated concept:
- 2.667
- Associated concept:
- domestic life
- Associated concept:
- food and drink
- Associated concept:
- C Ceramics
- Associated person:
- Inman, Miss
- Associated place:
- England
- Place status:
- country
- Associated place:
- Norfolk
- Condition:
- no lid
- Current location:
- Not on display - In store
- Dimension:
- height
- Dimension measurement unit:
- mm
- Dimension value:
- 720
- Material:
- ceramic
- Object name:
- tea pot; tea pot
- Object number:
- KILLM : 1981.153.13
- Other number:
- C 136
- Other number type:
- previous number
- Other number:
- KL 153.981
- Other number type:
- assigned number
- Responsible department/section:
- Lynn Museum
Persistent shareable link for this record: https://museumdata.uk/objects/8b873451-8aea-3c62-94e8-ed1bbd685ece
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/8b873451-8aea-3c62-94e8-ed1bbd685ece, Norfolk Museums, CC BY-NC
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- Title:
- Letter from Wynne Overton to James McBey (Letters and Memorabilia Belonging to James McBey)
- Object name(s):
- Letter
- Brief description:
- Letter from Wynee Overton (Winifred) to James McBey, dated 2 August 1925. Wynne thanks McBey for his letter which was sent on to her at Torquay, where she had just been for ten days, and talks about her holiday. She then tells McBey that she tried to ring him several times when she thought he was coming home from Scotland, but missed him. Wynne then explains, "I don't think I shall have the nerve to ring you up again until I hear you are really home."
Wynne then tells McBey that she would love to attend a show with him, asks how he was getting on with a portrait, and urges him to write to her soon.
The letter is handwritten on 2 sides of a folded sheet of paper.
- Collection:
- Aberdeen Archives, Gallery and Museums
- Accession date:
- 1988
- Acquisition method:
- Gift
- Associated concept:
- McBey
- Associated date:
- 1925
- Associated person:
- James McBey
- Credit line:
- Presented in 1988 by Mrs Marguerite McBey.
- Current location:
- View by Appointment - Aberdeen Treasure Hub
- Dimension:
- 15.4 x 11.5cm
- Material:
- paper and ink
- Object name:
- Letter
- Object number:
- ABDAG008357.36
- Object production date:
- Date - earliest / single:
- 1925
- Date - latest:
- 1925
- Object status:
- Accessioned object
- Responsible department/section:
- Fine Art
- Right type:
- © Aberdeen City Council (McBey Collection)
- Text:
- Letter from Wynee Overton (Winifred) to James McBey, dated 2 August 1925. Wynne thanks McBey for his letter which was sent on to her at Torquay, where she had just been for ten days, and talks about her holiday. She then tells McBey that she tried to ring him several times when she thought he was coming home from Scotland, but missed him. Wynne then explains, "I don't think I shall have the nerve to ring you up again until I hear you are really home."
Wynne then tells McBey that she would love to attend a show with him, asks how he was getting on with a portrait, and urges him to write to her soon.
This object is part of an archive that belonged to Marguerite McBey. As a result of her generosity, Aberdeen Art Gallery holds the largest archive of James McBey's work, including prints, drawings, sketchbooks, oil paintings and memorabilia such as this letter.
Persistent shareable link for this record: https://museumdata.uk/objects/d1ea1bd4-7e5f-3f41-9791-46c5ec1ac964
Use licence for this record: CC 0
Attribution for this record: https://museumdata.uk/objects/d1ea1bd4-7e5f-3f41-9791-46c5ec1ac964, Aberdeen Archives, Gallery and Museums, CC 0
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- Object name(s):
- seashell display; shell
- Brief description:
- seashell display; spiralling 'tower' of shells, corals and mosses; on black wooden base with three ball feet, under glass dome
- Collection:
- Poole Museum
- Associated concept:
- natural history
- Condition:
- good
- Dimension:
- height
- Dimension value:
- 63 cm
- Dimension:
- diameter
- Dimension value:
- 36 cm
- Number of objects:
- 1
- Object component name:
- base
- Object history note:
- 'cones' or 'cairns' and other arrangements of shells, dried seaweed and corals were made by Victorian ladies; the materials were available at little shops at popular south coast towns e.g. Weymouth and Torquay; one at Poole belonged to Polly Perkins, a smuggler's daughter, who taught shellcraft to West Country ladies in the 19th century
- Object name:
- seashell display; shell
- Object number:
- T:1996.4923
- Object production date:
- Date - earliest / single:
- 1850
- Date - latest:
- 1800
- Use begin date:
- 30.11.2002
- Use begin date:
- 23.6.2001
- Use end date:
- 18.11.2001
- Use title:
- Home Sweet Home
- Use title:
- Beside the Seaside
- User's reference:
- Howe, Bea : 1973 : Antiques from the Victorian Home : Batsford :: p.146-7
Persistent shareable link for this record: https://museumdata.uk/objects/0677f5a8-c232-3b15-8e48-8e66de805590
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/0677f5a8-c232-3b15-8e48-8e66de805590, Poole Museum, CC BY-NC
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