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Panathenic Amphora (large print)
by RnibThis page shows a Panatheniac Amphora, a large Greek ceramic jar. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. The image fills the page. It shows the large storage jar, 60 to 70 centimetres high, that was filled with ten gallons of olive oil and presented to winners in the Olympic Games. The Amphora is decorated in black on a ground of terra cotta, the natural red colour of the clay from which the jar was made. The jar is seen from the side. At the top of the image is the opening of the jars neck. Down the page is a band of decoration and to each side, a handle for carrying. The jar curves out on either side and has a band showing the images of two Olympic runners. They are seen from the side and each has two legs and one arm shown. Further down the page the jar curves in and there is a wide band of black colour with another band of decoration below this. At the bottom of the page, you can find the jars foot extending out to the right and left.
Painting of Tam O'Shanter and Nannie (figurehead of Cutty Sark) (SEB)
by RnibCutty Sarks figurehead is Nannie the witch, a character from Robert Burns poem Tam OShanter. This painting, by an unknown artist, depicts Tam on horseback being chased by Nannie, who is wearing her cutty sark. The ships figurehead has her arm outstretched with a horses tail clasped in her hand. When the ship was in port one of the apprentices would place some unpicked rope in her hand to represent Megs tail. In the centre of the painting is Tam riding his white horse Meg across the bridge over the River Doon. Meg's legs are shown striding out, arching over the arch of the bridge that has no sides, in her flight from the pursuing witch Nannie. Tam is wearing a blue bonnet, long brown jacket over a white shirt with red neckerchief round his neck, a paisley shawl around his shoulders, blue trousers and knee-high black and brown riding boots. He is holding his knobbly stick called a kebbie in his right hand above his head and he holds the horse's reins tightly in his left hand close to the bottom of Meg's neck. He turns his head to look back at Nannie who is immediately behind Meg and has managed to grasp Meg's tail in her left hand. Her white cutty sark billows out behind her showing her quick forward movement and her right breast is exposed. Behind Nannie, in the distance, you can see the church with flames leaping from the roof with the figure of a witch on a broomstick and the Devil playing bagpipes silhouetted against the flames. The whole scene is set against a dark sky with bolts of lightening zigzagging across it.
Op Art, November 21 - Toruside by Davidope (UEB uncontracted)
by RnibThis is an image based on a frame (one image taken from a film) from an animated artwork by Hungarian artist Davidope that gives the unsettling optical illusion of moving into a vortex. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. This work is in black and white. It is comprised of black and white tapered stripes that curve in from the outer edges of the square image to meet in the bottom left quarter. In the animation, the stripes rotate around the image in a clockwise direction to give the illusion of a vortex or whirlpool. Op art is painting that explores visual perception and illusion. It is abstract, often only black and white, and the images may appear to move, flash, vibrate or produce strange colour effects. Some people may find images of this sort uncomfortable to view.
Op Art, November 21 - Toruside by Davidope (UEB contracted)
by RnibThis is an image based on a frame (one image taken from a film) from an animated artwork by Hungarian artist Davidope that gives the unsettling optical illusion of moving into a vortex. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. This work is in black and white. It is comprised of black and white tapered stripes that curve in from the outer edges of the square image to meet in the bottom left quarter. In the animation, the stripes rotate around the image in a clockwise direction to give the illusion of a vortex or whirlpool. Op art is painting that explores visual perception and illusion. It is abstract, often only black and white, and the images may appear to move, flash, vibrate or produce strange colour effects. Some people may find images of this sort uncomfortable to view.
Op Art, November 21 - Toruside by Davidope (large print)
by RnibThis is an image based on a frame (one image taken from a film) from an animated artwork by Hungarian artist Davidope that gives the unsettling optical illusion of moving into a vortex. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. This work is in black and white. It is comprised of black and white tapered stripes that curve in from the outer edges of the square image to meet in the bottom left quarter. In the animation, the stripes rotate around the image in a clockwise direction to give the illusion of a vortex or whirlpool. Op art is painting that explores visual perception and illusion. It is abstract, often only black and white, and the images may appear to move, flash, vibrate or produce strange colour effects. Some people may find images of this sort uncomfortable to view.
Off to the Fishing Grounds by Stanhope Forbes (SEB)
by RnibThis painting shows the men of Newlyn at work. Fishing was a particularly dangerous job in the 19th century. Forbes shows the fishermen on a Cornish lugger, a traditional open topped fishing boat with two masts with sails. He liked Newlyn because of the wonderful light and the chance to live among the subjects of his paintings. It’s from 1886, oil paint on canvas. The main focus of the painting is the open deck of the lugger and Forbes has painted the scene as if he is actually on board the lugger standing with his back to the stern looking down the deck of the boat towards the pointed bow. He has also painted a small rowing boat (RB) to the right of the lugger's bow and in the distance, near the horizon (H) where the sky and sea meet, are further luggers (L) in full sail, some shown with their two sails clearly painted and others just small shapes in the far distance. The rowing boat has four passengers, a fisherman, a woman and two girls. They are looking towards a boy who is on board the lugger. To the left and facing the boy are two fishermen - one much older than the other. Around these two men are various pieces of equipment (E) used for winching their catch into the hold - coils of ropes, chains, a pulley, a bucket and a capstan. To the right and behind the older fisherman is the boat's foremast set in the middle of the deck. The lower part of the unfurled sail is shown to the left of the mast and going off the painting on the left-hand side. Just visible below the sail is the hull of another boat (B) with a small wave breaking on the bow showing that it is in forward motion. The tactile image is just over five times smaller than the actual painting and shows a simplified overview with the signature in the bottom right-hand corner. The sea and sky have no texture and are separated by a thin line. The strip of land is shown with a texture and this texture has also been used for the boy's and fishermen's trousers. The top rail along the sides of the lugger is shown by a very thick line that also outlines the entrance to the hold with the hold itself having no texture. A thinner line outlines the inside bottom edge of the lugger. The sail, deck and sides of the lugger are shown with a light texture. Solid texture shows the mast, boy and fishermen's boots and hats, red cloth bundle held by the boy, the lugger's equipment (capstan and pulleys), rowing boat, oars, gulls, distant luggers, and the hull of the boat showing from under the sail. The people in the rowing boat and the boy's and fishermen's jerseys are shown with a further texture with another texture for the oilskin coats. The ropes are shown with a textured line. Key to image: B: boat's hull visible just below sail D: deck E: equipment G: gulls H: horizon L: luggers in the distance P: pulley R: ropes RA: right arm of boy RB: rowing boat with 4 people in 1: young fisherman sitting on edge of hold 2: older fisherman standing inside hold 3: boy waving to rowing boat 4: young fisherman sitting on side of lugger 5: older fisherman standing on side of lugger
'Nelson and Napoleon exhibition' Portrait of Nelson by Beechey (SEB)
by RnibThis image shows a full-length portrait of Napoleon and is just part of the image that makes up the whole painting. He is shown standing facing you and he is looking slightly to his left. Go to the bottom of the image and find Napoleon's feet. He is wearing black shoes with large gold buckles on the top (solid with hollows for the buckles) and white silk knee-length stockings (shown as a hollow with bordering lines). He then has red velvet breeches, decorated at the knee with gold brocade (solid with hollows for brocade). Behind his breeches, the tails of his long jacket can be felt (rough). At his waist to the right, he has a long sword with a jewelled hilt (solid) suspended from a decorative belt (very rough) and that nearly reaches the floor. His long tailed jacket is also of red velvet (rough) decorated gold brocade and is double-breasted with the buttoned opening on his left. The jacket has long sleeves with deep cuffs (solid), a high collar that stands up to his cheeks (solid) and 2 rows of gold buttons (solid), most of which can be seen on the right-hand side of the jacket. Napoleon's left hand is pushed into the open jacket where the large buttonholes can be seen (solid). His right arm is outstretched and his fingers are pointing down. At his neck, he has a black cravat (very rough). He is a handsome man with a straight nose, neat eyebrows and short black hair (solid), parted to his left, and he has a fixed expression. The whole painting shows Napoleon standing in-between a throne-like chair, to his left, and a table, to his right, with long dark drapes in the background. The throne-like chair has gold decoration on it and the table is completely covered in dark velvet with a deep gold fringe at the bottom. To Napoleon's left, the long dark drapes are drawn back to reveal a view of a cathedral with a spire with rolling hills behind. On the table is a scroll that has large writing on it. Napoleon's right hand is just resting on this scroll and he is pointing to the writing on the scroll. Also on the table are more rolled scrolls, 2 quills and Napoleon's black hat.
'Nelson and Napoleon exhibition' Portrait of Napoleon by Ingres (SEB)
by Rnib"This image shows a full-length portrait of Napoleon and is just part of the image that makes up the whole painting. He is shown standing facing you and he is looking slightly to his left. Go to the bottom of the image and find Napoleon's feet. He is wearing black shoes with large gold buckles on the top (solid with hollows for the buckles) and white silk knee-length stockings (shown as a hollow with bordering lines). He then has red velvet breeches, decorated at the knee with gold brocade (solid with hollows for brocade). Behind his breeches, the tails of his long jacket can be felt (rough). At his waist to the right, he has a long sword with a jewelled hilt (solid) suspended from a decorative belt (very rough) and that nearly reaches the floor. His long tailed jacket is also of red velvet (rough) decorated gold brocade and is double-breasted with the buttoned opening on his left. The jacket has long sleeves with deep cuffs (solid), a high collar that stands up to his cheeks (solid) and 2 rows of gold buttons (solid), most of which can be seen on the right-hand side of the jacket. Napoleon's left hand is pushed into the open jacket where the large buttonholes can be seen (solid). His right arm is outstretched and his fingers are pointing down. At his neck, he has a black cravat (very rough). He is a handsome man with a straight nose, neat eyebrows and short black hair (solid), parted to his left, and he has a fixed expression. The whole painting shows Napoleon standing in-between a throne-like chair, to his left, and a table, to his right, with long dark drapes in the background. The throne-like chair has gold decoration on it and the table is completely covered in dark velvet with a deep gold fringe at the bottom. To Napoleon's left, the long dark drapes are drawn back to reveal a view of a cathedral with a spire with rolling hills behind. On the table is a scroll that has large writing on it. Napoleon's right hand is just resting on this scroll and he is pointing to the writing on the scroll. Also on the table are more rolled scrolls, 2 quills and Napoleon's black hat.
'Nelson and Napoleon exhibition' Horatia's christening cup (SEB)
by RnibThis image shows a side view of the gilt engraved christening cup which is in the shape of a goblet. The cup is 15 cm (6 inches) high. The base and bowl of the cup is shown as a solid with the stem shown as rough. The rim of the cup is decorated with simple lines (hollows in the solid). Below the decorated rim, is engraved the word "Horatia" in large flowing script. This is in turn surrounded by a simple oval pattern (shown as hollows). Below this oval is another slight more complex pattern (shown as hollows).
Mrs Mounter by Harold Gilman (SEB)
by RnibThis is an oil paint on canvas painting from This is one of several pictures Gilman painted of his fellow tenant and cleaning lady Mrs Mounter found at the Walker Art Gallery. Mrs Mounter, who dominates the painting, is sitting behind a table looking directly out of the painting with a fixed expression. Her head and upper body are just visible from behind the table that is laid ready for teatime and she has her arms out of sight down by her sides. Only part of the table is shown, the rest of it disappears off the bottom and lower left-hand side of the painting. Behind Mrs Mounter on the right of the painting, is a half opened panelled door with long finger plate through which you get a glimpse of striped vivid blue wallpaper. The tactile image is 3 times smaller than the actual painting and shows an overview of the painting with the signature in the bottom right-hand corner. Mrs Mounter's overcoat is shown by a texture with thick lines to show some of the black lines for the folds in the material. The overcoat texture also shows her hair, eyebrows, and the teapot stand. Solid texture shows her eyes, mouth, headscarf, neck scarf at the collar, teapot, spoons, chair and finger plate on the door. Two different textures show the cups/saucers/plates and milk jug. The table cloth has no texture. The pattern on the wallpaper is shown as thin lines on no texture. The door and panel is shown as a light texture with lines for the panel detail. Key to image: C: back of chair CL: large cup and saucer with spoon CS: small cup and saucer with spoon E: eyes H: headscarf and hair J: milk jug M: mouth N: nose O: overcoat P: edge of plate T: teapot on stand W: wallpaper
Monks' Map Overview (SEB)
by RnibThis is a framed Monks' map is originally nearly three metres long and half a metre tall, and can be viewed over 4 pages, the first 2 of which are a braille description. The map is over 400 years old.The main feature running across the centre of the map, from left to right, is the River Thames. The river, shown in pale blue, is surrounded by green areas representing meadows and fields with darker green, smaller areas for trees and woodland. Downstream is on the left of the map and upstream on the right. Four clusters of buildings are shown more or less spaced equidistant from each other along the top edge of the map. The buildings are drawn in three-dimension. For the tactile image, the map has been divided over two facing pages - a left-hand side and a right-hand side - with a key above the left-hand side. The map is contained within a thick line border with a broken line to show the extent of the map interpretation panel. Two textures show the meadows/ fields and trees/woodland. The river and ditches are shown with no texture bordered by two thin lines. The roads and red roofs are shown as a further texture. Solid texture shows the blue roofs, row of buildings, watermill, bridge, arch in the abbey ruins, and lock. Hatched lines show the second line of the river.
Ming Vase (large print)
by RnibThis is an image of an ancient vase from the Ming Dynasty in fifteenth century China. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. The vase has narrow neck at the top centre of the page. It curves out and down the page, narrowing towards the base. It is white with blue decorations of fruit sprays and leaves. There is a decorative curved line going around the top of the vase. This comes to a point in the top centre of the image. Down from this is a twig with five leaves. Above the line to the left is a twig with one leaf and a rounded fruit. Above the line to the right is a twig with two leaves and a rounded fruit. Down from these decorations is a straight blue band that goes round the top of the vase. Down from the band to the left is a larger twig. This has fourteen leaves and to the centre left a rounded fruit. Just to the right is another fruit or flower. On the right side of the vase is another larger twig. This has five leaves at the top and five oval fruit just down from the leaves. In the centre of the image is a spray of five different shaped lobed leaves and tendrils. In the middle of them are two round fruit which appear to be split open. Down from these decorations is a wide straight blue band that goes round the bottom half of the vase.
Ming vase (UEB contracted)
by RnibThis is an image of an ancient vase from the Ming Dynasty in fifteenth century China. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. The vase has narrow neck at the top centre of the page. It curves out and down the page, narrowing towards the base. It is white with blue decorations of fruit sprays and leaves. There is a decorative curved line going around the top of the vase. This comes to a point in the top centre of the image. Down from this is a twig with five leaves. Above the line to the left is a twig with one leaf and a rounded fruit. Above the line to the right is a twig with two leaves and a rounded fruit. Down from these decorations is a straight blue band that goes round the top of the vase. Down from the band to the left is a larger twig. This has fourteen leaves and to the centre left a rounded fruit. Just to the right is another fruit or flower. On the right side of the vase is another larger twig. This has five leaves at the top and five oval fruit just down from the leaves. In the centre of the image is a spray of five different shaped lobed leaves and tendrils. In the middle of them are two round fruit which appear to be split open. Down from these decorations is a wide straight blue band that goes round the bottom half of the vase.
Ming vase (UEB uncontracted)
by RnibThis is an image of an ancient vase from the Ming Dynasty in fifteenth century China. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. The vase has narrow neck at the top centre of the page. It curves out and down the page, narrowing towards the base. It is white with blue decorations of fruit sprays and leaves. There is a decorative curved line going around the top of the vase. This comes to a point in the top centre of the image. Down from this is a twig with five leaves. Above the line to the left is a twig with one leaf and a rounded fruit. Above the line to the right is a twig with two leaves and a rounded fruit. Down from these decorations is a straight blue band that goes round the top of the vase. Down from the band to the left is a larger twig. This has fourteen leaves and to the centre left a rounded fruit. Just to the right is another fruit or flower. On the right side of the vase is another larger twig. This has five leaves at the top and five oval fruit just down from the leaves. In the centre of the image is a spray of five different shaped lobed leaves and tendrils. In the middle of them are two round fruit which appear to be split open. Down from these decorations is a wide straight blue band that goes round the bottom half of the vase.
Middlesex Coats-of-Arms (Supreme Court of the United Kingdom) (SEB)
by RnibThis is a coat of arms from an original stained glass window depicting the coats-of-arms for Lord Lieutenants and Sheriffs for the County of Middlesex. The tactile image shows the coat-of-arms and is half the size of the actual image. The leading lines that hold the glass together have been omitted so that the coat-of-arms is shown unbroken. The shield is shown by a thick outline infilled with a texture. Solid texture shows the crown and the swords along with the cornucopias. A further texture shows the scrolls with solid texture for the wording. Thinner lines show the water coming out of the ends of the cornucopias.
Michelangelo - Youth beckoning, a right leg (recto) (SEB)
by RnibThis drawing by Michelangelo (1475-1564) completed about 1504 is pen and brown ink (figure), black chalk (leg) on paper. The drawing shows the front view of a naked man standing on his right leg with his left leg raised off the floor slightly behind him. His body is facing the viewer with his head turned to the viewer's right. He is looking towards his left arm that is slightly bent at the elbow and raised up above his head, with the hand disappearing off the paper in the top right-hand corner. The drawing concentrates on the torso, head and left arm. The man's right arm has not been drawn in enough detail to clearly see its position apart from a hint with sketchy lines that it would have been down by his side. Both legs are also shown with sketchy lines but they are strong enough to understand the leg positions. No feet have been shown. Shading and lines on the torso show the firm muscle structure with nipples, hollow for belly button and genitals clearly drawn. The head is topped by a series of wavy lines that represent the youth's hair. The facial features - eyes, nose and mouth - are indicated mainly by shading. The tactile image is slightly smaller than the original drawing. It shows the outline of the drawing in a thick line with a texture for the main areas of shading and thinner lines for the lines on the torso. Very thin lines show the sketchy lines on the legs and right arm.
Michelangelo - Old man wearing a hat (Philosopher)
by RnibThis drawing is by Michelangelo about 495-1500 is pen and two shades of brown ink on paper. It is a full-length side view of an old man who is facing to the right. He is wearing a long robe that covers his whole body apart from his forearms, hands and left foot. The robe is shown with many folds as it contains a great deal of fabric. Michelangelo's interest seems to be on expressing volume, thus every fold and shadow of the man's drapery is defined with an interlocking network of tiny lines. His face and long beard are shown beneath a peaked hat. The peaked hat has a shell on its side, between the brim and the crown. The old man's forearms and hands are shown coming out from beneath the deep folds of the arms of the robe. He is holding a slightly rounded object in his hands that, as stated above, is either a skull or casket. The tactile image is very slightly smaller than the original drawing and shows an outline of the figure defined by thick lines. Thin lines and two different textures have been used to give an idea of the folds of the robe. Solid texture has been used to show the peaked hat, forearms, the rounded object held in the hands and the left foot. The shell is shown as a hollow in the solid texture of the hat.
Medieval Renaissance Gallery: Painted Terracotta Bust of Pope Leo X (SEB)
by RnibThis head and shoulders bust of Cardinal Giovanni de Medici pre-dates his elevation to Pope in 1513 as he wears a biretta, the cap typically worn by cardinals. The bust has a peculiar stance, with the head pushed forward over the chest - see side view of bust. This is probably because the bust was intended to be seen from below and was meant to be placed high up in a niche or above a doorway. The biretta is a close-fitting, rounded cap in black with a red band around the edge. The Cardinal's hair can just be seen protruding from all the way round the biretta. Cast from life, the clean-shaven face has fleshy cheeks, hooded eyes and eyebrows that are drawn together slightly furrowing the forehead. A white undershirt protrudes from the Cardinal's black over-garment. The right shoulder is severely damaged. There are two tactile images - one showing the front view of the bust and one showing a side view of the right-hand side of the bust. The damage on the shoulder is shown as a rough texture. The biretta is shown as a solid texture filled in with a very rough texture. The hair is shown as a series of lines. The over-garment is shown as a series of lines infilled with a very rough texture. The undershirt is shown as a very rough texture. The facial features are shown as lines with solid texture for the eyebrows, pupils, and mouth. The shape of the nose is shown as solid texture. Some of the crease lines on the face, particularly
Medieval Renaissance Gallery: Limestone Window (SEB)
by RnibThis window consists of a series of three rounded, arched openings that are supported on 4 columns that are topped with leaf-pattern decorated capitals. Capitals are wider at the upper surface than lower surface and spread the load of the arches onto columns. The individual blocks of limestone that form each rounded arch can be clearly seen. The semi-circular area formed by the rounded arches are filled in with limestone blocks and carved relief decoration consisting of mythological beasts. 3 smaller columns, which also ends in a decorated capitals, divides each arch into 2 rectangular gaps through which you would look out of. The tactile image should be read sideways with a key at the top of the page and shows the overall shape of the window. The details of the carved relief decoration of mythological beasts and leaf-decorated capitals have been omitted but their positions have been shown. For the carved relief decoration, a rough and very rough texture has been used. For the leaf-decorated capitals, a solid texture has been used. A rough texture has been used to define the main shape of the window i.e. the 3 rounded arches, the columns supporting the arches and the base of the window. The base of each column has been shown as a solid texture. The individual limestone blocks that make up the window have mostly been shown by single lines.
Medieval Renaissance Gallery: Gilt and Painted Wooden Parade Shield (SEB)
by RnibThis shield was for a decorative purpose and used for parades and carnivals. This example is a very rare survivor of something that would normally have been discarded once they were no longer needed. On the curved front of the shield, the decoration consists of the arms of the Villani family of Florence and shows a griffin that has the body and hind legs of a lion, the head and front legs with claws of an eagle and wings on its back. The griffin is shown standing sideways, facing to the left, on its hind ’lion’ legs with its front legs with’eagle’ claws held out in front. Its mouth is open and a red curled tongue is protruding from it. The long, s-shaped tail is curled up behind the body on the right. The tactile image concentrates on the griffin and red lines and omits the scroll pattern background. Because the red lines go right across the griffin, they break up the shape of the griffin and separate the head, top of the wing, right front leg and tip of the left front claw from the rest of the griffin. The edge of the shield is shown as a thick solid line. The dog tooth pattern is shown as a zigzag solid line in-filled with a rough texture. The griffin is shown as a solid texture with hollows that show some of the detail including the position of the eye, the feather pattern on the wing and head, and ridges on the claws. The red lines and tongue of the griffin are shown as a very rough texture. The tongue is labelled’T’."
Medieval Renaissance Gallery: Carved Stone Choir Screen or Rood Loft (SEB)
by RnibThis is a choir screen supported by 4 pairs of circular columns, one pair either side of the rounded arches. Standing on a ledge above each pair of columns are the figures of St Peter, the Virgin and Child, St John the Evangelist and St Paul. Above these figures, set in a 2 columned recess, are four further figures of men bearing shields of arms. Between these recessed figures are 3 larger figures standing on semi-circular brackets. These figures are Faith, Charity and Hope. The tactile image should be read sideways and shows the basic shapes of the choir screen. The key to the image is at the end of this section. Statue labels are always above the statue and as near to them as possible. Solid texture shows the position of the figures, candle sticks, base of columns, 2 columned recess and balustrade. The shields of the 4 figures in the recesses are shown as an outline with slightly textured centre. A rough texture shows the columns. A very rough texture shows the areas of detailed decoration. Key: 2 - a pair of columns C - Charity F - Faith H - Hope J - St John the Evangelist PA - St Paul PE - St Peter S - man bearing shield of arms V - Virgin and Child.
Islamic Art Gallery: Arabesque Panel (SEB contracted)
by RnibThe long, thin horizontal panel from Spain or Morocco, dated 1150-1250. has a carved inscription in Arabic, which is read from right to left. The inscription is set on a background of leafy scrolls. A plain raised border forms the top and bottom edges of the panel. Each letter of the inscription is shown as a solid shape. The background has an overall rough texture as the detail is too complex to show. The plain raised border is shown as two parallel lines with a texture between the lines.
slamic Art Gallery: Arabesque Panel (SEB contracted)
by RnibThis is a panel from Egypt, probably Cairo, dated 1470-1500. It is carved marble with traces of paint and gilding. The panel is completely covered with decoration, composed of two patterns laid over one another. Together they make up a regular repeating design. The overlying pattern consists of two huge roundels, one arranged above the other. The underlying pattern is an arabesque design that covers the whole surface of the panel. The arabesque consists of tendrils arranged in tight spirals, from which grow fantastic leaf motifs. There are two tactile images to explain the decoration on the panel. Both show the whole panel, the first one giving a simple overview and the second one incorporating more detail. Some of the fine detail has been omitted as it is too complex to show, but the second image is still very complex.
Mary Harrison (Women's Auxilary Air Force) - The Dreamer Cartoon (SEB contracted)
by RnibThis cartoon is called ‘The Dreamer’ and may be a self-portrait. It illustrates a poem called ‘Ode to a Plotter on an Uneventful Night’, both by Mary Harrison. Mary created cartoons and poems about her work for the Womens Auxiliary Air Force during World War 2. One of her jobs was to make models of landscapes used to plan battles and bombing raids. She often felt uneasy about the consequences her actions had on others and used her poems and cartoons to express her feelings. This picture may be a self-portrait of Mary. It is a head and shoulders cartoon of a Women's Auxiliary Air Force (WAAF) plotter on watch. The sketch is on the left-hand side of the page. The poem's title ‘The Dreamer’ is written in capitals in blue ink on the right-hand side. Her head is drawn in side profile, looking towards the right but her body is drawn nearly facing the reader. She is wearing a headset, which has a long wire coming from the earpiece that hangs down her body A large microphone is suspended at chest height from a strap around her neck. A plotter used this equipment to help the Air Force carry out raids. She is wearing a long sleeved shirt and tie, the sleeves of the shirt are rolled up. A striking part of the cartoon is the bright red lipstick that the plotter is wearing. She is gazing into the distance with a distracted look on her face. This image is a very similar to the original print cartoon. The braille labels added are: curled hair, forehead, snub nose, red lips, collar, headset with large earpiece, tie, microphone, wire from earpiece, sleeve and arm.
Margaret Oxenden by Thomas Hudson (SEB contracted)
by RnibThis is a painting of Margaret Oxenden 1756; by Thomas Hudson (1701-79); oil on canvas in a gilded wooden frame. The painting shows Margaret Oxenden, aged about 32, in the year following her marriage. The basket of flowers she touches, and the liberal use of pearls in her hair and dress, perhaps alludes to the impending birth of her son that same year. Margaret is shown standing in the centre of the painting facing to the right with her head turned towards the viewer. In front of her is an ornately carved table on which is a small basket of flowers. She reaches out with the right hand to touch the flowers in the basket that include pink roses. Her left hand is held up at her left breast. Behind the table is a glimpse of a landscape painted in muted colours and behind Margaret is the rather ghostly shape of a large urn on a tall pedestal. The tactile image is roughly four and a half times smaller than the actual painting and focuses on Margaret and the table with basket of flowers only. The urn, landscape and inscription have been omitted. A thick broken line shows the bottom and side edges of the frame. Thick lines outline the main features in the image with finer lines for the hair, eyebrows, and the linen part of the sleeve. Solid texture shows the table, basket, pearls, bows and facial features. Three textures show the dress, the satin train and the see-through wrap. The texture for the dress also shows the shapes of the some of the flowers and leaves in the basket.