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'Art for the Nation' A Convoy, by Herbert Barnard John Everett (tactile)
by RnibDate: 1918. Materials: oil on canvas. Size: 796 x 952 mm. John Everett (1876-1949) is unique among the artists represented in the National Maritime Museum. Although there are some paintings by him elsewhere, he had independent means and sold very few. Instead, on his death he bequeathed practically his entire lifes work to the National Maritime Museum, amounting to 2752 paintings, with drawings and photographs produced over fifty years. Such a comprehensive legacy provides a rare opportunity to examine one artists lifetime response to the sea. Because Everett had no need to earn his living from art, and had a fear of publicity, his work has long been overlooked. It is only now that his diverse and rich output is getting the recognition it deserves. Everetts two passions were art and sailing and these he combined to great effect. He once commented, the artist and the sailor had many things in common. They were both vagabonds and wanderers; they led an utterly unconventional life. Dazzle Convoy - the practice of merchant ships sailing in large groups, either for self-protection, or under the protection of warships - is one of the most ancient practices of seafaring societies. Historically it has also been by far the most effective but one that has often been forgotten between wars. Convoy took on new urgency in the First World War, both because of the old problem of enemy surface raiders and the entirely new threat posed by submarines: in the Second World War the submarine threat, and that from long-range aircraft, made it even more important. In both wars - and despite often terrible casualties in men and ships - it proved just as effective as it had always been compared to the catastrophic consequences of ships sailing independently and getting picked off one by one. The reasons for this are mathematical: the ocean is so large that - at least before modern radar and satellite surveillance - it was just as easy to hide 100 ships in it as one. Moreover, while one may need perhaps four warships to protect 100 merchantmen, one may need only six to protect 200. Any attack on so many may sink a few but not all, and once begun it is the attacker who runs the greatest risk as the escorts counter-attack. It is therefore a highly effective method of protecting ships, lives and cargoes. The Painting Everett's work combines a real sense of modernity with the English tradition of marine painting. This painting illustrates a convoy of ships during the First World War (1914-18). There are six ships in the convoy. The ship in the centre is at the front of the convoy, her bow facing towards you and leaning slightly to the right as white waves break along her starboard side. In the distance are the rest of the ships, three on the left and two on the right. The painting is dominated by the vivid blue sky, the deep blue sea and the white highlights for the crest of the waves. It is painted from a low vantage point, giving the effect that the viewer is also on board a ship, riding the waves. The lurch of the central ship highlights the sense of motion and both its flag and smoke convey a strong wind. On the central ship, there is a large chimney that has a plume of grey smoke coming from it, the wind blowing the smoke towards the right of the painting. In front of the chimney is an "H" shaped mast that has 4 flags flying from the middle crossbar. The 5 ships in the distance are all very similar to the central ship.
'Art for the Nation' The Battle of Texel, 11-21 August 1673 by Willem van de Velde, the Younger (tactile)
by RnibDate: 1678. Materials: oil on canvas. Size: 1498 x 2997 mm. Van de Velde Willem van de Velde the Elder (1611-93) and his son Willem van de Velde the Younger (1633-1707) are recognized as the most accomplished and successful of all marine painters. Van de Velde the Younger was greatly admired by both Turner and Constable and inspired future generations of marine artists in England. The Van de Veldes worked as a team both in Holland and from 1672-73 in England, where they were employed by Charles II to paint sea battles. He granted them this very room, here in the Queens House, as their studio and they worked here for about 20 years. The Elder was an excellent draughtsman who sailed with the fleet and made many on-the-spot drawings. The Younger used these drawings for his paintings. Their work was in such demand at the time they often used many assistants, so its quality does vary considerably. Cornelius Tromp Despite the van de Veldes being Dutch, they concentrated on depicting marine battles from the English side while enjoying the patronage of Charles II. However, this work was painted for Cornelis Tromp, the Dutch Lieutenant-Admiral who led a squadron of ships in the battle. It was painted in 1686 while van de Velde the Younger was making a visit to Amsterdam and for that reason is one of relatively few paintings of that date which is largely if not entirely by his own hand. The Painting Van de Velde painted many pictures of the Battle of Texel, but this is the largest and regarded as the most important. The battle was the last of the Third Anglo-Dutch War (1672-74), in which the English and French joined together in an unsuccessful attempt to destroy the Dutch fleet to allow for an invasion of Holland from the sea. The painting depicts the Dutch victory, with Cornelis Tromps 80-gun flagship, the Gouden Leeuw (Golden Lion), in the centre and dominating the work. In full sail and flying 2 large Dutch flags from the topmast and stern, the Gouden Leeuw fires from both port and starboard at the British and French. On her starboard side, the guns are aimed at the 96-gun English ship, the Charles, which is shown slightly in the distance on the right of the painting. The Charles has its topmast shot away with the red flag falling towards the sea. In the bottom right of the painting another English ship is sinking with wreckage strewn in the sea. Other Dutch, English and French ships can be seen in the distance with clouds of white and black smoke billowing from the sides of the ships and filling the sky. The sea is relatively calm with the surface broken by small waves. The painting is very dark and gloomy which is broken only by the white sails of the Gouden Leeuw which appear to be lit up by sunlight, although the sky is completely clouded over. Tactile image details The image has a line border to define the edge of the painting. It concentrates on the Gouden Leeuw, The Charles, the sinking English ship and two other ships only. It also shows the smoke billowing out from the ships into the sky. The Gouden Leeuw (labelled GL) is shown as solid texture with lines for the 2 large flags which are flying on the stern (labelled S) and from the main mast (labelled M). The Charles (labelled C), the sinking English ship (labelled E) and the two other ships (both labelled O) are all shown as solid texture. The white smoke, which is adjacent to the ships at the waterline, is shown as a hollow surrounded by a thin line. The black smoke is shown as two textures, the dense darker smoke as a rough texture and the thinner lighter smoke as a very rough texture. The waves in the sea are shown as lines with a slightly thicker line for the horizon.
'Art for the Nation' John Montagu, 4th Earl of Sandwich and 1st Lord of the Admiralty by Thomas Gainsborough (tactile)
by RnibDate: 1783. Materials: oil on canvas. Size: 232.2 x 151.4 mm. Sandwich Sandwich (1718-92) was First Lord of the Admiralty on three separate occasions. The most notable was his last term during the American War of Independence (1775-83) when he initiated notable reforms in the dockyards and ship construction. A supporter of exploration, he initiated an attempt to reach the North Pole and sponsored Captain James Cooks Pacific voyages. Cook named the Sandwich Islands (now Hawaii) after him. The sandwich is also named after him, reputedly as a handy snack at the gambling table. However this is a scurrilous myth. Sandwich was not a gambler and it was more probably to sustain him during the long hours at his desk at the Admiralty. Sandwich was a hard-working, approachable person with wide and varied passions. He enthusiastically pioneered cricket and promoted what was at the time termed ancient music. A devotee of the music of George Frideric Handel, he saved his work from obscurity by organising a performance of The Messiah for King George III that helped ensure its lasting popularity. His private life was just as colourful but sadly marred by tragedy. His wife was declared insane and his mistress, the singer Martha Ray, with whom he had five illegitimate children, was shot dead on the steps of Covent Garden Theatre by a rival suitor. Gainsborough Thomas Gainsborough (1727-88) is considered to be one of the most important and influential portrait and landscape painters of 18th-century England. Born in rural Suffolk, he had a natural gift for painting. However, unlike many other artists he did not venture to Italy to study the great masters of art but remained in England throughout his life. This approach greatly influenced his artistic style, liberating him from the application of formal art rules and allowing him the creative freedom to paint in a fresh and informal manner, responding directly to his observations of nature. The painting Admiral Sir Hugh Palliser commissioned this painting of John Montagu, 4th Earl of Sandwich and First Lord of the Admiralty, as an expression of his thanks to Montagu for appointing him Governor of the Royal Hospital for Seamen at Greenwich in 1780. The Hospital was built in 1764-68 during Montagu's previous term as First Lord of the Admiralty. Palliser remained in this post for the rest of his life. Gainsborough portrays Sandwich in a dignified yet relaxed and informal pose. He is shown standing in the shade next to the large square base of a round column at the front of the Hospital, his body facing the viewer and his head turned very slightly to his right looking away to the distance. He is holding a partly rolled-up plan of its infirmary in his left hand and he is leaning slightly to his left, with his left elbow gently resting on the base of the large pillar. Sandwich is wearing black shoes with large gold buckles, white silk knee-length stockings, and a black velvet suit consisting of knee breeches, knee-length jacket with green silk lining and waistcoat. The suit is trimmed with gold brocade: on the breeches around the knees; 2 strips around each cuff of the jacket; the edges of the jacket and waistcoat; and additional strips at the bottom of the waistcoat. Lace trimmings are shown at the cuffs of the jacket and around his neck. He wears a wig with a centre parting and rolls of curls. A decorative sword is shown hanging from his waist; the sword's handle is on his left, and the sword's tip is on his right.
'Art for the Nation' Vaitepiha Bay, Tahiti, by William Hodges (tactile)
by RnibDate: 1678. Materials: oil on canvas. Size: 1498 x 2997 mm. Van de Velde Willem van de Velde the Elder (1611-93) and his son Willem van de Velde the Younger (1633-1707) are recognized as the most accomplished and successful of all marine painters. Van de Velde the Younger was greatly admired by both Turner and Constable and inspired future generations of marine artists in England. The Van de Veldes worked as a team both in Holland and from 1672-73 in England, where they were employed by Charles II to paint sea battles. He granted them this very room, here in the Queens House, as their studio and they worked here for about 20 years. The Elder was an excellent draughtsman who sailed with the fleet and made many on-the-spot drawings. The Younger used these drawings for his paintings. Their work was in such demand at the time they often used many assistants, so its quality does vary considerably. Cornelius Tromp Despite the van de Veldes being Dutch, they concentrated on depicting marine battles from the English side while enjoying the patronage of Charles II. However, this work was painted for Cornelis Tromp, the Dutch Lieutenant-Admiral who led a squadron of ships in the battle. It was painted in 1686 while van de Velde the Younger was making a visit to Amsterdam and for that reason is one of relatively few paintings of that date which is largely if not entirely by his own hand. The Painting Van de Velde painted many pictures of the Battle of Texel, but this is the largest and regarded as the most important. The battle was the last of the Third Anglo-Dutch War (1672-74), in which the English and French joined together in an unsuccessful attempt to destroy the Dutch fleet to allow for an invasion of Holland from the sea. The painting depicts the Dutch victory, with Cornelis Tromps 80-gun flagship, the Gouden Leeuw (Golden Lion), in the centre and dominating the work. In full sail and flying 2 large Dutch flags from the topmast and stern, the Gouden Leeuw fires from both port and starboard at the British and French. On her starboard side, the guns are aimed at the 96-gun English ship, the Charles, which is shown slightly in the distance on the right of the painting. The Charles has its topmast shot away with the red flag falling towards the sea. In the bottom right of the painting another English ship is sinking with wreckage strewn in the sea. Other Dutch, English and French ships can be seen in the distance with clouds of white and black smoke billowing from the sides of the ships and filling the sky. The sea is relatively calm with the surface broken by small waves. The painting is very dark and gloomy which is broken only by the white sails of the Gouden Leeuw which appear to be lit up by sunlight, although the sky is completely clouded over. Tactile image details The image has a line border to define the edge of the painting. It concentrates on the Gouden Leeuw, The Charles, the sinking English ship and two other ships only. It also shows the smoke billowing out from the ships into the sky. The Gouden Leeuw (labelled GL) is shown as solid texture with lines for the 2 large flags which are flying on the stern (labelled S) and from the main mast (labelled M). The Charles (labelled C), the sinking English ship (labelled E) and the two other ships (both labelled O) are all shown as solid texture. The white smoke, which is adjacent to the ships at the waterline, is shown as a hollow surrounded by a thin line. The black smoke is shown as two textures, the dense darker smoke as a rough texture and the thinner lighter smoke as a very rough texture. The waves in the sea are shown as lines with a slightly thicker line for the horizon.
Art Nouveau Paris Metro sign (large print)
by RnibThis page shows a Paris Metro sign designed in the Art Nouveau style by French architect Hector Guimard circa 1900. 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 actual sign, with the word METROPOLITAIN on it, is in the centre of the page. To its left and right are the signs green supports. They have an organic style and are based on sinuous plant forms. The sign and its supports form an arch shape at the entrance to a Metro station. There is a lamp standard on each side of the page. Again, they are based on curved plant forms. At the top of each standard is an orange globe to hold a light bulb, protected from the elements by a hood shaped part. Stretching across the bottom of the page is an enlarged version of the sign above with the word METROPOLITAIN showing the distinctive flowing shapes of the upper case letters.
Baroque Floral Sprig Design (large print)
by RnibThis page shows the image of a Baroque design loosely based on a sprig of acanthus leaves. It is shown as purple on a light pink background. 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 Baroque style of the seventeenth and eighteenth centuries with bold, curving forms and elaborate ornamentation originated in Rome and was encouraged by the Catholic Church. This image shows a stem starting on the bottom left quarter of the page curling up and right then left and down to the top centre of the page. Curving off from this main stem to the left and right are leaves and tendrils. Many designs for fabrics and wallpaper have used elements like this, mirrored and repeated to create patterns. Baroque styles remain popular to this day.
Baroque Floral Sprig Design (UEB contracted)
by RnibThis page shows the image of a Baroque design loosely based on a sprig of acanthus leaves. It is shown as purple on a light pink background. 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 Baroque style of the seventeenth and eighteenth centuries with bold, curving forms and elaborate ornamentation originated in Rome and was encouraged by the Catholic Church. This image shows a stem starting on the bottom left quarter of the page curling up and right then left and down to the top centre of the page. Curving off from this main stem to the left and right are leaves and tendrils. Many designs for fabrics and wallpaper have used elements like this, mirrored and repeated to create patterns. Baroque styles remain popular to this day.
Baroque Floral Sprig Design (UEB uncontracted)
by RnibThis page shows the image of a Baroque design loosely based on a sprig of acanthus leaves. It is shown as purple on a light pink background. 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 Baroque style of the seventeenth and eighteenth centuries with bold, curving forms and elaborate ornamentation originated in Rome and was encouraged by the Catholic Church. This image shows a stem starting on the bottom left quarter of the page curling up and right then left and down to the top centre of the page. Curving off from this main stem to the left and right are leaves and tendrils. Many designs for fabrics and wallpaper have used elements like this, mirrored and repeated to create patterns. Baroque styles remain popular to this day.
Baroque Floral Sprig Design (UEB contracted)
by RnibThis page shows the image of a Baroque design loosely based on a sprig of acanthus leaves. It is shown as purple on a light pink background. 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 Baroque style of the seventeenth and eighteenth centuries with bold, curving forms and elaborate ornamentation originated in Rome and was encouraged by the Catholic Church. This image shows a stem starting on the bottom left quarter of the page curling up and right then left and down to the top centre of the page. Curving off from this main stem to the left and right are leaves and tendrils. Many designs for fabrics and wallpaper have used elements like this, mirrored and repeated to create patterns. Baroque styles remain popular to this day.
Bust of Antinous (tactile)
by RnibSize: 81 cm high, 44 cm wide and 47 cm wide. Weight: 120 kg (estimated) Material: marble The bust of Antinous is of his head, shoulders and upper part of his chest and is mounted on a circular plinth with rounded mouldings. From the front of the bust, it looks as if the bust is solid. When viewed from the side you can see that the head and neck are solid but shoulders and chest area are only formed at the front. Antinous is shown as a very handsome young man with perfect features - a long straight nose, full lips and well-proportioned eyes and eyebrows - looking slightly downwards. He has lots of thick curls that cover his forehead and down to the base of his neck, covering his ears. He has an ivy leaf wreath on top of the curls. The shoulders and upper part of his chest suggests a firm, muscular body. The presence of an ivy wreath links this portrait of Antinous to the god Dionysos, the closest Greek equivalent to the Egyptian god Osiris. The head originally belonged to a full-length statue. It was found in the eighteenth century, built into a wall on the Gianicolo Hill in Rome. The remaining parts of the statue were not recovered. In late antiquity, Roman aristocrats frequently incorporated fragments of classical statuary into the walls of their estates. Like Hadrian, Antinous can be identified by his athletic, youthful and muscular physique, his handsome face with a straight nose, lots of locks of wavy hair and the fact that he is usually looking downwards or to the side. Archaeologists can confirm that a statue is of Antinous by studying his hairstyle and counting his curls. The tactile image is a side view of the bust. A thick line shows the outline of the bust. Antinous's wavy hair is shown as very thick, curled lines. The ivy leaf wreath is shown as a rough texture. His eye and mouth are shown as a solid texture. The indented side of the bust is shown as a very rough texture.
Bowl with figure supports (tactile)
by RnibHawaiian Islands. Mid to late 18th century. Wood, pearl shell, and boars tusk. Size: 46.5 cm long and 24.5 cm high. Museum number: Oc HAW.46. This dark wood circular bowl is supported by two very muscular figures, one at the back and one at the front. Both figures are facing in the same direction. The figure at the back is complete with its legs and stump-like feet forming the back support for the bowl. The figure at the front is incomplete and has only a head, chest and arms with clenched fists, which form the front support for the bowl. The expression on the faces of the figures is one of an open-mouthed grimace which, in the Hawaiian Islands, expressed disrespect. The bowl was almost certainly used in kava drinking ceremonies. Kava - a drink made from a plant root - induces a mild trance and was drunk ritually in many parts of Polynesia. The heads of both figures are similar, rather flat and tipped back. Each figure has large round eyes made of pearl shells with black wooden pegs in the centre for the pupils, large open mouths surrounded by a ring of white teeth made from cut sections of boar tusks and a very prominent nose with large flared nostrils. There is a circular hole in the bottom of the mouth of the front figure that interrupts the ring of teeth. There is also a circular hole at either end of the bowl, at the back of the head on the front figure and near the throat of the back figure. There are two tactile images to show the bowl - a side view and a front view. The side view shows the overall shape of the figures and bowl. The figures are shown as solid texture with the bowl as a very rough texture. Braille labels have been added: head, eye, nose, mouth, bowl, arm, chest and leg. The front view shows the part figure with its eyes, nose, mouth, chest and arms. The bowl is shown as a very rough texture with the arms and chest as solid texture. The head is shown as an outline with texture. The eyes are shown as hollows in the head texture surrounded by a thin line with a solid circle in the centre for the pupils. The nose is solid texture. The mouth has a solid texture outline with a textured centre with a hollow in this texture for the position of the hole. Braille labels have been added: head, bowl, arm, and chest.
Cane Wheel by Andy Goldsworthy (tactile)
by Adrian FarnsworthThis is a tactile image of a sculpture at the side of a lake by British artist and environmentalist Andy Goldsworthy. The sculpture was constructed from canes woven together so that they radiate out from a hole or void at its centre.
Canterbury Pilgrims by Thomas Stothard (tactile)
by Rnib1817; Thomas Stothard, RA (1755-1834); oil on panel in a gilded wooden frame; panel: 27 cm high by 94 cm wide, frame: 54 cm high by 121 cm wide. The whole painting shows the medieval pilgrims of Chaucers Canterbury Tales riding on horseback from London to Canterbury to visit the shrine of St Thomas Becket at Canterbury Cathedral. The procession includes from left to right: the Miller, the Host, the Doctor of Physik, the Merchant, the Sergeant at Law, the Franklin, the Knight, the Reve, the Young Esquire, the Old Ploughman, the Good Parson, the Yeoman, two Nuns, the Priest, a third Nun, the Lady, the Prioress, the Oxford Scholar, the Shipman, the Manciple, Chaucer, the Wife of Bath, the Pardonere, the Crier, the Monk, the Friar, the Goldsmith, the Weaver, the Haberdasher, the Dyer, two Tapestry Merchants and the Cook. This is one of three oil-painted copies by Stothard of an original oil (now in the collection of Tate Britain, London) commissioned from him about 1806 by the engraver and publisher R. H. Cromek, for publication as a print. The three painted copies were commissioned by private collectors, the Canterbury version being painted in 1817 for Irish MP Samuel Boddington, whose fortunes came from West Indies estates. Stothard also painted a number of watercolour versions. Cromek had been so struck with the picturesque description of the pilgrims in Chaucers Canterbury Tales that he conceived the idea of embodying the whole procession in a picture and suggested the design to Mr Stothard. The artist had already made a composition on the theme, which had been engraved and published as an illustration to Chaucers Prologue in Joseph Ritsons The English Anthology, 1793-4. The group at the front of the procession is based on this image. Preparatory sketches (in the collections of Tate Britain) show Stothard working out the best composition for the rest of the procession, which he breaks into five groups. The frieze of horses and figures was modelled on the famous ancient Greek Elgin Marbles. The original oil was displayed by Cromek in 1807 at his house in Newman Street, to drum up subscriptions for the print. It was shown to the Prince of Wales, who graciously permitted Mr Cromek to dedicate the print to him. Cromek also exhibited the painting in a shop window to be seen by visitors to the Royal Academy exhibition at Somerset House, and toured the painting throughout the British Isles, to gain further subscribers (a practice that was common for the issue of prints after paintings in the 19th century). The engraving was eventually published in 1817, and became a familiar household image. The Miller According to Chaucer the miller was a big brawny man with a big mouth, literally and figuratively, [who could] outwrestle any man/ even a ram. He had a red beard, and a wart on his nose from which sprouted bristly hairs. He played the bagpipes to entertain his fellow pilgrims and told a smutty story about a poor student, an elderly carpenter and his rather beautiful young wife.
Christian How and Children by James Cranke Senior (tactile)
by RnibThe artist - James Cranke Senior (1707-1780) spent most of his life in Urswick near Ulverston. His painting style is said to have been influenced by GeorgeRomney. This oil on canvas painting dates to circa 1763. The painting This family portrait shows the family of Peter How, one of the 18th century richest merchants in the north of England. He made and lost his fortune through the tobacco trade. The painting features three members of Peter How's family, from left to right, Peter How's second wife Christian (seated), his son Peter (standing) and his daughter Christian (standing). A small table with pink and white flowers on top separates Peter from his sister. The background of the painting is very dark making the faces, necks, arms and hands really stand out as if illuminated. How's wife Christian is seated on the left of the painting, her body facing into the centre of painting with her face turned to look directly at you. Her hair is swept back off her face giving her a high forehead. The hair is gathered at the back in a tight pony tail, which was a typical fashion for this period. She has quite a serious expression on her face with a straight mouth. Her right lower arm is laid across her lap and she is holding a dainty blue and white teacup and saucer in her hand. Her left arm is laid gently and protectively across the shoulders of her son Peter who is standing at her side. Christian is wearing a long gold coloured dress that has a deep scooped neckline trimmed with white lace, fitted bodice, three-quarter length sleeves that are also trimmed with white lace and a voluminous skirt that takes up a great deal of room. Peter has his body facing you but his face turned very slightly to the right and looking away from you. He too has a serious expression with his hair swept back off his face revealing a high forehead. Once again his hair is gathered at the back in a ponytail. Leaning very slightly towards his mother, Peter's right arm is laid across her lap and he is holding a silver spoon upright in his hand. His left arm is bent at the elbow and is held across his body at waist height. Unusually for us, Peter is wearing a full length silver dress in a similar style to his mother. The lower part of his dress is hidden by the huge skirt of his mother's dress. It was usual at this time for boys to wear dresses until about the age of five, when they were "breeched" i.e. wore breeches (trousers). Peter's sister, Christian, is standing on the right of the painting with her body facing into the centre towards her mother and brother but separated from them by the small table with flowers on. Her head is turned so that she is looking directly at you and she has a less serious expression than that of her mother and brother with almost a smile visible. Her hair, decorated with flowers, is swept off her face like her mother revealing a high forehead. Christian is also wearing a silver dress that is matches her brother's dress. With her left hand, she has gathered up the front hem of dress's skirt revealing a bright red underskirt. In the folds of the skirt she is holding at waist height are flowers that she appears to be taking from or placing on the small table next to her. In her right hand, that is held out above the small table, she holds another flower.
Cochiti Pueblo Figure (tactile)
by RnibLate 19th century; possibly by Seferina Sevenna; ceramic; 31 cm high by 15 cm wide and 8 cm deep. This standing adult male figure is typical of the pottery made by the Cochiti Pueblo (pronounced Coh-chee-tee pway-bloh) Native American people in the second half of the 19th century. The figure is from New Mexico, USA, from a village near Santa Fe called Cochiti. These figures were made as souvenirs, and many were sold by Cochiti traders who stood beside the track at the railway station selling them to tourists. In the 1890s a figure like this might have been bought for a quarter (25 cents). Now highly collectable they can sell for several thousand dollars. This figure may possibly have been made by the famous potter Seferina Sevenna. The figures were humorous and often wear waistcoats. They stand with hands on hips, head thrown back, mouths wide open, either singing or telling a story. Cochiti pottery is distinguished by frequent use of animal and human shapes. Designs were often black on red or creamy coloured clay. Some were as tall as 50 cm or more. The traditions of the Cochiti including pottery, drum making, basketry and carving shell and turquoise ornaments have been revived in recent decades. One of the most popular pieces today is the Storyteller figure, which was revived in 1964 by Helen Cordero. It comprises a seated man with a number of children on his arms and lap. Animal figures such as turtles, birds, frogs and lizards are also common. This adult male figure has a simple and naive shape, fashioned in a creamy white Cochiti white slip with body details and costume over painted in black. The figure stands with its legs apart, hands on hips with arms arching out like the handle on a tea cup. The hands have four fingers and no thumbs. It has a straight body, thick neck and a flattened head that is tipped slightly backwards. The mouth is wide open and reveals the hollow interior of the figure. The nose and eyes are raised slightly off the surface with the eyes looking upwards. Simple ears are modelled on the side of the head, both of which have areas chipped off. On the front of the figure the black decoration outlines the eyes, nose and mouth. The feet are black to represent black leather moccasins. Around the top of the thighs is a zigzag pattern with a line above which probably represents traditional Native American leggings. The body is covered by what looks like a black waistcoat with three pockets. Lines run down the arms and around the neck. The top most line around the neck also has 5 short vertical lines from it. This probably represents a necklace. Men and women often wore elaborate necklaces made from silver and turquoise. On the centre of the back is a simple tree or cactus shape (trunk with three branches off each side) and on the back of the head is an oval with 4 vertical lines inside, probably representing hair. The tactile image consists of two pages and shows the front and back views. The images are two thirds the size of the actual figure. A thick line outlines the shape of the figure with a texture for the undecorated grey surface. Solid texture shows the black decoration with hollows for the eyes and mouth.
Colonel Robert Hammond by Cornelius Johnson (tactile)
by Rnib1640s; by Cornelius Johnson (1593-1661); oil on canvas in a gilded wooden frame; canvas 75 cm high by 60 cm wide and frame 88 cm by 73 cm. The Hammonds were a long-established East Kent family, based at St Albans Court, Nonington, mid-way between Canterbury and Dover, from the 16th century onwards. In more recent times they were Canterbury bankers (the firm now Lloyds) and one was a benefactor of the museum. Robert Hammond (born 1587), with one of his brothers, Colonel Francis Hammond (of whom there is a portrait above that of Robert), was involved in an expedition to Guinea with Sir Walter Raleigh in 1616. Francis is said to have fought 14 single-handed combats during the Civil War. Both brothers were on the side of King Charles I and wear Royalist sashes in their portraits. Robert was later commissioned to raise a force in Kent during the Civil War, as part of the 1648 Kent Revolt (or Insurrection, as it is called in the somewhat later inscription on the portrait). This had its origins in Canterbury in the Christmas Day Riot of 1647 and resulted in the Petition of Kent to Parliament. He took his infantry into a number of actions including the Siege of Colchester where he was captured. Robert was later killed in Ireland by Cromwells forces. The artist, Cornelius Johnson, or Janssens, was one of the country’s leading portrait painters in the time of King Charles I, and had been appointed picture drawer to the king. Born in London of Dutch parents, Johnson lived for a time in the 1630s at Bridge, near Canterbury, and while there was kept busy painting portraits of the local gentry. A portrait by him of two children is displayed nearby. At the outbreak of the Civil War, Johnson returned to the Netherlands, where he remained until his death in 1661. In the head to waist portrait, Robert is shown, aged about 40 to 45, facing the viewer with his head turned very slightly to the left, his brown eyes looking away into the distance. His right arm is down by his side and his left arm is bent at the elbow revealing the top of a steel gauntlet that he is wearing over his left hand and lower arm. This protected the hand that controlled the horse and is decorated with brass rivets. Covering his chest is a steel breast plate that is decorated with two strips of riveted gold metal that edges the arm holes. The Royalist sash is tied around the base of the breastplate with the folds in the fine fabric clearly painted in gold and red. Around his neck and sitting on top of the breastplate is a high fine white linen collar with lace edging. The collar is tied at the front with two white ties with decorative toggles at the end that is the precursor of the necktie. His sleeves are decorated with horizontal bands of silver brocade fabric woven with thread finely wrapped in metal. This would be tough and might have given some added protection to the arms, although it is mainly decorative. Underneath is a red lining that shows through the strips of brocade. He has a fashionably cut moustache and small goatee beard. His long brown hair edges his face, goes behind his right ear and rests behind him on the linen collar. The artist has painted Robert against a black background with light coming from the left. This light illuminates Robert's face, his white linen collar and the brocade on his right sleeve. On the shiny breastplate a thick white stripe has been painted to show the light reflecting on it.
Colouring Book (tactile)
by Adrian FarnsworthThis is an eight page book with line illustrations suitable to be used for colouring play. There is a camel, two butterflies, two zebras, a swan, a hot air balloon, and a ladybird.
Constructivist design for 1928 Calendar Cover (UEB uncontracted)
by RnibThis is an image of a cover for a calendar designed by Hungarian artist Karl Dukai. 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 shows a highly stylised industrial landscape designed with simple geometric shapes, and the year and title of the calendar. Two colours are used: black and red ochre on a pale background. In the tactile version of the design, black is shown as a thick, horizontal lined texture and red ochre as a light dotted texture. At the top centre of the page are three triangles representing smoke. They point down to three tall shapes which are the chimneys of a factory. To the right of these is the print number 1, and down the page is the number 9, the first numbers of the year 1928. To the left of the chimneys are two objects constructed from sections of circles; maybe symbolising parts of machinery. Further down the page is a thick line going diagonally up the page from left to right. This is the factory's roof. Down the page again are small rectangles in groups of two and three representing the factory's windows. On the right of the factory are the print numbers 2 with 8 down the page. Stretching across the bottom of the design is the title Népszava Naptár (People's Voice Calendar) in upper case print letters. It was published by the socialist Hungarian newspaper Népszava. The sparse geometric design of the cover is in the style of the Russian constructivists who considered art should be used for social purposes and often celebrated technology and industry.
Constructivist design for 1928 Calendar Cover (large print)
by RnibThis is an image of a cover for a calendar designed by Hungarian artist Karl Dukai. 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 shows a highly stylised industrial landscape designed with simple geometric shapes, and the year and title of the calendar. Two colours are used: black and red ochre on a pale background. In the tactile version of the design, black is shown as a thick, horizontal lined texture and red ochre as a light dotted texture. At the top centre of the page are three triangles representing smoke. They point down to three tall shapes which are the chimneys of a factory. To the right of these is the print number 1, and down the page is the number 9, the first numbers of the year 1928. To the left of the chimneys are two objects constructed from sections of circles; maybe symbolising parts of machinery. Further down the page is a thick line going diagonally up the page from left to right. This is the factory's roof. Down the page again are small rectangles in groups of two and three representing the factory's windows. On the right of the factory are the print numbers 2 with 8 down the page. Stretching across the bottom of the design is the title Népszava Naptár (People's Voice Calendar) in upper case print letters. It was published by the socialist Hungarian newspaper Népszava. The sparse geometric design of the cover is in the style of the Russian constructivists who considered art should be used for social purposes and often celebrated technology and industry.
Constructivist design for 1928 Calendar Cover (UEB contracted)
by RnibThis is an image of a cover for a calendar designed by Hungarian artist Karl Dukai. 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 shows a highly stylised industrial landscape designed with simple geometric shapes, and the year and title of the calendar. Two colours are used: black and red ochre on a pale background. In the tactile version of the design, black is shown as a thick, horizontal lined texture and red ochre as a light dotted texture. At the top centre of the page are three triangles representing smoke. They point down to three tall shapes which are the chimneys of a factory. To the right of these is the print number 1, and down the page is the number 9, the first numbers of the year 1928. To the left of the chimneys are two objects constructed from sections of circles; maybe symbolising parts of machinery. Further down the page is a thick line going diagonally up the page from left to right. This is the factory's roof. Down the page again are small rectangles in groups of two and three representing the factory's windows. On the right of the factory are the print numbers 2 with 8 down the page. Stretching across the bottom of the design is the title Népszava Naptár (People's Voice Calendar) in upper case print letters. It was published by the socialist Hungarian newspaper Népszava. The sparse geometric design of the cover is in the style of the Russian constructivists who considered art should be used for social purposes and often celebrated technology and industry.
Dennis Knight - Portrait Photograph (tactile)
by RnibDennis Knight was a fighter pilot with the Royal Air Force. In March 1941, the Knight family was told that their only son Dennis was missing in action. That day, his sister wrote in her diary, I don't believe it! It is inconceivable.' Dennis was 19 when his plane went down on a patrol near Malta. Before he left, Dennis had told his mother, If anything happens to me, I should be most annoyed if you grieved for me. The family did mourn their loss, but they also found ways to keep Dennis' memory alive. Description of photograph This is a black and white photograph of young Dennis Knight in his RAF fighter pilot officer's uniform. It is a head and shoulders portrait of Dennis. He is smiling for the picture, but is looking out towards the left of the photograph past the camera. The background of the photograph is plain so that Dennis is the focus of the picture. He has short hair that is parted on the right-hand side. He is wearing a shirt with a tie and jacket. On the jacket, the first of the brass buttons is seen and the RAF wings badge above the left breast pocket. Tactile image details The image follows the detail of the photograph very carefully. The braille labels added are: side parting in hair, ear, eye, nose, lips and teeth, shirt collar, jacket collar, tie, RAF wings over top of pocket, and button.
An Adams fireplace (large print)
by RnibThis is an image of a fireplace shown from the front. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. At the top of the image there is the wooden mantelpiece going horizontally from left to right. It is made of four layers, each decreasing in size down the page. Down from this is the horizontal section of the fireplace. It is also made from wood and the central panel has paler decorative woodcarvings stuck on. In the middle is a large goblet with a leaf shape design going to the left and right. These lead to the left and right to a heart shape, a ribbon that curves down and up and a second heart. Down from this to the far left and right are the wooden up-stands of the fireplace. There is an off-centred column on each. These are proud of the tall rectangular back panel. To the right of the left up-stand, to the left of the right up-stand and down from the horizontal section of the fireplace is a thin decorative trim in a paler wood that frames the rest of the fireplace. To the right of the left vertical trim and the left of the right vertical trim are four wall tiles on each side. These would have delicate and intricate ceramic designs and patterns on them, which are not shown. At the bottom centre of the image is the grate pan holding back the ashes of the fire. In the middle is a handle to withdraw the pan. Up from this is the grate griddle holding back the coals of the fire. Up the page is the space where the fire would burn, and up again is the smoke shoot that directs the smoke up the chimney.
An Adams fireplace (UEB contracted)
by RnibThis is an image of a fireplace shown from the front. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. At the top of the image there is the wooden mantelpiece going horizontally from left to right. It is made of four layers, each decreasing in size down the page. Down from this is the horizontal section of the fireplace. It is also made from wood and the central panel has paler decorative woodcarvings stuck on. In the middle is a large goblet with a leaf shape design going to the left and right. These lead to the left and right to a heart shape, a ribbon that curves down and up and a second heart. Down from this to the far left and right are the wooden up-stands of the fireplace. There is an off-centred column on each. These are proud of the tall rectangular back panel. To the right of the left up-stand, to the left of the right up-stand and down from the horizontal section of the fireplace is a thin decorative trim in a paler wood that frames the rest of the fireplace. To the right of the left vertical trim and the left of the right vertical trim are four wall tiles on each side. These would have delicate and intricate ceramic designs and patterns on them, which are not shown. At the bottom centre of the image is the grate pan holding back the ashes of the fire. In the middle is a handle to withdraw the pan. Up from this is the grate griddle holding back the coals of the fire. Up the page is the space where the fire would burn, and up again is the smoke shoot that directs the smoke up the chimney.
An Adams fireplace (UEB uncontracted)
by RnibThis is an image of a fireplace shown from the front. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. At the top of the image there is the wooden mantelpiece going horizontally from left to right. It is made of four layers, each decreasing in size down the page. Down from this is the horizontal section of the fireplace. It is also made from wood and the central panel has paler decorative woodcarvings stuck on. In the middle is a large goblet with a leaf shape design going to the left and right. These lead to the left and right to a heart shape, a ribbon that curves down and up and a second heart. Down from this to the far left and right are the wooden up-stands of the fireplace. There is an off-centred column on each. These are proud of the tall rectangular back panel. To the right of the left up-stand, to the left of the right up-stand and down from the horizontal section of the fireplace is a thin decorative trim in a paler wood that frames the rest of the fireplace. To the right of the left vertical trim and the left of the right vertical trim are four wall tiles on each side. These would have delicate and intricate ceramic designs and patterns on them, which are not shown. At the bottom centre of the image is the grate pan holding back the ashes of the fire. In the middle is a handle to withdraw the pan. Up from this is the grate griddle holding back the coals of the fire. Up the page is the space where the fire would burn, and up again is the smoke shoot that directs the smoke up the chimney.
Arc de Triomphe (UEB contracted)
by RnibThis image is of the huge triumphal arch in Paris, France. There is a locator dot shown, which will be at the top left when the image is the correct way up. There is a very large relief sculpture at the base of the pillar of the arch on the left. It is called "The Triumph of Napoleon" and is a tribute to Bonaparte's many military victories. The spirit of Victory crowns Napoleon with a laurel wreath on the right, her arm on the left is reaching up towards Napoleon's head. Napoleon is wearing a Roman toga in the centre of the piece. Up from these two figures Fame blows a trumpet. There are several bowing and prostrate figures at Napoleon's feet, they have not been shown due to lack of space. There are other decorative elements of the sculptural relief. The wiggly line around the figures shows the extent of the entire piece. The sculptural relief “stands†on a tall plinth in the bottom left of the image. Up from this piece is a smaller sculptural relief framed in a rectangle of stonework. This is called “The Battle of Aboukir.†On the left is a man on a horse. To the right are two standing soldiers. There are many more figures in this piece which have not been shown because of lack of space. Up from this and going right across the width of the arch is a frieze of figures. There are bands of soldiers on foot, on horseback, musicians drumming or trumpeting the soldiers into battle. The sculptural figures are too small to be shown here although they would actually stand about a metre tall. Up from the frieze is a row of circles. These are stone shields each one representing military victory. Just above the archway are two angels. There is one on each side and they face and reach out to each other. Moving down the column on the right there is another smaller sculptural relief framed in a rectangle of stonework. This is depicts the funeral of Marceau. In the centre is a body laid out on a sort of bed. To the left is a standing figure looking at the body. To the right is a figure facing away from the body and leaning on another man in grief. The other figure is not shown. Several other figures are standing around, these are not shown either because of lack of space. Down from this piece is a second very large relief sculpture at the base of the pillar of the arch. It also “stands†on a tall plinth in the bottom right of the image. This is called "The Departure of the Volunteers of 1792". There are two standing figures. The one on the left is reaching out to the left. Up from these figures is a winged woman shouting and rallying the French people against an enemy from a foreign nation. There are several other figures and weapons which have not been shown due to lack of space. The wiggly line around the figures shows the extent of the entire piece. This piece is very famous and aroused a great deal of patriotism of its own among the Parisians that it earned its nickname of "La Marseillaise". The arch is very large: 164 feet (50m) high, 148 feet (45m) wide and 72 feet (22m) deep. In the bottom centre of the image is a medium family car for size comparison.