- Table View
- List View
The Indian Mutiny, photograph by Felice Beato (SEB)
by RnibThis is a photogragh. This disturbing photograph shows the courtyard in front of the damaged shell of Secundra Bagh palace. The courtyard is covered with disarticulated skeletons amongst bits of fallen masonry, broken doors and some pieces of cloth, presumably the remnants of clothing from the corpses. There appear to be more skulls than there are bones for. Only about four whole skeletons are visible by their exposed rib cages. One of the skulls sits upright on the ground facing the camera with its dropped jaw clearly visible. Secundra Bagh palace would once have been a very splendid building with the facade facing the courtyard in the Greek style of architecture. The two storey building had a row of ornately decorated Ionic (scrolls) columns on each floor with a large doorway on the ground floor on the right hand side. There was further decoration between the two floors with a triangular pediment on the roof and above the large doorway. The doorways to the rooms within the palace were set back behind the columns with an open corridor running in front of them. The photograph records the damage done to the building during the fighting. Part of the roof and upper storey decoration has gone with other parts badly damaged by cannon balls and musket fire. Circular holes can be seen peppered all over the building. All wooden doors and shutters have gone with some lying smashed in the courtyard. You can now see daylight right through the building where the doors would have been. Looking over this gruesome scene and posing for the photograph are four Indian men. Two of the men are seated centrally at the base of the palace building. Another is standing just to the left of the seated men leaning on one of the ornate Ionic columns. The fourth man stands further to the left behind a small white pony with a saddle and reins that has its back to the camera. The men are wearing Indian clothing - a long-sleeved shirt over a dhoti (knee-length baggy trousers) with simple sandals on their feet. The man with the pony is wearing a turban. The standing man and the seated one nearest to him are wearing skullcaps. The men appear undeterred by all the skeletal remains laid out in front of them."
The guitar player by Jan Vermeer (UEB uncontracted)
by RnibThis is an image of a painting of an attractive young lady who is seated and playing a guitar. It was painted in 1672. A locator dot and title are shown. These must always be at the top left of the page when the image is the right way up. The chair and her legs are not shown. The original painting is a beautiful old oil master with rich colours and subtle tones. Moving down the page from the title in the top left is a thick line border all around the image to define the edge of the painting. In the top left of the image is an old oil painting of a tree hanging on the wall. It is a painting within a painting. It is in a heavy gold frame with ornate decorations. The decorations glow in the light from a window. The rounded leafy parts of the top of the tree are at the top and the trunk is down from this. Down from the picture is the ladys head. She has a pretty face with rosy cheeks and hair in attractive ringlets on each side of her head. Both eyes and the nose and smiley mouth can be found. Down from her face is a pearl necklace around her neck. The necklace is shining in the light from the window. Moving down from the necklace are her shoulders and chest. She is wearing a yellow silk dress which has a large ermine fur collar and fur trimmings down the centre of her chest where it is fastened. On the left of her chest is her arm with some more fur at the bent elbow. Her lower arm, moving to the right, is bare skin. To the right of her lower arm is her hand with the fingers splayed. She is playing a guitar. To the right of her hand are the strings, follow them to the right and up slightly along the fingerboard. Halfway along is the lady's other hand, only four fingers can be found as her thumb is hidden. At the end of the fingerboard there are six tuning pegs in two rows of three. They stick up towards you not out sideways. Below the guitar is the rest of her very full dress. It has two more strips of ermine fur to the left and right. In the bottom right corner of the picture is a small cabinet made from dark varnished wood with a large leather bound book resting on it. It is the sort with gilt embossed lettering. It is seen from the end with the spine on the left and the pages to the right. In the top right corner hangs a heavy velvet curtain in front of a window, which is not seen. It is from here the light comes and plays on the gold frame of the picture on the wall and the lady's pearl necklace.
The guitar player by Jan Vermeer (large Print)
by RnibThis is an image of a painting of an attractive young lady who is seated and playing a guitar. It was painted in 1672. A locator dot and title are shown. These must always be at the top left of the page when the image is the right way up. The chair and her legs are not shown. The original painting is a beautiful old oil master with rich colours and subtle tones. Moving down the page from the title in the top left is a thick line border all around the image to define the edge of the painting. In the top left of the image is an old oil painting of a tree hanging on the wall. It is a painting within a painting. It is in a heavy gold frame with ornate decorations. The decorations glow in the light from a window. The rounded leafy parts of the top of the tree are at the top and the trunk is down from this. Down from the picture is the ladys head. She has a pretty face with rosy cheeks and hair in attractive ringlets on each side of her head. Both eyes and the nose and smiley mouth can be found. Down from her face is a pearl necklace around her neck. The necklace is shining in the light from the window. Moving down from the necklace are her shoulders and chest. She is wearing a yellow silk dress which has a large ermine fur collar and fur trimmings down the centre of her chest where it is fastened. On the left of her chest is her arm with some more fur at the bent elbow. Her lower arm, moving to the right, is bare skin. To the right of her lower arm is her hand with the fingers splayed. She is playing a guitar. To the right of her hand are the strings, follow them to the right and up slightly along the fingerboard. Halfway along is the lady's other hand, only four fingers can be found as her thumb is hidden. At the end of the fingerboard there are six tuning pegs in two rows of three. They stick up towards you not out sideways. Below the guitar is the rest of her very full dress. It has two more strips of ermine fur to the left and right. In the bottom right corner of the picture is a small cabinet made from dark varnished wood with a large leather bound book resting on it. It is the sort with gilt embossed lettering. It is seen from the end with the spine on the left and the pages to the right. In the top right corner hangs a heavy velvet curtain in front of a window, which is not seen. It is from here the light comes and plays on the gold frame of the picture on the wall and the lady's pearl necklace.
The Fight' by LS Lowry (large print)
by RnibThese pages show a breakdown of this painting and finally the full artwork. It is a multi-page image set on three pages. There is a locator dot shown on each page, which will be at the top left when the image is the correct way up. The first two images are surrounded by an image border. The final image of the full painting has a frame. ‘The Fight’ by LS Lowry (background only): This image shows six men standing outside a house. It is only part of the painting. On the centre left of the page is a man standing on the far side of the top of a low wall. The man’s legs cannot be found as they are hidden by the wall. His arm on the left hangs down so his hand cannot be found. His arm to the right is not shown. He wears a cap and has a long scarf tucked into his coat. He looks forward and slightly to the right so the side of his head can be found as well as his face. To the right is a tall thin man. He wears a cap and a red jacket with three buttons. There is a long grey scarf tucked into the jacket. He wears pale grey trousers. His lower legs and feet are not shown. His arms are held behind him so his hands are not shown. To the right is a man wearing a blue suit, the jacket has two buttons. He is wearing a shirt with a dark grey tie. He has a small bushy moustache. His lower legs and feet are not shown. His arms are held behind him so his hands are not shown. There is less showing of the lower bodies of the man with the red jacket and the man wearing a blue suit in the actual painting because of men standing in front of them in the foreground. Up the page from the blue suited man is a man standing in a doorway. He has a brown scarf tucked into a pale jacket. He is standing on the doorstep so appears to be higher. His legs and some of his body is hidden by the man in the blue suit who is standing in front of him. On the right of the page are two men standing behind another section of the top of a low wall. The men’s legs cannot be found as they are hidden by the wall. They are facing forward and turned slightly to the left. They wear grey jackets and have their hands stuffed into their pockets. The man on the right has brown hair and no hat. To the left the man has a hat and a brown scarf tucked into his jacket. Set in the wall of the house behind the men is a window made of twenty four square panes. The window has a stone lintel and sill ‘The Fight’ by LS Lowry (foreground only): On the centre left of the image is the low wall shown in the first image. It is shown here in entirety and with the railing set at the top. To the left is a man facing right. His legs are apart as if he were walking to the right. He wears a dark suit, shirt and red tie. He has a hat with a brim. His arms are held out to the right and holding the hat of a man standing to the right. This man is facing to the left. He also wears a dark suit. His legs are also apart as though walking. He appears in a slightly crouched position. He has one arm held up to the left. Only the elbow of the other arm is shown. On the right are two men standing next to each other, facing to the left. The man on the left wears a cap and a red scarf. He has his hand thrust into his jacket pocket so only his wrist can be found. The man to the right wears a dark brown suit, shirt and brown tie. He has brown spiky hair. His arm is held down at his side with a large hand showing. On the right of the page is a woman with her body facing to the right, but her head is turned as she looks behind her. She wears a hat and a red jacket. Her skirt is dark and quite long. Behind the woman and the two men to the left is the low wall shown in the first image. It is shown here in entirety and with the railing set at the top.
The Fight' by LS Lowry (UEB uncontracted)
by RnibThese pages show a breakdown of this painting and finally the full artwork. It is a multi-page image set on three pages. There is a locator dot shown on each page, which will be at the top left when the image is the correct way up. The first two images are surrounded by an image border. The final image of the full painting has a frame. ‘The Fight’ by LS Lowry (background only): This image shows six men standing outside a house. It is only part of the painting. On the centre left of the page is a man standing on the far side of the top of a low wall. The man’s legs cannot be found as they are hidden by the wall. His arm on the left hangs down so his hand cannot be found. His arm to the right is not shown. He wears a cap and has a long scarf tucked into his coat. He looks forward and slightly to the right so the side of his head can be found as well as his face. To the right is a tall thin man. He wears a cap and a red jacket with three buttons. There is a long grey scarf tucked into the jacket. He wears pale grey trousers. His lower legs and feet are not shown. His arms are held behind him so his hands are not shown. To the right is a man wearing a blue suit, the jacket has two buttons. He is wearing a shirt with a dark grey tie. He has a small bushy moustache. His lower legs and feet are not shown. His arms are held behind him so his hands are not shown. There is less showing of the lower bodies of the man with the red jacket and the man wearing a blue suit in the actual painting because of men standing in front of them in the foreground. Up the page from the blue suited man is a man standing in a doorway. He has a brown scarf tucked into a pale jacket. He is standing on the doorstep so appears to be higher. His legs and some of his body is hidden by the man in the blue suit who is standing in front of him. On the right of the page are two men standing behind another section of the top of a low wall. The men’s legs cannot be found as they are hidden by the wall. They are facing forward and turned slightly to the left. They wear grey jackets and have their hands stuffed into their pockets. The man on the right has brown hair and no hat. To the left the man has a hat and a brown scarf tucked into his jacket. Set in the wall of the house behind the men is a window made of twenty four square panes. The window has a stone lintel and sill ‘The Fight’ by LS Lowry (foreground only): On the centre left of the image is the low wall shown in the first image. It is shown here in entirety and with the railing set at the top. To the left is a man facing right. His legs are apart as if he were walking to the right. He wears a dark suit, shirt and red tie. He has a hat with a brim. His arms are held out to the right and holding the hat of a man standing to the right. This man is facing to the left. He also wears a dark suit. His legs are also apart as though walking. He appears in a slightly crouched position. He has one arm held up to the left. Only the elbow of the other arm is shown. On the right are two men standing next to each other, facing to the left. The man on the left wears a cap and a red scarf. He has his hand thrust into his jacket pocket so only his wrist can be found. The man to the right wears a dark brown suit, shirt and brown tie. He has brown spiky hair. His arm is held down at his side with a large hand showing. On the right of the page is a woman with her body facing to the right, but her head is turned as she looks behind her. She wears a hat and a red jacket. Her skirt is dark and quite long. Behind the woman and the two men to the left is the low wall shown in the first image. It is shown here in entirety and with the railing set at the top.
The Fight' by LS Lowry (UEB contracted)
by RnibThese pages show a breakdown of this painting and finally the full artwork. It is a multi-page image set on three pages. There is a locator dot shown on each page, which will be at the top left when the image is the correct way up. The first two images are surrounded by an image border. The final image of the full painting has a frame. ‘The Fight’ by LS Lowry (background only): This image shows six men standing outside a house. It is only part of the painting. On the centre left of the page is a man standing on the far side of the top of a low wall. The man’s legs cannot be found as they are hidden by the wall. His arm on the left hangs down so his hand cannot be found. His arm to the right is not shown. He wears a cap and has a long scarf tucked into his coat. He looks forward and slightly to the right so the side of his head can be found as well as his face. To the right is a tall thin man. He wears a cap and a red jacket with three buttons. There is a long grey scarf tucked into the jacket. He wears pale grey trousers. His lower legs and feet are not shown. His arms are held behind him so his hands are not shown. To the right is a man wearing a blue suit, the jacket has two buttons. He is wearing a shirt with a dark grey tie. He has a small bushy moustache. His lower legs and feet are not shown. His arms are held behind him so his hands are not shown. There is less showing of the lower bodies of the man with the red jacket and the man wearing a blue suit in the actual painting because of men standing in front of them in the foreground. Up the page from the blue suited man is a man standing in a doorway. He has a brown scarf tucked into a pale jacket. He is standing on the doorstep so appears to be higher. His legs and some of his body is hidden by the man in the blue suit who is standing in front of him. On the right of the page are two men standing behind another section of the top of a low wall. The men’s legs cannot be found as they are hidden by the wall. They are facing forward and turned slightly to the left. They wear grey jackets and have their hands stuffed into their pockets. The man on the right has brown hair and no hat. To the left the man has a hat and a brown scarf tucked into his jacket. Set in the wall of the house behind the men is a window made of twenty four square panes. The window has a stone lintel and sill ‘The Fight’ by LS Lowry (foreground only): On the centre left of the image is the low wall shown in the first image. It is shown here in entirety and with the railing set at the top. To the left is a man facing right. His legs are apart as if he were walking to the right. He wears a dark suit, shirt and red tie. He has a hat with a brim. His arms are held out to the right and holding the hat of a man standing to the right. This man is facing to the left. He also wears a dark suit. His legs are also apart as though walking. He appears in a slightly crouched position. He has one arm held up to the left. Only the elbow of the other arm is shown. On the right are two men standing next to each other, facing to the left. The man on the left wears a cap and a red scarf. He has his hand thrust into his jacket pocket so only his wrist can be found. The man to the right wears a dark brown suit, shirt and brown tie. He has brown spiky hair. His arm is held down at his side with a large hand showing. On the right of the page is a woman with her body facing to the right, but her head is turned as she looks behind her. She wears a hat and a red jacket. Her skirt is dark and quite long. Behind the woman and the two men to the left is the low wall shown in the first image. It is shown here in entirety and with the railing set at the top.
The Family of Darius before Alexander by Paolo Veronese (SEB)
by RnibVeronese (1528-1588) has captured a highly dramatic and emotional instant in a story that serves to illustrate the magnanimity of Alexander the Great. Alexander spared the family of the Persian King, Darius, after defeating him at the Battle of Issus in 330 BC. There are two tactile images, each with an accompanying key page. The first image shows an overview of the whole painting and the second image shows a close-up of just the family of Darius and the two main soldiers. Both tactile images require the pages to be turned sideways. Braille labels have been added to help orientate the reader with the images and are placed as near to the item being labelled as possible The first tactile image is a very simplified overview of the painting focusing on the position of the important elements. A very thick line forms the border of the painting. The family of Darius (elderly man, eldest princess, young princess, Stateira, Sisygambis and boy dressed in red) and the two main soldiers (soldiers 1 and 2) are outlined with a thick line infilled with a texture. Their hair and the soldiers' boots are shown as solid texture. The royal entourage (bearded courtier, young girls and dwarf), monkey, other soldiers, page with shield, and horse's head are shown outlined with a thinner line infilled with a different texture. The soldiers' halbards are shown as solid texture along with the dog held by the dwarf and hunting dog amongst the soldiers. A further texture shows the arches, ballastrade and stone pedestal. Very thin lines outline the shapes of the figures standing along the colonnade. The second tactile image concentrates on the 6 members of Darius' family along with the two main soldiers, labelled soldiers 1 and 2 on the overview. All other detail has been omitted. The bottom edge of the painting has been shown as a very thick line. Each figure is shown as an outline infilled with a texture and all have solid texture for their hair. The young princess, Stateria and the boy dressed in red have a light texture. Sisygambis has a different texture. The two textures for these figures are also used on the two soldiers - one for their hose, cloak of soldier 2 and undergarment of soldier 1 and the other for their armour. The soldiers' boots are shown with solid texture as is, the sword of soldier 1 and detail on both their armour. A further texture shows the elderly man and the eldest princess who also has her brocade gown shown as solid texture.
Telecommunications by Paul Nash (SEB)
by RnibThis is a Surrealist painting from 1934. This painting was made for the Post Office. They wanted to advertise their new automatic telephone exchanges.The painting consists of an interlocking pattern of many different sized rectangles with several small circles set within the rectangles. Each shape contrasts in colour to the shape next to it, making the colours really stand out particularly the red and black against white, light and dark greys. In the shapes, you can clearly make out a red lectern-style desk (D) with a front lip, very much like a drawing board. On the desk is a white sheet of paper and what looks like a long set square. Across the desk, from top right to bottom left, is a long red cord (1). At the top end of the cord is what appears to be a black plug and is shown just below the frontage of a large piece of black equipment (E1). The bottom end of the cord drops off the desk towards the floor and disappears off the bottom edge of the painting. Two further red cords are shown: one cord (2) coming from the bottom left-hand edge of the desk and curving upwards to the frontage of another large piece of black equipment (E2) and ending in a black plug; and the other cord (3) coming from what looks like a large handset (H) going downwards to join with the cord coming down from the desk at the bottom edge of the painting. The tactile image is nearly two and a half times smaller than the actual painting and follows the shapes as closely as possible with four textures used to represent the colours with white having no texture. The colour and texture palette is shown to the right of the image. The painting has no signature. Key to image: D: lectern-style desk E1: large piece of black equipment E2: large piece of black equipment H: handset 1: cord across desk 2: cord from bottom of desk up to top of large equipment 3: cord from handset and joins with cord 1
The Chevalier Eon (SEB)
by RnibThis full length portrait shows Chevalier d'Eon, standing centrally facing the viewer with his head turned slightly to the left, dressed a fashionably good-looking woman of his time - a gown with an overskirt over a tiered skirt, low-cut bodice and three-quarter length ruffled sleeves. A dainty shoe can just be seen from beneath the tiered skirt. He has an elongated pearl earring is his left ear and he wears a cap over high-dressed hair. He also wears a Freemason's apron around his waist that shows the square and compass and has the order of St. Louis pinned on his left breast. His right hand rests on a sword that is held at his waist. His left arm is outstretched and he holds a long cane that is attached to his wrist by strings. To the right of Chevalier, immediately in front of his long cane, is a military coat hung over the back of a chair. Two chair legs can just be seen beneath the coat. To the left of Chevalier, is a table covered with a cloth hanging in heavy folds. The tip of his sword touches the edge of the table. On the table, nearest Chevalier, a scroll document, “A Policy 25 P Ct On the Chr D'Eon Man, or Woman,” hangs open over the table's cloth. Next to this document are two identical leather bound books, “Lettres du Chr D'Econ” and “L'Hist. du Chr D'Eon”, one on top of the other. Hanging on the wall immediately above Chevalier's head is a military hat and sword hand. Also hanging on the wall above both the table and the military coat on the chair are the bust of a man and a framed picture. The tactile image is slightly smaller than the actual image and shows the layout of the scene with some detail on Chevalier. Three textures show Chevalier's clothing - one for the tiered skirt and bodice, one for the overskirt and one for the apron. Solid texture shows the cap, sword, cane, Order of St. Louis, and one shoe showing beneath her dress. Lines show the ruffled sleeves and the hair under the cap. The bare skin has no texture. Solid texture also shows the frames around the two pictures, the hat and sword on the wall, the two busts, the bottom of the chair's legs and the shoe. The same texture for the overskirt also shows the military coat and the sketchy detail in the two framed pictures. The same texture for the apron also shows the cloth on the table. The same texture as the tiered skirt also shows the document on the table
Take Flowers instead of Grenades- by Banksy (UEB contracted)
by RnibThis image is based on graffiti (street art) by publicity-shy Bristol artist Banksy. 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 demonstrator or rioter about to throw a bunch of flowers. He is depicted using areas of solid black and white paint. The figure of a young man is seen from the front with his head facing to the right. His head is in the top centre of the page. He wears a baseball cap with its peak to the left and his mouth and nose are masked by a scarf. Down the page his body is leaning to the left and he has his arm on the right stretched out horizontally with his fingers pointing to the right. The arm to the left of his body is held out and bent up at the elbow with his hand, on the far left centre of the page. He is holding a bunch of flowers wrapped in paper with their stalks at the bottom and the yellow, pink and blue flower heads at the top. Further down the page from his body are the figures legs spread out to the left and right. The image has been created using a stencil technique. The areas of the image that will be dark in the final image are cut out of a sheet of thin card, to leave holes in the card. The card is then placed flat against the surface where the image is to be put and paint is sprayed or brushed through the holes. The card is then removed, leaving paint where the holes have been. The dark parts of the image on this page are the figures hat, chest, arms, and boots.
Take Flowers instead of Grenades- by Banksy (UEB uncontracted)
by RnibThis image is based on graffiti (street art) by publicity-shy Bristol artist Banksy. 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 demonstrator or rioter about to throw a bunch of flowers. He is depicted using areas of solid black and white paint. The figure of a young man is seen from the front with his head facing to the right. His head is in the top centre of the page. He wears a baseball cap with its peak to the left and his mouth and nose are masked by a scarf. Down the page his body is leaning to the left and he has his arm on the right stretched out horizontally with his fingers pointing to the right. The arm to the left of his body is held out and bent up at the elbow with his hand, on the far left centre of the page. He is holding a bunch of flowers wrapped in paper with their stalks at the bottom and the yellow, pink and blue flower heads at the top. Further down the page from his body are the figures legs spread out to the left and right. The image has been created using a stencil technique. The areas of the image that will be dark in the final image are cut out of a sheet of thin card, to leave holes in the card. The card is then placed flat against the surface where the image is to be put and paint is sprayed or brushed through the holes. The card is then removed, leaving paint where the holes have been. The dark parts of the image on this page are the figures hat, chest, arms, and boots.
Take Flowers instead of Grenades- by Banksy (large print)
by RnibThis image is based on graffiti (street art) by publicity-shy Bristol artist Banksy. 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 demonstrator or rioter about to throw a bunch of flowers. He is depicted using areas of solid black and white paint. The figure of a young man is seen from the front with his head facing to the right. His head is in the top centre of the page. He wears a baseball cap with its peak to the left and his mouth and nose are masked by a scarf. Down the page his body is leaning to the left and he has his arm on the right stretched out horizontally with his fingers pointing to the right. The arm to the left of his body is held out and bent up at the elbow with his hand, on the far left centre of the page. He is holding a bunch of flowers wrapped in paper with their stalks at the bottom and the yellow, pink and blue flower heads at the top. Further down the page from his body are the figures legs spread out to the left and right. The image has been created using a stencil technique. The areas of the image that will be dark in the final image are cut out of a sheet of thin card, to leave holes in the card. The card is then placed flat against the surface where the image is to be put and paint is sprayed or brushed through the holes. The card is then removed, leaving paint where the holes have been. The dark parts of the image on this page are the figures hat, chest, arms, and boots.
Sunflowers by Vincent van Gogh, 1888 - Multi-page image (UEB uncontracted)
by RnibStill Life: Vase with Fourteen Sunflowers"" by Vincent Van Gogh, 1889: This complex painting has been broken down into five separate images to enable its components to be identified more easily. A single sunflower is also shown to demonstrate a typical flower of this type. A locator dot and title are shown. These must always be at the top left of the page when the image is the right way up. Images 2 to 5 have a dashed image border to show where the image finishes. At the bottom of the images 2 to 5 is a strong horizontal line which represents the back edge of the table and the start of the wall surface. The final image in the sequence shows the artwork in its entirety. A single sunflower in close-up: This picture shows a close-up of a single sunflower. A stem starts in the centre bottom of the page and leads up the page with two leaves (one on each side of the stem) to a large sunflower head in the centre of the page. The centre of the flower head is solid, representing the dark area of seeds, and this particular flower has a circular band of a lighter colour around the central part. The whole head is surrounded by slim, overlapping petals. The position of the six orange sunflowers: The image shows the vase of flowers and the position of only six of the fourteen flowers, those with dense rounded orange-coloured heads. The rounded vase is in the bottom centre of the page. The solid black circles show the centre of each flower head, surrounded by approximately circular areas of petals. Some of the flowers are touching or overlapping each other, and some, but not all of the stems are visible. The flower on the right-hand side has a single leaf hanging below the flower head. The position of the eight yellow sunflowers: This image shows the vase and the position of the remaining eight of the fourteen sunflowers, those with more separated bright yellow petals. The centre of each flower head is shown as solid circles, and some of the flowers have a circular band of another colour around the central part. The shape created by the petals is more jagged than the other flowers in the vase. Again, some flowers are touching or overlapping each other, and some stems, but not all are visible. The position of all flower heads: The image shows the vase and the location of all of the fourteen flowers, showing just the stems and central part of the flower head (no petals are shown on this image). The whole painting: This image shows the whole painting, the vase and all fourteen sunflowers, complete with the areas of the petals. There is also a flower bud that is still green shown just to the left of the vase. The complexity of this image means that it may be difficult to interpret tactually, but the prior separation of the image into its component parts may have helped you to build up the image in your mind.
Sunflowers by Vincent van Gogh, 1888 - Multi-page image (UEB contracted)
by RnibStill Life: Vase with Fourteen Sunflowers"" by Vincent Van Gogh, 1889: This complex painting has been broken down into five separate images to enable its components to be identified more easily. A single sunflower is also shown to demonstrate a typical flower of this type. A locator dot and title are shown. These must always be at the top left of the page when the image is the right way up. Images 2 to 5 have a dashed image border to show where the image finishes. At the bottom of the images 2 to 5 is a strong horizontal line which represents the back edge of the table and the start of the wall surface. The final image in the sequence shows the artwork in its entirety. A single sunflower in close-up: This picture shows a close-up of a single sunflower. A stem starts in the centre bottom of the page and leads up the page with two leaves (one on each side of the stem) to a large sunflower head in the centre of the page. The centre of the flower head is solid, representing the dark area of seeds, and this particular flower has a circular band of a lighter colour around the central part. The whole head is surrounded by slim, overlapping petals. The position of the six orange sunflowers: The image shows the vase of flowers and the position of only six of the fourteen flowers, those with dense rounded orange-coloured heads. The rounded vase is in the bottom centre of the page. The solid black circles show the centre of each flower head, surrounded by approximately circular areas of petals. Some of the flowers are touching or overlapping each other, and some, but not all of the stems are visible. The flower on the right-hand side has a single leaf hanging below the flower head. The position of the eight yellow sunflowers: This image shows the vase and the position of the remaining eight of the fourteen sunflowers, those with more separated bright yellow petals. The centre of each flower head is shown as solid circles, and some of the flowers have a circular band of another colour around the central part. The shape created by the petals is more jagged than the other flowers in the vase. Again, some flowers are touching or overlapping each other, and some stems, but not all are visible. The position of all flower heads: The image shows the vase and the location of all of the fourteen flowers, showing just the stems and central part of the flower head (no petals are shown on this image). The whole painting: This image shows the whole painting, the vase and all fourteen sunflowers, complete with the areas of the petals. There is also a flower bud that is still green shown just to the left of the vase. The complexity of this image means that it may be difficult to interpret tactually, but the prior separation of the image into its component parts may have helped you to build up the image in your mind.
Sunflowers by Vincent van Gogh, 1888 - Multi-page image (large print)
by RnibStill Life: Vase with Fourteen Sunflowers"" by Vincent Van Gogh, 1889: This complex painting has been broken down into five separate images to enable its components to be identified more easily. A single sunflower is also shown to demonstrate a typical flower of this type. A locator dot and title are shown. These must always be at the top left of the page when the image is the right way up. Images 2 to 5 have a dashed image border to show where the image finishes. At the bottom of the images 2 to 5 is a strong horizontal line which represents the back edge of the table and the start of the wall surface. The final image in the sequence shows the artwork in its entirety. A single sunflower in close-up: This picture shows a close-up of a single sunflower. A stem starts in the centre bottom of the page and leads up the page with two leaves (one on each side of the stem) to a large sunflower head in the centre of the page. The centre of the flower head is solid, representing the dark area of seeds, and this particular flower has a circular band of a lighter colour around the central part. The whole head is surrounded by slim, overlapping petals. The position of the six orange sunflowers: The image shows the vase of flowers and the position of only six of the fourteen flowers, those with dense rounded orange-coloured heads. The rounded vase is in the bottom centre of the page. The solid black circles show the centre of each flower head, surrounded by approximately circular areas of petals. Some of the flowers are touching or overlapping each other, and some, but not all of the stems are visible. The flower on the right-hand side has a single leaf hanging below the flower head. The position of the eight yellow sunflowers: This image shows the vase and the position of the remaining eight of the fourteen sunflowers, those with more separated bright yellow petals. The centre of each flower head is shown as solid circles, and some of the flowers have a circular band of another colour around the central part. The shape created by the petals is more jagged than the other flowers in the vase. Again, some flowers are touching or overlapping each other, and some stems, but not all are visible. The position of all flower heads: The image shows the vase and the location of all of the fourteen flowers, showing just the stems and central part of the flower head (no petals are shown on this image). The whole painting: This image shows the whole painting, the vase and all fourteen sunflowers, complete with the areas of the petals. There is also a flower bud that is still green shown just to the left of the vase. The complexity of this image means that it may be difficult to interpret tactually, but the prior separation of the image into its component parts may have helped you to build up the image in your mind.
Sunflowers by Vincent Van Gogh
by RnibThis is one of four paintings of sunflowers dating from August and September 1888 that Van Gogh (1853-1890) painted. Fifteen sunflowers are arranged on a table in a large, rounded earthenware vase. It is placed centrally and fills the bottom fifth of the painting. The sunflowers spread out from the vase and touch the sides and top of the painting. The tactile image follows the lines and shapes in the painting as closely as possible but there has been some simplification particularly with the seed-heads. The sunflowers have been labelled 1 to 14 to help indicate their positions in relation to the description. The fifteenth sunflower in the centre of the arrangement has not been numbered. Three other labels have been added: the table-top (shown with a straight line), the table (no texture area) and the vase with signature (vase outline shown with a thick line; a thinner line dividing the two glazes; a rough texture for the lower glaze; a different texture for the white highlight gleam and the signature in solid shapes). The flower stems, sepals, centre of the seed-heads and individual seeds are shown as solid texture. The petals are shown with a thin line infilled with a texture. The seed-heads are shown with a thin line infilled with a different texture to the petals.
Sticks by Andy Goldsworthy (tactile)
by Markeaton SchoolThis 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 sticks stuck into mud and assembled into a vertical grid
Star- to colour in (tactile)
by RnibThis is a tactile picture of a five-pointed star, ready to colour in. Its points are linked to each other by lines that divide the star into six areas: five triangles around the outside, and a pentagon (five-sided shape) in the centre. Each area has a different tactile texture.
Staffordshire Moorlands Pan (SEB)
by RnibThis dark green pan, discovered in Staffordshire in 2003, is made of copper alloy with a Celtic-style pattern inlaid with turquoise, blue, red and yellow-coloured enamel. It is quite small and could fit in the palm of the hand. Originally it may have had a handle, like that of a pan we use today, but is not attached now. The pan is circular with a small rim at the top and has a replacement base as the original base was missing when discovered. The rim and top of the base are nearly the same diameter, with the sides of the pan slightly curved from base to rim. About 5 mm from the rim, is an engraved inscription. Immediately below the inscription and extending to the base, is the Celtic-style patterning. The pattern is damaged in places due to the loss of the enamel but detail can still be clearly seen. It consists of a series of circles containing scrolling leaf shapes around a central flower motif. The tactile image is of a side view of the pan and shows the last 4 words of the inscription, along with 3 of the circles of the Celtic pattern and the triangular shapes between the circles. The rim and sides of the pan are shown as lines. The base is shown as solid texture. The shape of the letters in the inscription have been replicated exactly in a thick line. The Celtic pattern is shown with 4 types of textures - solid for the copper alloy, rough for the turquoise enamel, very rough for the blue enamel and hollows for missing enamel, mainly red. The triangular shapes between the circles are shown as a very rough texture, again for blue enamel.
South East Entrance Gates (SEB)
by RnibThis is a memorial to Godfrey Sykes (1824-1866) one of Sheffield’s famous craftsmen. The tactile image shows the basic shape of the memorial with the bronze relief and three main bands of decoration shown as textures. The metal railings have been shown with the base of the memorial behind them omitted. This monument is by James Gamble and based on some of Sykes' own designs. It was erected in the park in 1875. Terracotta was used to make the original gateways to the park at Winter Street and Western Bank. The Winter Street gateway and lodge were demolished in 1952 in order to construct the University Library. The Western Bank gateway can still be found at location 6 (South East Entrance Gates) of this tour.
Shield Crests (SEB)
by RnibThis page shows images of eight shield crests, four at the top of the page and four at the bottom. At the centre of the page is a large blank outline of a shield shape.
Salvidor Dali (UEB uncontracted)
by RnibThis image shows a portrait of Salvador Dali. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. He is facing you so all facial features can be found. Only his head, neck and some of his shoulders are shown. His black hair is cut in a very neat and tidy style. He has large black eyebrows. Down from them he stares with very wide brown eyes, they are nearly popping out. He has a long thin moustache which curves round down from, and just left and right of each eye. It ends in sharp points. He wears a smart jacket and tie. He has a handkerchief poking out of the jacket breast pocket in the bottom right of the image. The image is surrounded by an image border.
Salvador Dali (large print)
by RnibThis image shows a portrait of Salvador Dali. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. He is facing you so all facial features can be found. Only his head, neck and some of his shoulders are shown. His black hair is cut in a very neat and tidy style. He has large black eyebrows. Down from them he stares with very wide brown eyes, they are nearly popping out. He has a long thin moustache which curves round down from, and just left and right of each eye. It ends in sharp points. He wears a smart jacket and tie. He has a handkerchief poking out of the jacket breast pocket in the bottom right of the image. The image is surrounded by an image border.
Salvidor Dali (UEB contracted)
by RnibThis image shows a portrait of Salvador Dali. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. He is facing you so all facial features can be found. Only his head, neck and some of his shoulders are shown. His black hair is cut in a very neat and tidy style. He has large black eyebrows. Down from them he stares with very wide brown eyes, they are nearly popping out. He has a long thin moustache which curves round down from, and just left and right of each eye. It ends in sharp points. He wears a smart jacket and tie. He has a handkerchief poking out of the jacket breast pocket in the bottom right of the image. The image is surrounded by an image border.
Relief Marble Bust of Cinzio Benincasa (SEB)
by RnibThis is a marble relief from the 15 century. The relief is recessed within a moulded frame and has an inscription in carved capital letters in a strip across the base. The outer edge of the frame has large chips in it making the edge uneven. The sitter, a young man in his mid to late twenties, is shown in profile to the right, wearing a high cap encircled with a laurel wreath tied at the back with a ribbon. The tactile image shows the detail of the relief and moulded frame and has a key, in two columns, at the top of the page. The main part of the moulded frame is shown with a solid texture with a line for the inner most part of the frame. The large chips can be felt on the outer edge. The high cap and ribbon is shown with a rough texture which is also used to show the tunic. Solid shapes show the laurel wreath, chain and buttons on the front of the tunic. The facial features have been shown with lines.