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  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and is displayed by international auctioneers Coys.<br />
The Old Admiralty Building, Whitehall London
    GB10640.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10674.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10673.jpg
  • The armed police escort. An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10671.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10656.jpg
  • Captain Tom Mobbs RM , Commander Paul Haines RN, Corporal James, Martin RM and Commander Pat Douglas RN (l to r) stand with the car.An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10653.jpg
  • Captain Tom Mobbs RM , Commander Paul Haines RN, Corporal James, Martin RM and Commander Pat Douglas RN (l to r) stand with the car.An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10651.jpg
  • Captain Tom Mobbs RM , Commander Paul Haines RN, Corporal James, Martin RM and Commander Pat Douglas RN (l to r) stand with the car.An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10648.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10644.jpg
  • Commander Paul Haines RN tries out the driving position. An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10642.jpg
  • Commander Pat Douglas RN stands with the car after driving it to Dukes Hotel. An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys.Dukes Hotel, St James's Place,l London
    GB10676.jpg
  • Commander Pat Douglas RN stands with the car after driving it to Dukes Hotel. An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys.Dukes Hotel, St James's Place,l London
    GB10675.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10672.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10668.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10667.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10666.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10664.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel (pictured) Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10663.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10661.jpg
  • Commander Pat Douglas RN stands with the car before driving it to Dukes Hotel. An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10660.jpg
  • Commander Pat Douglas RN stands with the car before driving it to Dukes Hotel. An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10658.jpg
  • Commander Pat Douglas RN stands with the car before driving it to Dukes Hotel. An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10657.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10655.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10654.jpg
  • Commander Pat Douglas RN sits in the car before driving it to Dukes Hotel. An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10646.jpg
  • Commander Pat Douglas RN sits in the car before driving it to Dukes Hotel. An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10645.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10641.jpg
  • Eagle Slayer by John Bell 1851 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Queen Victoria by AEdward onslow Ford and Alfred Gilbert - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Eagle Slayer by John Bell 1851 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Eagle Slayer by John Bell 1851 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Eagle Slayer by John Bell 1851 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Eagle Slayer by John Bell 1851 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Eagle Slayer by John Bell 1851 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Thomas Longmore and John Henk’s Elephant 1889 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Thomas Longmore and John Henk’s Elephant 1889 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Thomas Longmore and John Henk’s Elephant 1889 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Thomas Longmore and John Henk’s Elephant 1889 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Thomas Longmore and John Henk’s Elephant 1889 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Sir William Reynolds-Stephens’ A Royal Game 1906-11 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Sir William Reynolds-Stephens’ A Royal Game 1906-11 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Sir William Reynolds-Stephens’ A Royal Game 1906-11 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Sir William Reynolds-Stephens’ A Royal Game 1906-11 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Sir William Reynolds-Stephens’ A Royal Game 1906-11 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • The Eglington Trophy 1843 by Edmund Cotterill and R&S Garrard - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • The Eglington Trophy 1843 by Edmund Cotterill and R&S Garrard - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • The Eglington Trophy 1843 by Edmund Cotterill and R&S Garrard - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • The Eglington Trophy 1843 by Edmund Cotterill and R&S Garrard - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • The Eglington Trophy 1843 by Edmund Cotterill and R&S Garrard - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Sherwood Westmacott’s Baron Saher de Quincy, Earl of Winchester 1854 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Sherwood Westmacott’s Baron Saher de Quincy, Earl of Winchester 1854 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Thomas Longmore and John Henk’s Elephant 1889 and Peacock 1873 by Paul Comolera - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Thomas Longmore and John Henk’s Elephant 1889 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Thomas Longmore and John Henk’s Elephant 1889 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Thomas Longmore and John Henk’s Elephant 1889 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Thomas Longmore and John Henk’s Elephant 1889 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Thomas Longmore and John Henk’s Elephant 1889 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Dame Alice Owen 1897 by George Frampton and Sir William Reynolds-Stephens’ A Royal Game 1906-11 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Queen Victoria by AEdward onslow Ford and Alfred Gilbert - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Queen Victoria by AEdward onslow Ford and Alfred Gilbert - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Thomas Longmore and John Henk’s Elephant 1889 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Sir William Reynolds-Stephens’ A Royal Game 1906-11 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Sir William Reynolds-Stephens’ A Royal Game 1906-11 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Sir William Reynolds-Stephens’ A Royal Game 1906-11 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Sir William Reynolds-Stephens’ A Royal Game 1906-11 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Sir William Reynolds-Stephens’ A Royal Game 1906-11 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Sir William Reynolds-Stephens’ A Royal Game 1906-11 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • The Eglington Trophy 1843 by Edmund Cotterill and R&S Garrard - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Sherwood Westmacott’s Baron Saher de Quincy, Earl of Winchester 1854 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Sherwood Westmacott’s Baron Saher de Quincy, Earl of Winchester 1854 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Sherwood Westmacott’s Baron Saher de Quincy, Earl of Winchester 1854 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Thomas Longmore and John Henk’s Elephant 1889 and Peacock 1873 by Paul Comolera - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Thomas Longmore and John Henk’s Elephant 1889 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Thomas Longmore and John Henk’s Elephant 1889 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Thomas Longmore and John Henk’s Elephant 1889 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
  • Dame Alice Owen 1897 by George Frampton and Sir William Reynolds-Stephens’ A Royal Game 1906-11 - Sculpture Victorious at Tate Britain. The Victorian era was a golden age for sculpture. Sculpture Victorious pays tribute to the great sculptors of the time and showcases lavish works produced in the period, from a brightly coloured ceramic elephant that stands just under seven feet tall to sumptuous jewellery from Chatsworth House. Highlights include: Sir William Reynolds-Stephens’ A Royal Game 1906-11. A 2.4 metre high sculpture depicting the struggles between Elizabeth I and Philip of Spain as a game of chess; Thomas Longmore and John Henk’s Elephant 1889. The imposing sculpture, made from painted earthenware is one of the most technically sophisticated ceramic objects ever attempted, showcasing industrial craft at its most artful and ambitious; and James Sherwood Westmacott’s exquisitely detailed electroplated Baron Saher de Quincy, Earl of Winchester 1854, specially removed from the Houses of Parliament for the first time for this exhibition.<br />
<br />
Salt and Silver: Early Photography 1840-60 is also be opening on the same day, displaying rarely seen salt prints - one of the earliest forms of photography.
    Sculpture Victorious Tate 02 15 GBPh...jpg
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