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  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 10.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 02.jpg
  • Blood Swept Lands and seas of red by Paul Cummins. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower of London to mark the centenary of the first world war. 04 Aug 2014.
    GB11405.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 12.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 13.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 11.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 03.jpg
  • The names of the dead are read out and a bugler plays last post amid a sea of ceramic poppies. Blood Swept Lands and seas of red by Paul Cummins - an artwork in the moat of the Tower of London to mark the centenary of the first world war. 30 oct 2014.
    11.jpg
  • Blood Swept Lands and seas of red by Paul Cummins. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower of London to mark the centenary of the first world war. 04 Aug 2014.
    GB11408.jpg
  • Blood Swept Lands and seas of red by Paul Cummins. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower of London to mark the centenary of the first world war. 04 Aug 2014.
    GB11404.jpg
  • Blood Swept Lands and seas of red by Paul Cummins. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower of London to mark the centenary of the first world war. 04 Aug 2014.
    GB11396.jpg
  • Blood Swept Lands and seas of red by Paul Cummins. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower of London to mark the centenary of the first world war. 04 Aug 2014.
    GB11398.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 08.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 07.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 06.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 04.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 01.jpg
  • Blood Swept Lands and seas of red by Paul Cummins. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower of London to mark the centenary of the first world war. 04 Aug 2014.
    GB11402.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 09.jpg
  • Student Bridgette Chang with racks of completed ceramics - FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 39.jpg
  • Filling th nmoulds - FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 13.jpg
  • Filling th nmoulds - FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 12.jpg
  • Hathayyogi 1978 - Bhupen Khakhar: You Can’t Please All at Tate Modern. It is the first international retrospective of the Indian artist since his death. He was known for his vibrant, bold works that examine class and sexuality. The Exhibition runs from 1 June – 6 November 2016.
    Bhupen Khakhar Tate GBPhotos 20.jpg
  • Head 1994 - Bhupen Khakhar: You Can’t Please All at Tate Modern. It is the first international retrospective of the Indian artist since his death. He was known for his vibrant, bold works that examine class and sexuality. The Exhibition runs from 1 June – 6 November 2016.
    Bhupen Khakhar Tate GBPhotos 17.jpg
  • Head 1994 - Bhupen Khakhar: You Can’t Please All at Tate Modern. It is the first international retrospective of the Indian artist since his death. He was known for his vibrant, bold works that examine class and sexuality. The Exhibition runs from 1 June – 6 November 2016.
    Bhupen Khakhar Tate GBPhotos 16.jpg
  • Janata Watch Repairing 1972 and others - Bhupen Khakhar: You Can’t Please All at Tate Modern. It is the first international retrospective of the Indian artist since his death. He was known for his vibrant, bold works that examine class and sexuality. The Exhibition runs from 1 June – 6 November 2016.
    Bhupen Khakhar Tate GBPhotos 15.jpg
  • He took enema five times a day 19991 and At heh end of the day iron ingots came out - Bhupen Khakhar: You Can’t Please All at Tate Modern. It is the first international retrospective of the Indian artist since his death. He was known for his vibrant, bold works that examine class and sexuality. The Exhibition runs from 1 June – 6 November 2016.
    Bhupen Khakhar Tate GBPhotos 13.jpg
  • BBullet Shot in teh Stiomach -2001  hupen Khakhar: You Can’t Please All at Tate Modern. It is the first international retrospective of the Indian artist since his death. He was known for his vibrant, bold works that examine class and sexuality. The Exhibition runs from 1 June – 6 November 2016.
    Bhupen Khakhar Tate GBPhotos 12.jpg
  • Bhupen Khakhar: You Can’t Please All at Tate Modern. It is the first international retrospective of the Indian artist since his death. He was known for his vibrant, bold works that examine class and sexuality. The Exhibition runs from 1 June – 6 November 2016.
    Bhupen Khakhar Tate GBPhotos 11.jpg
  • Bhupen Khakhar: You Can’t Please All at Tate Modern. It is the first international retrospective of the Indian artist since his death. He was known for his vibrant, bold works that examine class and sexuality. The Exhibition runs from 1 June – 6 November 2016.
    Bhupen Khakhar Tate GBPhotos 09.jpg
  • Haridwar 2001 - Bhupen Khakhar: You Can’t Please All at Tate Modern. It is the first international retrospective of the Indian artist since his death. He was known for his vibrant, bold works that examine class and sexuality. The Exhibition runs from 1 June – 6 November 2016.
    Bhupen Khakhar Tate GBPhotos 08.jpg
  • You Can’t Please All (1981)  - Bhupen Khakhar: You Can’t Please All at Tate Modern. It is the first international retrospective of the Indian artist since his death. He was known for his vibrant, bold works that examine class and sexuality. The Exhibition runs from 1 June – 6 November 2016.
    Bhupen Khakhar Tate GBPhotos 06.jpg
  • You Can’t Please All (1981)  - Bhupen Khakhar: You Can’t Please All at Tate Modern. It is the first international retrospective of the Indian artist since his death. He was known for his vibrant, bold works that examine class and sexuality. The Exhibition runs from 1 June – 6 November 2016.
    Bhupen Khakhar Tate GBPhotos 05.jpg
  • You Can’t Please All (1981)  - Bhupen Khakhar: You Can’t Please All at Tate Modern. It is the first international retrospective of the Indian artist since his death. He was known for his vibrant, bold works that examine class and sexuality. The Exhibition runs from 1 June – 6 November 2016.
    Bhupen Khakhar Tate GBPhotos 04.jpg
  • Yagnya or Marriage 2000 - Bhupen Khakhar: You Can’t Please All at Tate Modern. It is the first international retrospective of the Indian artist since his death. He was known for his vibrant, bold works that examine class and sexuality. The Exhibition runs from 1 June – 6 November 2016.
    Bhupen Khakhar Tate GBPhotos 03.jpg
  • Yagnya or Marriage 2000 behind the Prophets Hair, 1989 - Bhupen Khakhar: You Can’t Please All at Tate Modern. It is the first international retrospective of the Indian artist since his death. He was known for his vibrant, bold works that examine class and sexuality. The Exhibition runs from 1 June – 6 November 2016.
    Bhupen Khakhar Tate GBPhotos 02.jpg
  • Jatra 1997-9 and Yagnya or Marriage 2000 - Bhupen Khakhar: You Can’t Please All at Tate Modern. It is the first international retrospective of the Indian artist since his death. He was known for his vibrant, bold works that examine class and sexuality. The Exhibition runs from 1 June – 6 November 2016.
    Bhupen Khakhar Tate GBPhotos 19.jpg
  • Jatra 1997-9 - Bhupen Khakhar: You Can’t Please All at Tate Modern. It is the first international retrospective of the Indian artist since his death. He was known for his vibrant, bold works that examine class and sexuality. The Exhibition runs from 1 June – 6 November 2016.
    Bhupen Khakhar Tate GBPhotos 18.jpg
  • Hathayyogi 1978 (l) and others  - Bhupen Khakhar: You Can’t Please All at Tate Modern. It is the first international retrospective of the Indian artist since his death. He was known for his vibrant, bold works that examine class and sexuality. The Exhibition runs from 1 June – 6 November 2016.
    Bhupen Khakhar Tate GBPhotos 14.jpg
  • Untitled 1994 - Bhupen Khakhar: You Can’t Please All at Tate Modern. It is the first international retrospective of the Indian artist since his death. He was known for his vibrant, bold works that examine class and sexuality. The Exhibition runs from 1 June – 6 November 2016.
    Bhupen Khakhar Tate GBPhotos 10.jpg
  • Haridwar 2001 - Bhupen Khakhar: You Can’t Please All at Tate Modern. It is the first international retrospective of the Indian artist since his death. He was known for his vibrant, bold works that examine class and sexuality. The Exhibition runs from 1 June – 6 November 2016.
    Bhupen Khakhar Tate GBPhotos 07.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
  • 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
  • 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
  • Tate Britain launches its major spring show, exhibiting the work of Turner Prize-winning artist Richard Deacon (b.1949). It includes large sculptures made of twisted wood, metal, and ceramic such as: Fold 2012, a towering sculpture weighing over 12 tonnes and made of 60 shimmering glazed ceramic bricks; After 1998, a huge serpentine wooden structure that is over 9 metres at its longest point; and Out of Order 2003, a sprawling sculpture constructed from ribbons of steamed wood (pictured). The Tate Britain, London, UK 03 February 2014. Guy Bell, 07771 786236, guy@gbphotos.com
    GB9131.jpg
  • Tate Britain launches its major spring show, exhibiting the work of Turner Prize-winning artist Richard Deacon (b.1949). It includes large sculptures made of twisted wood, metal, and ceramic such as: Fold 2012, a towering sculpture weighing over 12 tonnes and made of 60 shimmering glazed ceramic bricks; After 1998, a huge serpentine wooden structure that is over 9 metres at its longest point (pictured); and Out of Order 2003, a sprawling sculpture constructed from ribbons of steamed wood. The Tate Britain, London, UK 03 February 2014. Guy Bell, 07771 786236, guy@gbphotos.com
    GB9128.jpg
  • Tate Britain launches its major spring show, exhibiting the work of Turner Prize-winning artist Richard Deacon (b.1949). It includes large sculptures made of twisted wood, metal, and ceramic such as: Fold 2012, a towering sculpture weighing over 12 tonnes and made of 60 shimmering glazed ceramic bricks; After 1998, a huge serpentine wooden structure that is over 9 metres at its longest point; and Out of Order 2003, a sprawling sculpture constructed from ribbons of steamed wood (pictured). The Tate Britain, London, UK 03 February 2014. Guy Bell, 07771 786236, guy@gbphotos.com
    GB9113.jpg
  • Tate Britain launches its major spring show, exhibiting the work of Turner Prize-winning artist Richard Deacon (b.1949). It includes large sculptures made of twisted wood, metal, and ceramic such as: Fold 2012, a towering sculpture weighing over 12 tonnes and made of 60 shimmering glazed ceramic bricks; After 1998, a huge serpentine wooden structure that is over 9 metres at its longest point (pictured); and Out of Order 2003, a sprawling sculpture constructed from ribbons of steamed wood. The Tate Britain, London, UK 03 February 2014. Guy Bell, 07771 786236, guy@gbphotos.com
    GB9104.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
  • 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
  • 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
  • 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
  • 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
  • Tate Britain launches its major spring show, exhibiting the work of Turner Prize-winning artist Richard Deacon (b.1949). It includes large sculptures made of twisted wood, metal, and ceramic such as: Fold 2012, a towering sculpture weighing over 12 tonnes and made of 60 shimmering glazed ceramic bricks; After 1998, a huge serpentine wooden structure that is over 9 metres at its longest point; and Out of Order 2003, a sprawling sculpture constructed from ribbons of steamed wood (pictured). The Tate Britain, London, UK 03 February 2014. Guy Bell, 07771 786236, guy@gbphotos.com
    GB9129.jpg
  • Tate Britain launches its major spring show, exhibiting the work of Turner Prize-winning artist Richard Deacon (b.1949). It includes large sculptures made of twisted wood, metal, and ceramic such as: Fold 2012, a towering sculpture weighing over 12 tonnes and made of 60 shimmering glazed ceramic bricks; After 1998, a huge serpentine wooden structure that is over 9 metres at its longest point (pictured); and Out of Order 2003, a sprawling sculpture constructed from ribbons of steamed wood. The Tate Britain, London, UK 03 February 2014. Guy Bell, 07771 786236, guy@gbphotos.com
    GB9126.jpg
  • Tate Britain launches its major spring show, exhibiting the work of Turner Prize-winning artist Richard Deacon (b.1949). It includes large sculptures made of twisted wood, metal, and ceramic such as: Fold 2012, a towering sculpture weighing over 12 tonnes and made of 60 shimmering glazed ceramic bricks (pictured); After 1998, a huge serpentine wooden structure that is over 9 metres at its longest point; and Out of Order 2003, a sprawling sculpture constructed from ribbons of steamed wood. The Tate Britain, London, UK 03 February 2014. Guy Bell, 07771 786236, guy@gbphotos.com
    GB9122.jpg
  • Tate Britain launches its major spring show, exhibiting the work of Turner Prize-winning artist Richard Deacon (b.1949). It includes large sculptures made of twisted wood, metal, and ceramic such as: Fold 2012, a towering sculpture weighing over 12 tonnes and made of 60 shimmering glazed ceramic bricks; After 1998, a huge serpentine wooden structure that is over 9 metres at its longest point; Untitled 1980  (pictured); and Out of Order 2003, a sprawling sculpture constructed from ribbons of steamed wood. The Tate Britain, London, UK 03 February 2014. Guy Bell, 07771 786236, guy@gbphotos.com
    GB9117.jpg
  • Tate Britain launches its major spring show, exhibiting the work of Turner Prize-winning artist Richard Deacon (b.1949). It includes large sculptures made of twisted wood, metal, and ceramic such as: Fold 2012, a towering sculpture weighing over 12 tonnes and made of 60 shimmering glazed ceramic bricks; After 1998, a huge serpentine wooden structure that is over 9 metres at its longest point; and Out of Order 2003, a sprawling sculpture constructed from ribbons of steamed wood (pictured). The Tate Britain, London, UK 03 February 2014. Guy Bell, 07771 786236, guy@gbphotos.com
    GB9114.jpg
  • Tate Britain launches its major spring show, exhibiting the work of Turner Prize-winning artist Richard Deacon (b.1949). It includes large sculptures made of twisted wood, metal, and ceramic such as: Fold 2012, a towering sculpture weighing over 12 tonnes and made of 60 shimmering glazed ceramic bricks; After 1998, a huge serpentine wooden structure that is over 9 metres at its longest point; and Out of Order 2003, a sprawling sculpture constructed from ribbons of steamed wood (pictured). The Tate Britain, London, UK 03 February 2014. Guy Bell, 07771 786236, guy@gbphotos.com
    GB9110.jpg
  • Tate Britain launches its major spring show, exhibiting the work of Turner Prize-winning artist Richard Deacon (b.1949). It includes large sculptures made of twisted wood, metal, and ceramic such as: Fold 2012, a towering sculpture weighing over 12 tonnes and made of 60 shimmering glazed ceramic bricks; After 1998, a huge serpentine wooden structure that is over 9 metres at its longest point; Lock 1990  (pictured); and Out of Order 2003, a sprawling sculpture constructed from ribbons of steamed wood. The Tate Britain, London, UK 03 February 2014. Guy Bell, 07771 786236, guy@gbphotos.com
    GB9099.jpg
  • Tate Britain launches its major spring show, exhibiting the work of Turner Prize-winning artist Richard Deacon (b.1949). It includes large sculptures made of twisted wood, metal, and ceramic such as: Fold 2012, a towering sculpture weighing over 12 tonnes and made of 60 shimmering glazed ceramic bricks; After 1998, a huge serpentine wooden structure that is over 9 metres at its longest point; Mammoth 1989  (pictured); and Out of Order 2003, a sprawling sculpture constructed from ribbons of steamed wood. The Tate Britain, London, UK 03 February 2014. Guy Bell, 07771 786236, guy@gbphotos.com
    GB9096.jpg
  • Tate Britain launches its major spring show, exhibiting the work of Turner Prize-winning artist Richard Deacon (b.1949 - pictured). It includes large sculptures made of twisted wood, metal, and ceramic such as: Fold 2012, a towering sculpture weighing over 12 tonnes and made of 60 shimmering glazed ceramic bricks; After 1998, a huge serpentine wooden structure that is over 9 metres at its longest point; Struck Dumb 1988  (pictured);  Mammoth 1989  (pictured foreground); and Out of Order 2003, a sprawling sculpture constructed from ribbons of steamed wood. The Tate Britain, London, UK 03 February 2014. Guy Bell, 07771 786236, guy@gbphotos.com
    GB9092.jpg
  • Tate Britain launches its major spring show, exhibiting the work of Turner Prize-winning artist Richard Deacon (b.1949 - pictured). It includes large sculptures made of twisted wood, metal, and ceramic such as: Fold 2012, a towering sculpture weighing over 12 tonnes and made of 60 shimmering glazed ceramic bricks; After 1998, a huge serpentine wooden structure that is over 9 metres at its longest point; Struck Dumb 1988  (pictured); and Out of Order 2003, a sprawling sculpture constructed from ribbons of steamed wood. The Tate Britain, London, UK 03 February 2014. Guy Bell, 07771 786236, guy@gbphotos.com
    GB9088.jpg
  • Tate Britain launches its major spring show, exhibiting the work of Turner Prize-winning artist Richard Deacon (b.1949 - pictured). It includes large sculptures made of twisted wood, metal, and ceramic such as: Fold 2012, a towering sculpture weighing over 12 tonnes and made of 60 shimmering glazed ceramic bricks (pictured); After 1998, a huge serpentine wooden structure that is over 9 metres at its longest point; and Out of Order 2003, a sprawling sculpture constructed from ribbons of steamed wood. The Tate Britain, London, UK 03 February 2014. Guy Bell, 07771 786236, guy@gbphotos.com
    GB9075.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
  • 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
  • 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
  • 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 - 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
  • 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
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