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  • English Heritage’s annual re-enactment of the Battle of Hastings marks the 950th anniversary of the Battle in 1066. The event includes a Cavalry encampment, Norman & Saxon encampments and Medieval traders. It takes place at Battle Abbey on October 15th and 16th.
    Battle of Hastings 950 GBPhotos 021.jpg
  • English Heritage’s annual re-enactment of the Battle of Hastings marks the 950th anniversary of the Battle in 1066. The event includes a Cavalry encampment, Norman & Saxon encampments and Medieval traders. It takes place at Battle Abbey on October 15th and 16th.
    Battle of Hastings 950 GBPhotos 020.jpg
  • Wulfstan Eric Randerson, 12 days old, at his first 1066 re-enactment with his parents in the Norman Camp. Ypoung enought to be at the 1000 year anniversary  - English Heritage’s annual re-enactment of the Battle of Hastings marks the 950th anniversary of the Battle in 1066. The event includes a Cavalry encampment, Norman & Saxon encampments and Medieval traders. It takes place at Battle Abbey on October 15th and 16th.
    Battle of Hastings 950 GBPhotos 017.jpg
  • Children are drawn to the toy axes, swords and helmets - English Heritage’s annual re-enactment of the Battle of Hastings marks the 950th anniversary of the Battle in 1066. The event includes a Cavalry encampment, Norman & Saxon encampments and Medieval traders. It takes place at Battle Abbey on October 15th and 16th.
    Battle of Hastings 950 GBPhotos 015.jpg
  • English Heritage’s annual re-enactment of the Battle of Hastings marks the 950th anniversary of the Battle in 1066. The event includes a Cavalry encampment, Norman & Saxon encampments and Medieval traders. It takes place at Battle Abbey on October 15th and 16th.
    Battle of Hastings 950 GBPhotos 011.jpg
  • Wulfstan Eric Randerson, 12 days old, at his first 1066 re-enactment with his parents in the Norman Camp. Ypoung enought to be at the 1000 year anniversary  - English Heritage’s annual re-enactment of the Battle of Hastings marks the 950th anniversary of the Battle in 1066. The event includes a Cavalry encampment, Norman & Saxon encampments and Medieval traders. It takes place at Battle Abbey on October 15th and 16th.
    Battle of Hastings 950 GBPhotos 009.jpg
  • The Saxon/English camp - English Heritage’s annual re-enactment of the Battle of Hastings marks the 950th anniversary of the Battle in 1066. The event includes a Cavalry encampment, Norman & Saxon encampments and Medieval traders. It takes place at Battle Abbey on October 15th and 16th.
    Battle of Hastings 950 GBPhotos 007.jpg
  • Simulated battle bu cavalry and infantry - English Heritage’s annual re-enactment of the Battle of Hastings marks the 950th anniversary of the Battle in 1066. The event includes a Cavalry encampment, Norman & Saxon encampments and Medieval traders. It takes place at Battle Abbey on October 15th and 16th.
    Battle of Hastings 950 GBPhotos 002.jpg
  • English Heritage’s annual re-enactment of the Battle of Hastings marks the 950th anniversary of the Battle in 1066. The event includes a Cavalry encampment, Norman & Saxon encampments and Medieval traders. It takes place at Battle Abbey on October 15th and 16th.
    Battle of Hastings 950 GBPhotos 003.jpg
  • The Saxons give chase - English Heritage’s annual re-enactment of the Battle of Hastings marks the 950th anniversary of the Battle in 1066. The event includes a Cavalry encampment, Norman & Saxon encampments and Medieval traders. It takes place at Battle Abbey on October 15th and 16th.
    GB34398 (1).jpg
  • English Heritage’s annual re-enactment of the Battle of Hastings marks the 950th anniversary of the Battle in 1066. The event includes a Cavalry encampment, Norman & Saxon encampments and Medieval traders. It takes place at Battle Abbey on October 15th and 16th.
    Battle of Hastings 950 GBPhotos 081.jpg
  • Simulated battle bu cavalry and infantry - English Heritage’s annual re-enactment of the Battle of Hastings marks the 950th anniversary of the Battle in 1066. The event includes a Cavalry encampment, Norman & Saxon encampments and Medieval traders. It takes place at Battle Abbey on October 15th and 16th.
    Battle of Hastings 950 GBPhotos 058.jpg
  • Norman archers attack - English Heritage’s annual re-enactment of the Battle of Hastings marks the 950th anniversary of the Battle in 1066. The event includes a Cavalry encampment, Norman & Saxon encampments and Medieval traders. It takes place at Battle Abbey on October 15th and 16th.
    Battle of Hastings 950 GBPhotos 048.jpg
  • Venus Williams  runs the first leg of the Olympic Torch relay after the All England Lawn Tennis Club stop at Wimbledon, London, UK, 23 July 2012.
    Venus Williams Torch04.jpg
  • Students put ona an end of year performance after training at Circus Space, the Hoxton based training school for circus performers. Shoreditch, London, UK. Guy Bell Photography
    Circus Space GBPhotos 39.jpg
  • Students put ona an end of year performance after training at Circus Space, the Hoxton based training school for circus performers. Shoreditch, London, UK. Guy Bell Photography
    Circus Space GBPhotos 38.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
  • 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
  • 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
  • Trane 1969 by William T Williams - Soul of a Nation: Art in the Age of Black Power, Tate Modern’s new exhibition exploring what it meant to be a Black artist during the Civil Rights movement.  The exhibition is at Tate Modern from 12 July – 22 October 2017.
    Tate Soul of a Nation GBPhotos 37.jpg
  • Trane 1969 by William T Williams (pictured) - Soul of a Nation: Art in the Age of Black Power, Tate Modern’s new exhibition exploring what it meant to be a Black artist during the Civil Rights movement.  The exhibition is at Tate Modern from 12 July – 22 October 2017.
    Tate Soul of a Nation GBPhotos 36.jpg
  • Trane 1969 by William T Williams - Soul of a Nation: Art in the Age of Black Power, Tate Modern’s new exhibition exploring what it meant to be a Black artist during the Civil Rights movement.  The exhibition is at Tate Modern from 12 July – 22 October 2017.
    Tate Soul of a Nation GBPhotos 34.jpg
  • William T Williams with his work Nu Nile 1973 - Soul of a Nation: Art in the Age of Black Power, Tate Modern’s new exhibition exploring what it meant to be a Black artist during the Civil Rights movement.  The exhibition is at Tate Modern from 12 July – 22 October 2017.
    Tate Soul of a Nation GBPhotos 22.jpg
  • William T Williams with his work Nu Nile 1973 - Soul of a Nation: Art in the Age of Black Power, Tate Modern’s new exhibition exploring what it meant to be a Black artist during the Civil Rights movement.  The exhibition is at Tate Modern from 12 July – 22 October 2017.
    Tate Soul of a Nation GBPhotos 23.jpg
  • William T Williams with his work Nu Nile 1973 - Soul of a Nation: Art in the Age of Black Power, Tate Modern’s new exhibition exploring what it meant to be a Black artist during the Civil Rights movement.  The exhibition is at Tate Modern from 12 July – 22 October 2017.
    Tate Soul of a Nation GBPhotos 21.jpg
  • The return and rehanging of the nation’s Pre-Raphaelite works, including Millais’ Ophelia (pictured centre bottom), to Tate Britain. They are going back on display from Thursday 7 August 2014 after being seen by over 1.1 million people worldwide. They include: John Everett Millais’ , Ophelia; Beata Beatrix by Dante Gabriel Rossetti; The Lady of Shalott by John William Waterhouse; The Beloved by Rossetti; and Mariana by John Everett Millais. These works are being displayed in the 'grand' surroundings of the 1840 galleries as part of the BP Walk through British Art. <br />
Millbank,  London, UK.
    SentGB11514.jpg
  • Prince Charles and Camilla leave followed by Prince William, Kate and Prince Harry - Grenfell Tower National Memorial Service at St Paul's Cathedral exactly six months on from the Grenfell Tower disaster. Grenfell Tower survivors and families of the bereaved attended and the order of service focused on remembering those who lost their lives, on providing messages of support for the bereaved, and on offering strength and hope for the future, for those of all faiths and none. London 14 December 2017
    GB44214.jpg
  • Statesmen of World War 1, 1924-30, by Sir James Guthrie and Sir Winston Churchill by Sir William Orpen - The National Portrait Gallery, London opens brand new gallery spaces devoted to its early 20th Century Collection on 4 November 2017. The creation of these new spaces within the Gallery’s free permanent Collection, has been made possible by a grant from the DCMS/ Wolfson Museums & Galleries Improvement Fund. London 03 Nov 2017.
    NPG New Galleries GBPhotos 16.jpg
  • Self by Martin Puryear, Curtain (for William and Peter) 1969-70 by Melvin Edwards, Carousel Change 1970 by Sam Gilliam  and Texas Louise 1971 by Frank Bowling - Soul of a Nation: Art in the Age of Black Power, Tate Modern’s new exhibition exploring what it meant to be a Black artist during the Civil Rights movement.  The exhibition is at Tate Modern from 12 July – 22 October 2017.
    Tate Soul of a Nation GBPhotos 24.jpg
  • Curtain (for William and Peter) 1969-70 by Melvin Edwards - Soul of a Nation: Art in the Age of Black Power, Tate Modern’s new exhibition exploring what it meant to be a Black artist during the Civil Rights movement.  The exhibition is at Tate Modern from 12 July – 22 October 2017.
    Tate Soul of a Nation GBPhotos 19.jpg
  • Curtain (for William and Peter) 1969-70 by Melvin Edwards - Soul of a Nation: Art in the Age of Black Power, Tate Modern’s new exhibition exploring what it meant to be a Black artist during the Civil Rights movement.  The exhibition is at Tate Modern from 12 July – 22 October 2017.
    Tate Soul of a Nation GBPhotos 17.jpg
  • Prince Charles, Prince William and Princess Anne - Trooping the Colour by the Irish Guards on the Queen’s Birthday Parade. The Queen’s Colour is “Trooped” in front of Her Majesty The Queen and all the Royal Colonels.  His Royal Highness The Duke of Cambridge takes the Colonel’s Review for the first time on Horse Guards Parade riding his horse Wellesley. The Irish Guards are led out by their famous wolfhound mascot Domhnall and more than one thousand Household Division soldiers perform their ceremonial duty. The Soldiers will parade in the traditional ceremonial uniforms of the Household Cavalry, Royal Horse Artillery, and Foot Guards. They are accompanied by the Household Division Bands & Corps of Drums. London 17th June 2017.
    Trooping the colour GBPhotos 14.jpg
  • Works by William Klein in the Hackellbury - Photo London, an international photography event befitting in its third edition, Along with the selection of the world’s leading galleries showing at the Fair, Photo London presents the Discovery section for the most exciting emerging galleries and artists. There is also a Public Programme bringing together special exhibitions and talks. The event runs until 21 May. London 17 May 2017.
    Photo London GBPhotos 24.jpg
  • Works by William Klein in the Hackellbury - Photo London, an international photography event befitting in its third edition, Along with the selection of the world’s leading galleries showing at the Fair, Photo London presents the Discovery section for the most exciting emerging galleries and artists. There is also a Public Programme bringing together special exhibitions and talks. The event runs until 21 May. London 17 May 2017.
    Photo London GBPhotos 23.jpg
  • Reinventing the Wheel by William Alexander - The Royal Academy of Arts’ 248th Summer Exhibition is coordinated by the renowned British sculptor and Royal Academician Richard Wilson (pictured).
    RA Summer Show GBPhotos 17.jpg
  • Work by William Eggleston in the Rose Gallery.  The inaugural edition of Photo London - London’s first international photography fair, it aims to harness the growing audience for photography in the city and nurture a new generation of collectors. Photo London is produced by the consultancy and curatorial organisation Candlestar, known for their work with Condé Nast and the Prix Pictet photography award and touring exhibition. Photo London’s public programme is supported by the LUMA Foundation.
    Photo London GBPhotos 16.jpg
  • Work by William Eggleston in the Rose Gallery.  The inaugural edition of Photo London - London’s first international photography fair, it aims to harness the growing audience for photography in the city and nurture a new generation of collectors. Photo London is produced by the consultancy and curatorial organisation Candlestar, known for their work with Condé Nast and the Prix Pictet photography award and touring exhibition. Photo London’s public programme is supported by the LUMA Foundation.
    Photo London GBPhotos 15.jpg
  • Sir William Rothenstein (1872-1945) , Portrait of Gladys Calthrop, est £5000-7000 (L). Pierre-Auguste Renoir (1841-1919), Le chapeau epinglé, est £300-500. The private collection of Sir Noël Coward, which will be offered as part of the Modern British and Irish Art sale on 19 March 2015 at South Kensington. This collection features a group of paintings by Coward himself, which include portraits and scenes of Jamaica alongside paintings he acquired as gifts from friends such as the actress Elizabeth Taylor, the actor David Niven, and the composer, actor and entertainer Ivor Novello. It comprises works by revered British artists such as Christopher Wood, John Nash, Edward Seago and Derek Hill. Estimates range from £300 up to £100,000.
    Christies Noel Coward GBPhotos 06.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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • The return of the nation’s Pre-Raphaelite works, including Millais’ Ophelia, to Tate Britain. They are going back on display from Thursday 7 August 2014 after being seen by over 1.1 million people worldwide. They include: John Everett Millais’ , Ophelia; Beata Beatrix by Dante Gabriel Rossetti; The Lady of Shalott by John William Waterhouse; The Beloved by Rossetti; and Mariana by John Everett Millais. These works are being displayed in the 'grand' surroundings of the 1840 galleries as part of the BP Walk through British Art. <br />
Millbank,  London, UK.
    SentGB11531.jpg
  • The return and re-hanging of the nation’s Pre-Raphaelite works, including Millais’ Ophelia (pictured right), to Tate Britain. They are going back on display from Thursday 7 August 2014 after being seen by over 1.1 million people worldwide. They include: John Everett Millais’ , Ophelia; Beata Beatrix by Dante Gabriel Rossett (pictured left); The Lady of Shalott by John William Waterhouse; The Beloved by Rossetti; and Mariana (pictured centre) by John Everett Millais. These works are being displayed in the 'grand' surroundings of the 1840 galleries as part of the BP Walk through British Art. <br />
Millbank,  London, UK.
    SentGB11536.jpg
  • The return and re-hanging of the nation’s Pre-Raphaelite works, including Millais’ Ophelia, to Tate Britain. They are going back on display from Thursday 7 August 2014 after being seen by over 1.1 million people worldwide. They include: John Everett Millais’ , Ophelia; Beata Beatrix by Dante Gabriel Rossetti; The Lady of Shalott by John William Waterhouse (pictured left); The Beloved by Rossetti; and Mariana by John Everett Millais. These works are being displayed in the 'grand' surroundings of the 1840 galleries as part of the BP Walk through British Art. <br />
Millbank,  London, UK.
    SentGB11528.jpg
  • The return and re-hanging of the nation’s Pre-Raphaelite works, including Millais’ Ophelia, to Tate Britain. They are going back on display from Thursday 7 August 2014 after being seen by over 1.1 million people worldwide. They include: John Everett Millais’ , Ophelia; Beata Beatrix  (pictured top) by Dante Gabriel Rossetti; The Lady of Shalott by John William Waterhouse; The Beloved by Rossetti (pictured middle); and Mariana by John Everett Millais. These works are being displayed in the 'grand' surroundings of the 1840 galleries as part of the BP Walk through British Art. <br />
Millbank,  London, UK.
    SentGB11524.jpg
  • The return and re-hanging of the nation’s Pre-Raphaelite works, including Millais’ Ophelia (pictured right), to Tate Britain. They are going back on display from Thursday 7 August 2014 after being seen by over 1.1 million people worldwide. They include: John Everett Millais’ , Ophelia; Beata Beatrix by Dante Gabriel Rossett (pictured left); The Lady of Shalott by John William Waterhouse; The Beloved by Rossetti; and Mariana (pictured centre) by John Everett Millais. These works are being displayed in the 'grand' surroundings of the 1840 galleries as part of the BP Walk through British Art. <br />
Millbank,  London, UK.
    SentGB11523.jpg
  • The return and rehanging of the nation’s Pre-Raphaelite works, including Millais’ Ophelia (pictured centre bottom), to Tate Britain. They are going back on display from Thursday 7 August 2014 after being seen by over 1.1 million people worldwide. They include: John Everett Millais’ , Ophelia; Beata Beatrix by Dante Gabriel Rossetti; The Lady of Shalott by John William Waterhouse; The Beloved by Rossetti; and Mariana by John Everett Millais. These works are being displayed in the 'grand' surroundings of the 1840 galleries as part of the BP Walk through British Art. <br />
Millbank,  London, UK.
    SentGB11513.jpg
  • The return and rehanging of the nation’s Pre-Raphaelite works, including Millais’ Ophelia (pictured centre bottom), to Tate Britain. They are going back on display from Thursday 7 August 2014 after being seen by over 1.1 million people worldwide. They include: John Everett Millais’ , Ophelia; Beata Beatrix by Dante Gabriel Rossetti; The Lady of Shalott by John William Waterhouse; The Beloved by Rossetti; and Mariana by John Everett Millais. These works are being displayed in the 'grand' surroundings of the 1840 galleries as part of the BP Walk through British Art. <br />
Millbank,  London, UK.
    SentGB11511.jpg
  • The return and re-hanging of the nation’s Pre-Raphaelite works, including Millais’ Ophelia, to Tate Britain. They are going back on display from Thursday 7 August 2014 after being seen by over 1.1 million people worldwide. They include: John Everett Millais’ , Ophelia; Beata Beatrix by Dante Gabriel Rossetti; The Lady of Shalott by John William Waterhouse; The Beloved by Rossetti; and Mariana (pictured centre)  by John Everett Millais. These works are being displayed in the 'grand' surroundings of the 1840 galleries as part of the BP Walk through British Art. <br />
Millbank,  London, UK.
    SentGB11501.jpg
  • The return and rehanging of the nation’s Pre-Raphaelite works, including Millais’ Ophelia (pictured centre bottom), to Tate Britain. They are going back on display from Thursday 7 August 2014 after being seen by over 1.1 million people worldwide. They include: John Everett Millais’ , Ophelia; Beata Beatrix by Dante Gabriel Rossetti; The Lady of Shalott by John William Waterhouse; The Beloved by Rossetti; and Mariana by John Everett Millais. These works are being displayed in the 'grand' surroundings of the 1840 galleries as part of the BP Walk through British Art. <br />
Millbank,  London, UK.
    GB11539 replacement.jpg
  • The return and re-hanging of the nation’s Pre-Raphaelite works, including Millais’ Ophelia (pictured right), to Tate Britain. They are going back on display from Thursday 7 August 2014 after being seen by over 1.1 million people worldwide. They include: John Everett Millais’ , Ophelia; Beata Beatrix by Dante Gabriel Rossett (pictured left); The Lady of Shalott by John William Waterhouse; The Beloved by Rossetti; and Mariana (pictured centre) by John Everett Millais. These works are being displayed in the 'grand' surroundings of the 1840 galleries as part of the BP Walk through British Art. <br />
Millbank,  London, UK.
    GB11538.jpg
  • The return and re-hanging of the nation’s Pre-Raphaelite works, including Millais’ Ophelia (pictured right), to Tate Britain. They are going back on display from Thursday 7 August 2014 after being seen by over 1.1 million people worldwide. They include: John Everett Millais’ , Ophelia; Beata Beatrix by Dante Gabriel Rossetti; The Lady of Shalott by John William Waterhouse ; The Beloved by Rossetti; and Mariana  (pictured left)  by John Everett Millais. These works are being displayed in the 'grand' surroundings of the 1840 galleries as part of the BP Walk through British Art. <br />
Millbank,  London, UK.
    GB11529.jpg
  • The return and re-hanging of the nation’s Pre-Raphaelite works, including Millais’ Ophelia, to Tate Britain. They are going back on display from Thursday 7 August 2014 after being seen by over 1.1 million people worldwide. They include: John Everett Millais’ , Ophelia; Beata Beatrix by Dante Gabriel Rossetti; The Lady of Shalott by John William Waterhouse (pictured left); The Beloved by Rossetti; and Mariana (pictured right)  by John Everett Millais. These works are being displayed in the 'grand' surroundings of the 1840 galleries as part of the BP Walk through British Art. <br />
Millbank,  London, UK
    GB11521.jpg
  • The return and rehanging of the nation’s Pre-Raphaelite works, including Millais’ Ophelia (pictured centre bottom), to Tate Britain. They are going back on display from Thursday 7 August 2014 after being seen by over 1.1 million people worldwide. They include: John Everett Millais’ , Ophelia; Beata Beatrix by Dante Gabriel Rossetti; The Lady of Shalott by John William Waterhouse; The Beloved by Rossetti; and Mariana by John Everett Millais. These works are being displayed in the 'grand' surroundings of the 1840 galleries as part of the BP Walk through British Art. <br />
Millbank,  London, UK.
    GB11508.jpg
  • The return and rehanging of the nation’s Pre-Raphaelite works, including Millais’ Ophelia (pictured centre bottom), to Tate Britain. They are going back on display from Thursday 7 August 2014 after being seen by over 1.1 million people worldwide. They include: John Everett Millais’ , Ophelia; Beata Beatrix by Dante Gabriel Rossetti; The Lady of Shalott by John William Waterhouse; The Beloved by Rossetti; and Mariana by John Everett Millais. These works are being displayed in the 'grand' surroundings of the 1840 galleries as part of the BP Walk through British Art. <br />
Millbank,  London, UK.
    GB11507.jpg
  • The return and re-hanging of the nation’s Pre-Raphaelite works, including Millais’ Ophelia, to Tate Britain. They are going back on display from Thursday 7 August 2014 after being seen by over 1.1 million people worldwide. They include: John Everett Millais’ , Ophelia; Beata Beatrix by Dante Gabriel Rossetti; The Lady of Shalott by John William Waterhouse; The Beloved by Rossetti; and Mariana (pictured centre)  by John Everett Millais. These works are being displayed in the 'grand' surroundings of the 1840 galleries as part of the BP Walk through British Art. <br />
Millbank,  London, UK.
    GB11505.jpg
  • Sotheby’s London Exhibition of Sale Highlights from the Forthcoming Major New York Auctions of Contemporary and Impressionist and Modern Art, including exceptional Diamonds from Geneva. The auctions will include: $25-35 million masterpiece by Gerhard Richter;William de Kooning - untitled $18-25m (pictured) They will take place in New York and Geneva 11-15 April 2014. Sotheby’s, New Bond St, London, UK.
    Sothebys Preview GBPhotos 22.jpg
  • Sir Winston Churchill by Sir William Orpen - The National Portrait Gallery, London opens brand new gallery spaces devoted to its early 20th Century Collection on 4 November 2017. The creation of these new spaces within the Gallery’s free permanent Collection, has been made possible by a grant from the DCMS/ Wolfson Museums & Galleries Improvement Fund. London 03 Nov 2017.
    NPG New Galleries GBPhotos 20.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
  • 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
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