Pinterest is an online pinboard.
Organize and share things you love.
The opening of the Great Exhibition 1851. Eugène Louis Lami (artist)
3 likes
The Crystal Palace, south side. Great Exhibition of 1851, Illustrated London News
3 likes
Commemorative mug Place of origin: Staffordshire (probably, made) Date: 1851 (made) Artist/Maker: Unknown (production) Materials and Techniques: Earthenware, transfer-printed in underglaze blue
1 like 1 repin
Commemorative mug Place of origin: London (made) Date: 1851-1852 (made) Artist/Maker: Smith & Nicholson (maker) Materials and Techniques: Silver, parcel-gilt and engraved
Great Exhibition Season Ticket The most eager visitors acquired season tickets such as this for repeat visits. The exhibition was open from 1 May to 15 October, 1851. For the first four weeks, the tickets were priced at 5 shillings, making them unaffordable to large sections of society. On 26 May, the price was dropped to one shilling.
1 like 1 repin
View of the Nave, Great Exhibition 1851, From the American Gallery
1 repin
This 1851 map of London by Joseph Cross was produced for visitors to London during the Great Exhibition of 1851 in Hyde Park. This map is unique amongst the MAPCO collection as it printed on silk, the texture of which is clearly visible in the scans. It has suffered some staining over the years, the eastern sections of the map having a water stain showing over the entire height of the map. Despite this flaw the map is in excellent condition for its age, given that it is printed directly onto silk and is not reinforced in any way. The hand colouring is still bright and vibrant after 156 years.
Map of London produced in 1851 by James Cross for visitors to the Great Exhibition. It is printed on silk, the texture of which is clearly visible on the scan. Source: MAPCO, Map and Plan Collection Online, london1851.com/in....
2 repins
This printed cotton panel commemorates the Great Exhibition of 1851, housed in Crystal Palace, a giant iron and glass structure erected in Hyde Park. The Great Exhibition of the Industry of All Nations showed exhibits from all over the world and promoted the achievements of British manufacture. Textiles and textile machinery were displayed throughout, including silks, cottons, tapestries, floor cloths, lace and embroidery.
This watercolour shows the Indian Court and Jewels. The Indian items on display include jewellery, textiles and model boats. After the closure of the exhibition in October 1851, a parliamentary grant of £5000 was given to the V&A to finance the creation of its core collections. £1500 of this was spent on Indian manufactures, some of which were purchased from the exhibition.
This view of the colonial exhibits shows that, as well as works of art and manufacture, a large number of natural resources were on display at the Great Exhibition of 1851, including minerals, fruits and vegetables. The aim was to impress the visitor with the quality of colonial produce. The comparatively few artefacts on display emphasised the importance of these countries to Britain as sources of raw materials and as new markets for their own manufactured goods. The official catalogue described Australia, for example, as ‘the most extensive wool-producing country in the world’, with valuable exports to Britain. This print shows the Canadian pavilion, with a canoe, deer heads and fur on display.
This view of the colonial exhibits shows that, as well as works of art and manufacture, a large number of natural resources were on display at the Great Exhibition of 1851, including minerals, fruits and vegetables. The aim was to impress the visitor by with the quality of colonial produce. The comparatively few artefacts on display emphasised the importance of these countries to Britain as sources of raw materials and as new markets for their own manufactured goods. The official catalogue described Australia, for example, as ‘the most extensive wool-producing country in the world’, with valuable exports to Britain. This print shows the Greek pavilion, with a national costume on display in a glass case.
1 repin
This image shows the Crystal Palace in Hyde Park, London, during the Great Exhibition in 1851. Here you can see visitors to the exhibition in Kensington Gardens. More than six million people visited the Crystal Palace. Up to one million travelled by rail. They stayed overnight in lodgings in London and had picnics in the park surrounding the Crystal Palace.
The title of this watercolour, 'Part of the French Court, No. 1 (Sèvres)', refers to the display of porcelain by the Sèvres factory visible in the background. The large ebony cabinet in the foreground was probably the combined work of the French foundry Barbedienne & Co. and their British agents, Jackson & Graham. Its bronze decorations are reduced versions by Jean-Baptiste Clesinger of works by Michelangelo and Ghiberti.
1 repin
This watercolour shows the Russian Court. The Russian Court included furniture made of malachite, a bright green mineral, by the St Petersburg firm of Demidoff. The large porcelain vase in the middle of the display is by the Imperial Porcelain Manufactory of St Petersburg. It is decorated with scenes after the 17th-century Dutch artist Nicolaes Berchem.
This work shows a display of church furnishings and fabrics by the Bolton draper Gilbert French. A small advertisement for the firm can be seen in the lower left corner. Exhibits from the display of heavy machinery are visible in the right background.
This view of the West Nave shows a large cross that was designed and sculpted by the Hon. Harriet M. Ross of Rosstrevor, Ireland. It depicts scenes from the New Testament, including the Crucifixion in the centre and the Resurrection at the top. The polygonal glazed display case to the right belonged to Spiers & Son of Oxford. It contained objects and furniture made of papier mâché.
This view of the Fine Arts Court shows a display including examples of both secular and religious virtuoso carving. It is centred around an ornamental neo-Gothic font that was probably made by J. Castle of Oxford. The pair of mounted jug-shaped vases flanking the Crucifixion are by a London manufacturer called Egisippo Norchi.
This watercolour shows a view of the China Court. China did not respond to the invitation to submit work to the exhibition. As a result, the China Court comprised samples from the stock of a number of importers of Chinese goods. The principal of these was Hewett & Co. of Fenchurch Street.
This watercolour shows a plaster of the statue of the medieval hero Godfrey of Bouillon by Eugène Simonis which was the centrepiece of the Belgian display in the East Nave. A bronze version stands outside the Royal Palace in Brussels. At the foot of the plaster are a number of smaller marbles by Simonis, including The Happy Child.
This view of the East Nave shows objects from the Zollverein, the collective name for the German states belonging to the German Customs Union formed in 1834. A key exhibit was the massive zinc sculpture of The Amazon by August Karl Eduard Kiss. The original bronze version faces the Neues Museum in Berlin.
This view of the Indian Court and Elephant Trappings must have been painted before the exhibition opened, as the howdah at the back of the court is not yet on the stuffed elephant that appears in the subsequent lithographs. To the left is one of the elm trees that were incorporated within the temporary building for the duration of the exhibition.
This watercolour shows a view of the French Court. The sideboard of carved walnut on the left in this watercolour is the work of the Paris manufacturer Fourdinois. It was discussed in The Illustrated Exhibitor, 13 September 1851: ‘the design of the artist is to make the ornamentation entirely subservient to its intended purposes’.
1 like
External View of the Transept of the Crystal Palace from the Prince of Wales Gate. Building at left with, in the foreground, a variety of visitors to the Exhibition including piemen selling pies, a Beefeater from the Tower of London, and sailors on shore leave.
The Gothic style is shown in all its glory in the Medieval Court. On display can be seen the stained glass and metalwork of John Hardman and the glass of Thomas Willement. Visitors are seen studying the objects with what appears to be guide books.
Philip Delamotte was commissioned to document the reconstruction of the Crystal Palace exhibition building at Sydenham in 1854. The bright light of the glass interior made it possible to take interior 'news' photographs. Delamotte also taught and wrote about photographic techniques, but the committment of his professorship in drawing at King's College, London meant that his career as a photographer was short-lived and by the end of the 1850s his prolific photographic output had ceased.
1 repin
This photograph of 1854 shows the interior of the Crystal Palace in south London. The Crystal Palace housed the Great Exhibition of the Works of Industry of All Nations in 1851. It was relocated from its original site in Hyde Park in central London to Sydenham in the suburbs of south London. The British photographer Philip Henry Delamotte photographed the reconstruction of the Crystal Palace between 1851 and 1854. This photograph shows the fountain, which was a popular meeting place during the exhibition. It also shows the transept. The Crystal Palace was the venue for various events such as exhibitions, music festivals and demonstrations of moving pictures. After the Festival of Empire in 1911 the building deteriorated further. Attempts to raise funds and to generate new interest in the building were mostly unsuccessful. The Crystal Palace was an unkempt relic from a past age by the time it was completely destroyed by a fire in 1936.
1 repin
Her Majesty and the Princes passing through the Crystal Palace
These sketches are Joseph Paxton's first thoughts for the building for the Great Exhibition of 1851, later known as the Crystal Palace. He drew them during a Midland Railway board meeting in Derby. The two sketches show the side elevation and cross section. They are mounted with a telegram that was sent to Paxton's wife confirming acceptance of the plan. Design & Designing Within a week, the sketches were converted into proper drawings and presented to the Commission board. Paxton's design was accepted by the Royal Commissioners for the Great Exhibition partly because all the other architects' schemes had been rejected. Time was running out and Paxton's idea of building a glass and iron structure from prefabricated sections meant that the building could be constructed quickly. Place Paxton had successfully designed and built glass houses at Chatsworth, in Derbyshire, where he had been head gardener. These sketches for a building made of glass and iron were based on the lines of the Lily House at Chatsworth. Paxton used many of the same principles for both buildings. The Crystal Palace was the first structure to use iron on such a large scale.
1 repin
The opening of the Great Industrial Exhibition of All Nations
View of the Nave, Great Exhibition 1851, From the American Gallery
Queen Victoria, Prince Albert and three of their children at the Indian Pavilion of the Great Exhibition
The Opening of the Great Exhibition by Queen Victoria on 1 May 1851
Fetching pins…
£1,500.00
