Painted by Anna Zinkeisen, RDI; 12,500 sold

Fifth painting in a series entitled 'The Progress of Human Knowledge and Culture', displayed in the Great Room. Key to some of the portraits on reverse of card. It depicts officers and members of the Society distributing its awards to encourage arts, manufactures and commerce in the presence of the then Prince of Wales, later George IV. Beyond is an idealised representation of the river front of Somerset House and the dome of St Paul's. In the centre, a young female prizewinner is being presented to the Duchess of Northumberland by Mrs Montagu, and the Duchess of Rutland and Devonshire are grouped behind them, a reminder that membership of the Society was from its earliest years open to women. The founder of the Society is seated bottom left.

Shows part of the Nave and West Dome of the International Exhibition of 1862, with the statue of Queen Victoria, by John Durham, in the right foreground. The Exhibition, which lasted from May to November, occupied the site in South Kensington where the Natural History and Science Museums now stand. The Society was the prime mover of this great display of the arts, sciences, manufactures and trade, perhaps the high water-mark of Victorian material prosperity and ebullience in design. It was responsible for the initial planning, for raising the necessary guarantee fund and for nominating the managing Commission. The Exhibition itself was on a larger and more ambitious scale than its famous predecessor of 1951, and attracted nearly six and a quarter million visitors. 24,000 copies sold

Second painting in a series entitled 'The Progress of Human Knowledge and Culture', displayed in the Great Room. This picture commemorates the votive rites 'established by the doctrinal songs of Orpheus. Barry describes the scene as follows 'In the foreground are young men and women dancing round a double terminal figure of Sylvanus and Pan, the former with his lap filled with the fruits of the earth...in the other corner is...a group of inferior rustics...less amiable, more disorderly, and mean...Inthe top of the picture, Ceres, Bacchus, Pan &c., are looking down with benignity and satisfaction, on the innocent festivity of their happy votaries, behind them is a limb of the zodiac, with the signs of Leo, Virgo and Libra, which mark this season of the year. In the distance is a farm house, binding corn, bees &c., male and female employments, courtships, marriage and a number of little children...' an unstated analogy between the birth of the ancient Greek religion and Christianity, in which we can see the child playing with a bird on a string as the infant Jesus, his mother as Mary and companion as the Baptist, makes this painting of especial significance at Christmas time. 20,200 copies sold.

This painting was commissioned from the artist in 1863 by Members' subscriptions as part of the Society's memorial to the Prince Consort's Presidency (1843-1861). Together with a companion portrait of the Prince himself (by C.W. Cope, RA) it was hung in the Great Room. Both pictures remained there until the alterations to the Society's House in 1922-23 when they were removed to their present positions on the main staircase. In Horsley's painting The Queen and her children are shown as they would have been in 1851, the year of the Great Exhibition, which Prince Albert so largely inspired and guided. The young Prince of Wales is holding a plan of the Exhibition building. The other children depicted are (in order of age) The Princess Royal, Princess Alice, Prince Alfred (subsequently Duke of Edinburgh), Princess Helena, Princess Louise and little Prince Arthur (who as Duke of Connaught was to assume the Presidency in 1911). 43,125 copies sold.

Thomas Malton the younger (1748-1804) is best known for his 'Picturesque Tour through the Cities of London and Westminster (1792), etchings of some 100 drawings including a view of the House of the Society of Arts, which had awarded him a premium in 1774, coincidentally, the year of the building's completion. The picture shows on the left, the pedimented block, five lights wide, of what is now No. 18. This, together with the bow fronted building on the right of the picture still survives. But the house next to No. 18, the adjacent, graceful shops and buildings in the Strand, glimpsed at the end of the street, were demolished long ago. The Society did not acquire the freehold of its main house (No. 8) and of the coeval residence for the Secretary (No. 6) until 1922. In December 1977 it purchased the freehold of Nos 4 and 2 and of 18 Adam Street. The Society now owns the largest surviving range of original Adelphi builidngs, all of them designed by Robert and James Adam. The isometric drawing on the back of the card shows the relationship of these various houses. It also indicates the extent of the premises below ground, including huge vaults which extend far beneath John Adam Street. 44,147 copies sold.

Arlington Row dates from the 14th century, originally bult as a wool store it was converted into cottages for weavers in the 17th century. Arlington Row was rescued by the Society during its campaign for the Preservation of Ancient Cottages. In 1927 the owner of the Bibury cottages, unable to keep them, and their beautiful slate roofs, in repair, offered them to the Society for a comparatively small sum. Much more help was needed to repair them but the money was raised through a subscription fund headed by an American James Hazen Hyde. The donor's conditions that the rents should not be raised and that the exisitng tenants remain undisturbed were faithfully kept and in Septmeber 1930 the cottages, fully restored under the direction of Mr P Morley Horder, were formally handed over to the keeping of the Bristol and Gloucestershire Archaeological Trust. In 1949 the property was made over to the National Trust. Speaking at the Annual General Meeting of the campaign in 1929, G K Chesterton described the Society's attitude in saving such ancient dwellings: 'Look, here is a definite creation of man made under more normal, more dignified and more sane social conditions. It is like a Greek temple surviving in an age of barbarians.... This belongs to the history of humanity' Image of the tablet erected by the Society on reverse of card. 59,250 copies sold.

In 1983 Miss Saunders won the British Museum Design Award , sponsored by the Society, for a series of paper cut-out dolls' houses to be sold at the Bethnal Green Museum. 38,181 copies sold.

Shows a prize giving ceremony in the Great Room. 23,000 copies sold.

Taken from Dickinson's 'Pictures of the Great Exhibition 1851', a copy of which is held in the RSA archive. Scene shows the revolving lighthouse in the foreground and further back the Ross telescope. The idea of the exhibition originated with members of the then Society of Arts, including Francis Whishaw, Secretary from 1843 to 1845 and Henry Cole. Both were involved in the planning of the exhibition and the concept was championed by Prince Albert, then President of the Society. It was largely his influence which led to government backing for the exhibition as an international event. As such it became too large for the Society to be directly involved and responsibility passed to a Royal Commission. 28,000 copies sold.

Transfer drawing in pen and watercolour by Thomas Bewick for the engraving in his History of British Birds Vol I. 1797. Several hundred of such preparatory drawings and watercolours have survived and many are considered outstanding in their own right. The drawing is in the collection in the British Museum. In 1767 Bewick became apprenticed to Ralph Bielby of Newcastle upon Tyne and so commenced his career as a wood engraver. He received a premium or prize from the Society for engravings to illustrate a book of fables published in 1776. On being given the choice of a gold medal or seven guineas he chose the latter and presented it to his mother. Several of his pupils later also gained premiums. a fact of which he was very proud. 21,000 copies sold.

Fifth painting in a series entitled 'The Progress of Human Knowledge and Culture', displayed in the Great Room. It depicts officers and members of the Society distributing its awards to encourage arts, manufactures and commerce in the presence of the then Prince of Wales, later George IV. Beyond is an idealised representation of the river front of Somerset House and the dome of St Pauls. In the centre, a young female prizewinner is being presented to the Duchess of Northumberland by Mrs Montagu, and the Duchess of Rutland and Devonshire are grouped behing them, a reminder that membership of the Society was from its earliest years open to women. The founder of the Society is seated bottom left. 15,000 copies sold

The volume of prints from which this image is taken has been in the possession of the Society since it was first published. The Society is listed among the subscribers to the work, which would have been of particular relevance given its longstanding interest in printing (it regularly gave prizes for good examples of this craft). In a letter dated 13 March 1833, Lear wrote :'I have received from the Society a sheet of transferring lithographic paper, desiring my opinion of its suitableness for that purpose, and had I been at all accustomed to practice transferring, I should have felt very glad to have given it. As however I understand nothing of that part of the art of Lithography I have taken it to Mr Hullmandel.' Charles Hullmandel, the printer of 'Illustrations', received a silver medal from the Society in 1819 'for a lithographic drawing'. Lear was given permission to draw from life the parrots belonging to the Zoological Society of London. 18,000 copies sold.

Mr Davis's Chimney Brush was awarded the Society's Silver medal in 1806. In a letter dated 17 October 1806, B M Forster, who witnessed its original use and signed a certificate of approbation wrote :'I am convinced that chimnies may be swept as cleanly and effectually, as is commonly done with climbing-boys, so that the difference to the families who employ your machine will be, that they have the same comfort of a clean chimney, and are satisfied that they no longer use a method which is full of horrors and a disgrace to a civilised country'. The illustration of Joseph Davis's invention is taken from the Transaction of the Society, Vol XXV (1807). He received a number of other awards from the Society for his household inventions. Figures A are four brushes for sweeping the four sides of the chimney; figures B show two of the four springs which expand the machine to chimnies of all sizes; C represents the brush at the top of the machine proper for cleansing the pots; figures D show four lines to draw the brushes near together by a cord E, so that the machine may be forced up the chimney with greater facility. F shows the string to expand the brushes when the machine is at the top of the flue. 16,000 copies sold.

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Part of a set of designs that was highly commended in the 1996 RSA Student Design Awards Scheme for the Postage Stamp brief:'It's Christmas'. The RSA Student Design Awards scheme celebrates the benefits that industry and education can bring to each other. Each year approximately 3000 students enter the scheme which is supported by commercial companies, trust funds, the European Commission and individuals. 15,000 copies sold

Illustration taken from 'Sketches Towards a Hortus Botanicus Americanus...of New and Valuable Plants of the West Indies and North and South America' by W J Titford MD Corresponding member of the Society of Arts, 1812. The Society encouraged the development of the Botanic Garden at St Vincent, where Captain William Bligh left some tropical fruits, including breadfruit for which he was awarded the Society gold medal in 1794.

Taken from a rare mezzotint from the Society's collection. At 20 years of age Lawrie received a bounty of 30 guineas in 1776 from the Society for 'disclosing his method of printing mezzotint in colour'. Lawrie copied the bird form one brought back by Captain Cook in the previous year at the conclusion of his second great voyage of discovery.