Showing 3680 results

Left to right, tobacco jar designed by A E Poulter and made by A R Emerson, tea caddy by Susan Rowe, biscuit box by Edward Spencer

Designed and made by Catherine Cockerell

Designed and made by Catherine Cockerell

Awarded silver medal

Binding by Zaehnsdorf

Binding by Zaehnsdorf

Print of the Thames painted by James Barry in the Society's Great Room. The print is dated 1 May 1791 but this is far too early as the addition of the naval pillar to the painting was not made until late 1801, early 1802.

This print was Barry's attack on the condition of contemporary England. It praises the birth of Liberty in North America and its demise in England. The print was quite a forceful indictment on the establishment and this may explain why Barry did not actually sign it.

Maggie Ellenby collaborated with Cany Ash of Ash Sakula Architects on the design of new offices and live/work accommodation for Free Form Arts Trust, the incorporation of facilities for other artists and arts resources for the local community. The trust develops projects involving local people in the urban regeneration process. The building is sited on a narrow brownfield site between London Fields and the Liverpool Street to Stanstead line in Hackney. The project was completed in 2002. Client: Free Form Arts Trust. Award value £3,000.

This print shows a revision of the Glorius Sextumvirate shown in James Barry's original 'Elysium and Tartarus' painted in the Society's Great Room. The print gives a date of 1 May 1795 but when first published they did not have any lettering (the Society does hold one of these prints). The version which included the inscritption was not ready until 1800. Comparison of the 1795 and 1800 versions shows the changes Barry made.

This print shows a revision of the Glorius Sextumvirate shown in James Barry's original 'Elysium and Tartarus' painted in the Society's Great Room. The print gives a date of 1 May 1795 but when first published they did not have any lettering (the Society does hold one of these prints). The version which included the inscription was not ready until 1800. Comparison of the 1795 and 1800 versions shows the changes Barry made.

This print shows a revision of the Glorius Sextumvirate shown in James Barry's original 'Elysium and Tartarus' painted in the Society's Great Room. The print gives a date of 1 May 1795 but when first published they did not have any lettering (the Society does hold one of these prints). The version which included the inscription was not ready until 1800. Comparison of the 1795 and 1800 versions shows the changes Barry made.

This print shows a revision of the Glorius Sextumvirate shown in James Barry's original 'Elysium and Tartarus' painted in the Society's Great Room. The print gives a date of 1 May 1795 but when first published they did not have any lettering (the Society does hold one of these prints). The version which included the inscription was not ready until 1800. Comparison of the 1795 and 1800 versions shows the changes Barry made.

This print shows a revision of the Glorius Sextumvirate shown in James Barry's original 'Elysium and Tartarus' painted in the Society's Great Room. The print gives a date of 1 May 1795 but when first published they did not have any lettering (the Society does hold one of these prints). The version which included the inscritption was not ready until 1800. Comparison of the 1795 and 1800 versions shows the changes Barry made.

This print shows a revision of the Glorius Sextumvirate shown in James Barry's original 'Elysium and Tartarus' painted in the Society's Great Room. The print gives a date of 1 May 1795 but when first published they did not have any lettering (the Society does hold one of these prints). The version which included the inscription was not ready until 1800. Comparison of the 1795 and 1800 versions shows the changes Barry made. This print has the inscription handwritten in pencil under the mounted print.

This print shows a revision of the Glorius Sextumvirate shown in James Barry's original 'Elysium and Tartarus' painted in the Society's Great Room. The print gives a date of 1 May 1795 but when first published they did not have any lettering (the Society does hold one of these prints). The version which included the inscritption was not ready until 1800. Comparison of the 1795 and 1800 versions shows the changes Barry made.

This print shows a revision of the Glorius Sextumvirate shown in James Barry's original 'Elysium and Tartarus' painted in the Society's Great Room. The print gives a date of 1 May 1795 but when first published they did not have any lettering (the Society does hold one of these prints). The version which included the inscritption was not ready until 1800. Comparison of the 1795 and 1800 versions shows the changes Barry made.