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In 1793, the Society's Gold Medal was adjudged to Captain William Bligh RN, Master of HMS Providence, for his success, the previous year, 'in conveying from the Islands in the South Sea, to...the Islands in the West Indies subject to the Crown of Great Britain, the Breadfruit Tree, in a growing state'. The picture depicts the scene of Bligh's arrival in the West Indies, where in fact he delivered a great variety of plants, in addition to breadfruit, at St Vincent's and Jamaica. Bligh is the officer in the central foreground, carrying a telescope. Bligh had first visited the South Seas as Captain Cook's sailing-master in the Resolution in 1772-74 and it was during this expedition that the breadfruit trees was discovered at Otaheite. His first attempt to transplant it, whilst Master of the Bounty in 1788-89, ended in the notorious mutiny. a hydrographer and botanist of distinction as well as a thoroughly competent seaman, he was in later life elected a Fellow of the Royal Society. After his unhappy experiences as Governor of New South Wales in 1808-1810, he returned to England, was promoted to Flag rank and died in December 1817. 39,000 copies sold.

The Society signed the building agreement with Robert and James Adam on 21st March 1772, and the foundation stone of the House was laid (at its west end) exactly a week later. The work was finished 'most justly and faithfully' to the specifications in April 1774 and the Society took occupation during the following June. The building with pilatered facade which close the view at the end of John Street still survives virtually unchanged. Adelphi Terrace (on the extreme right of the picture) was demolished in 1936. In the group appearing in the left foreground Robert Adam is displaying his design for the front elevation of the House to Members of the Society, whilst his brother James, also carrying plans, points toward the site. 56,700 copies sold.

The view of the painting as a whole is taken from somewhere near the site of the present Waterloo Bridge and shows the Royal Terrace just after completion. The Terrace was the major portion of the Adam Brothers' Adelphi scheme, which involved the reclamation of this part of the river and the construction also of John Street, Adam Street and Robert Street, which was not yet built when the picture was painted. A number of members of the Society of Arts had Adelphi addresses at this period, including Robert and James Adam and David Garrick. The Terrace was demolished in 1936 to make way for the building then inscribed Adelphi, arrogating the name of an entire district. Of the true Adelphi only the Society's own premises, Robert Street and some houses in Adam Street survive. Reproduced by permission of the Museum of London. 34,000 copies sold

This row of cottages facing St. Mary's Church was restored in 1953-54 by means of a grant made by the Society to the owners, the National Trust. The work used up the balance of the Fund for the Preservation of Ancient Cottages which the Society established after a national campaign in the 1920s and which came to the aid of notable groups of vernacular buildings in various parts of the country. The timber framed Chiddingstone cottages, some of them tile-hung, others partly of brick, date from the 16th and 17th centuries. 80,725 copies sold

Alison Johnson was the winner of an Attachment award in the Multi-Disciplinary Design Section of the Society's 1984/85 Design Bursaries Competition (fore-runner of the Student Design Awards) 18,841 copies sold.

This drawing was specially designed from the artist and illustrator Quentin Blake. It recalls one of the most popular of the Society's many initiatives, the shilling colour-box. In 1851 the Society offered a medal for such a box and the award presented by Prince Albert in the following year to a Mr J Rogers, recognized a watercolour box made at the latter's factory which was a great advance on anything then available at the price. Henry Cole, who first suggested this prize offer, reported in 1870 that sales of the boxes had reached 11 million. 32,097 copies sold

The inital letter and opening words of Chapter Two of Saint Matthew's Gospel, together with a wood engraving showing the three wise men with the Virgin and child. Typography, engraving and design are by Eric Gill and form part of The Four Gospels, produced by the Golden Cockrel Press in 1931. 17,000 copies sold