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Relevant bibliographies by topics / International exhibition (1872 : London)

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Academic literature on the topic 'International exhibition (1872 : London)'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Journal articles on the topic "International exhibition (1872 : London)"

1

Agnew, John. "The 1862 London International Exhibition: Machinery on Show and its Message." International Journal for the History of Engineering & Technology 85, no. 1 (2015): 1–30. http://dx.doi.org/10.1179/1758120614z.00000000053.

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Dufty, A. R. "Kelmscott: Exoticism and a Philip Webb Chair." Antiquaries Journal 66, no. 1 (1986): 116–20. http://dx.doi.org/10.1017/s0003581500084511.

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The evidence is here reviewed from which to conclude that a chair now at Kelmscott Manor was designed by Philip Webb and exhibited in the Mediaeval Court at the 1862 International Exhibition in London, despite the fact that it has nothing stylistically medieval about it. Analysis of the design does, however, suggest the assimilation of older Egyptian and Japanese ideas and thus that the chair in 1862 was considered derivative.

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Blakesley, Rosalind P. "An Unexpected Role Reversal." Experiment 23, no. 1 (2017): 93–103. http://dx.doi.org/10.1163/2211730x-12341303.

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Abstract In 1862, the collector Pavel Tretyakov made his second visit to Britain, and lent three paintings to the International Exhibition held in London that year. Then aged just thirty, he had bought his first Russian paintings just six years previously, yet his collection was already of sufficient calibre for the Imperial Academy of Arts in St. Petersburg to desire works from it for the Russian submission to the London event. Moreover, the genre paintings which Tretyakov lent added spice to what was otherwise a rather routine academic display. In this respect, Tretyakov’s contribution to the 1862 exhibition could be seen to foretell his later patronage of the Peredvizhniki, who similarly unsettled the academic status quo. Yet one small but telling fact disrupts this narrative of a collector who championed the innovative and the marginalized. Tretyakov had in fact suggested lending to the exhibition paintings by Vladimir Borovikovsky, Fedor Bruni, Karl Briullov and Vasily Khudiakov, all of whom were established members of the academic firmament. But his proposal was overruled and replaced by the alternative selection of genre paintings put forward by Fedor Iordan, a stalwart of the Academy. Far from confirming an image of Tretyakov as a nonconformist whose pioneering vision shook up the practices of the establishment, the case of the 1862 exhibition thus sees the binary which has often been drawn between this ground-breaking collector and the hidebound conservatism of the Academy significantly reversed.

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Edwards, Jason. "Bringing it all back home? Gibbons, William Coombe Sanders and mid-Victorian marine biology." Sculpture Journal: Volume 29, Issue 3 29, no. 3 (2020): 361–78. http://dx.doi.org/10.3828/sj.2020.29.3.7.

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In this article, I examine in unprecedented detail little-known Victorian craftsman William Coombe Sanders’ remarkable sheepskin Frame Resembling Carved Wood with Lobster and Crab Motif, now at the V&amp;A, but first exhibited at the International Exhibition in London in 1862. The article asks three questions: What might we learn, from Sanders’ craft, about the likely mid-Victorian reception of Gibbons’s closely related marine works? How might we better understand Sanders’ and Gibbons’s work in the context not just of Victorian craft and design, but natural history and early twenty-first-century critical animal studies and vegan theory? And what might Sanders’ Gibbons-like relief teach us about the status of animals and humans in the longer history of still life as a genre?

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Southward, A. J., and E. K. Roberts. "One hundred years of marine research at Plymouth." Journal of the Marine Biological Association of the United Kingdom 67, no. 3 (1987): 465–506. http://dx.doi.org/10.1017/s0025315400027259.

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The second half of the nineteenth century was a period of rapid change in the natural sciences in Britain, reflecting changes in social conditions and improvements in education. A growing number of naturalists were becoming socially conscious and aware of the need for a proper study of the sea and its products, following the success of the ‘Challenger’ Expedition of 1872–6. In 1866 the Royal Commission on the Sea Fisheries, which included among its officers Professor T. H. Huxley, one of the new breed of professional scientists, had reported that fears of over-exploitation of the sea-fisheries were unfounded, and had recommended doing away with existing laws regulating fishing grounds and closed seasons. Nevertheless, the rising trade in fresh fish carried to towns by rail or by fast boats (fleeting), and the consequent increase in size and number of registered fishing vessels, was causing widespread concern, and there were reports from all round the coasts about the scarcity of particular fish, especially soles. This concern was expressed at the International Fisheries Exhibition in London in 1883, a conference called to discuss the commercial and scientific aspects of the fishing industry, attended by many active and first-rank scientists. However, in his opening address Professor Huxley discounted reports of scarcity of fish, and repeated the views of the Royal Commission of 1866: that, with existing methods of fishing, it was inconceivable that the great sea fisheries, such as those for cod, herring and mackerel, could ever be exhausted.

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Spillman, Lyn. "When Do Collective Memories Last?: Founding Moments in the United States and Australia." Social Science History 22, no. 4 (1998): 445–77. http://dx.doi.org/10.1017/s0145553200017910.

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In 1876, there was a huge commemoration of the centennial of American independence. The year was marked in many ways, by many groups, in many parts of the country. The central event, though, was a grand International Exhibition in Philadelphia, four years in the making. Planners first met in 1872 in Independence Hall and spoke at length about the sacredness of the venue: “It is altogether fit and wise that we should take our first step and utter our first words in this hall. There sat John Hancock, presiding over that immortal body. There came Jefferson, Franklin, Adams, Sherman, and Livingston presenting the sacred declaration. There lies the broken and silent bell, which at the word proclaimed liberty throughout the land to all the inhabitants thereof” (USCC 1873: 24-25). The theme was taken up by many others in many different ways. Images of the Liberty Bell, Independence Hall, Washington, and Franklin were scattered throughout centennial ceremonies, buildings, poems, histories, and other documents. The revolution was used as a touchstone in talk about the exhibition and as a rich source of national symbolism.

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Tillotson, Giles. "The Jaipur Exhibition of 1883." Journal of the Royal Asiatic Society of Great Britain & Ireland 14, no. 2 (2004): 111–26. http://dx.doi.org/10.1017/s1356186304003700.

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The exhibition of decorative and industrial arts that was held in Jaipur in 1883 under the patronage of Maharaja Sawai Madho Singh II (1880–1922) brought together the work of artists and craftsmen from many regions of India, but gave special treatment to the neighbouring states of Rajasthan, and to the pupils of Jaipur's own recently established School of Art. It led to the establishment of a permanent museum of industrial arts in Jaipur, which still exists and continues to hold many of the original exhibits. One of many ambitious exhibitions that followed in the wake of the Great Exhibition of 1851, the Jaipur Exhibition was the first such to be held in an Indian state, coinciding with the International Exhibition in Calcutta and preceding the Indian and Colonial Exhibition in London of 1886.

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Leventhal, F. M. "“A Tonic to the Nation”: The Festival of Britain, 1951." Albion 27, no. 3 (1995): 445–53. http://dx.doi.org/10.2307/4051737.

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No event of the post-Second World War decade in Britain is recalled as affectionately or enveloped in such an aura of nostalgia as the Festival of Britain, a five-month series of cultural events and exhibits, with its centerpiece at the South Bank in London. But the Festival dear to the recollections of those growing up during and after the war diverged sharply from the original conception of its progenitors.In 1943 the Royal Society of the Arts, partly responsible for the Great Exhibition of 1851, suggested to the government that an international exhibition along similar lines be staged in 1951 to commemorate the earlier event. To propose a celebratory occasion in 1943 was an act of faith that the war would not only end successfully, but that Britain would have recovered sufficiently by 1951 to warrant such a demonstration. In September 1945, with the war over and Labour in power, Gerald Barry, the editor of the News Chronicle, addressed an open letter to Stafford Cripps, then President of the Board of Trade, advocating a trade and cultural exhibition in London as a way of commemorating the centenary of the Crystal Palace. Such an exhibition would advertise British products and display British prowess in design and craftsmanship. He favored a site in the center of London, such as Hyde Park or Battersea, either of which would provide ample space for such an exhibition. What prompted these suggestions was the need to provide practical help to British commerce at a time when it was clearly under pressure shifting from wartime controls to peacetime competition.

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Flavin, Robert. "MICROSCIENCE 2010." Microscopy Today 18, no. 6 (2010): 54. http://dx.doi.org/10.1017/s1551929510001124.

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MICROSCIENCE 2010 was held at the ExCeL International Exhibition and Conference Centre, London, from June 29 to July 1. The conference attracted 519 delegates—the first time that the 500-barrier has been broken. Overall, 2139 visitors from 30 countries from across 5 continents passed through the doors during the three days.

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Ravindran, Yamuna. "Outset study at drawing room: the first year." Art Libraries Journal 41, no. 1 (2016): 49–55. http://dx.doi.org/10.1017/alj.2015.8.

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What led to the establishment of a new library space in London specializing in international contemporary drawing? Beyond providing access to collections, how will this research hub support artists practice and scholarship, and encourage deeper engagement from exhibition audiences? This article looks at the development of Outset Study's collections, audiences and events programme, and reflects on successes and challenges faced in the first year.

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Books on the topic "International exhibition (1872 : London)"

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1820-1900, Csanak József, ed. Egy debreceni kereskedő Nyugat-Európában: Csanak József úti levelei 1862-ből. Magyar Tudományos Akadémia Könyvtára, 1987.

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Miles, Henry H. Canada East at the International Exhibition: Catalogue of products from Canada East, medals and honorabe mentions awarded to Canada, and the [d]eclaration of prizes to the colonial exhibitors, July 11, 1862 : to which is added [a] succinct account of the Eastern Townships of Lower Canada. s.n., 1985.

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Miles, Henry H. Canada East at the International Exhibition: Catalogue of products from Canada East, medals and "honorable mentions" awarded to Canada, and the [d]eclaration of prizes to the colonial exhibitors, July ll, 1862 ; to which is added [a] succinct account of the Eastern Townships of Lower Canada. s.n., 1985.

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Hurlbert, J. Beaufort. Collection of the products of the waters and forests of Upper Canada collected and ordered for the International Exhibition of London, 1862. s.n.], 1985.

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5

IMBEX. IMBEX '85: International men's and boys' wear exhibition : Olympia, London 10-13 February 1985. Mens Wear, 1985.

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IMBEX. IMBEX '90: [international men's and boys' wear exhibition] : Olympia, London 18-21 February 1990. Mens Wear, 1990.

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IMBEX. IMBEX '86: International men's and boys' wear exhibition : Olympia, London 23-26 February 1986. Mens Wear, 1986.

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8

International Food & Drink Exhibition (10th 1997 London, England). The 10th International Food & Drink Exhibition, 9-13 February 1997, London Earls Court: Incorporating the International Catering Show : catalogue. Reed Business Information, 1997.

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Ltd, Interbuild Exhibitions. IFE 85: The 4th International Food & Drink Exhibition 25 February - 1 March 1985, London Olympia. Interbuild Exhibitions, 1985.

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International Conference and Exhibition on Trenchless Construction for Utilities. (4th 1989 London, England). Developments underground: Fourth international conference and exhibition on trenchless construction for utilities, 11-14 April 1989, London U.K. : conference proceedings. ISTT, 1989.

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Book chapters on the topic "International exhibition (1872 : London)"

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"No. 19937. Exchange of letters constituting an agreement between the Government of the United States of America and the International Sugar Organization concerning reimbursement of income taxes. London, 10 July 1980." In Treaty Series 1872. UN, 2000. http://dx.doi.org/10.18356/7a0e7c07-en-fr.

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"No. 19717. Exchange of letters constituting an agreement between the United States of America and the International Coffee Organization concerning the reimbursement of income taxes. London, 20 and 25 March 1980." In Treaty Series 1872. UN, 2000. http://dx.doi.org/10.18356/6092e7cf-en-fr.

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3

Scaglia, Ilaria. "Images from the 1935–36 International Exhibition of Chinese Art in London." In Nation Branding in Modern History. Berghahn Books, 2018. http://dx.doi.org/10.2307/j.ctvw04dpw.19.

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4

Timonina, Alexandra. "Comparing the Cologne Sonderbund of 1912 and the Second Post-Impressionist Exhibition in London." In Taking and Denying Challenging Canons in Arts and Philosophy. Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-462-2/013.

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The article examines the agendas of the International Art Exhibition of the West German Sonderbund held in Cologne in 1912 and the Second Post-Impressionist Exhibition organised in London the same year, by contrasting their historical contexts and comparing their theoretical backgrounds. While the shows varied slightly in approach, both sought to give a systematic overview of the latest trends in art, which was then marketed mainly by private dealers. They addressed similar issues, such as defining the inherited tradition and topical dilemmas about the autonomy of painting and its decorative potential. The paper will discuss the emphasis on the progressive timeline and international outlook on modern art they formulated. It will also revisit the role of these exhibitions in light of the currently expanding discussion of the mechanisms that shaped the canon of European modernism.

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Nichols, Kate, and Sarah Victoria Turner. "‘What is to become of the Crystal Palace?’ The Crystal Palace after 1851." In After 1851. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719096495.003.0001.

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This introductory chapter explores and establishes the Sydenham Crystal Palace in relation to existing scholarship on the Great Exhibition of 1851. The Sydenham Palace combined education, entertainment and commerce, and spans both nineteenth and twentieth centuries. We resituate it as an important location within the London art world and establish the broader connections it had with rival ventures such as the South Kensington Museum and the numerous international exhibitions in the period. We set out the new possibilities for the analysis of both nineteenth- and twentieth-century visual and material cultures opened up by this unique venue, problematising the periodisation of art works and attitudes into discretely ‘Victorian’ and ‘Edwardian’ categories.

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King, James. "‘Let’s Do Something’ (1935–1936)." In Roland Penrose. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474414500.003.0006.

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This chapter details events in Roland Penrose's life from 1935 to 1936. In Paris, in June 1935, Roland and Paul Éluard chanced upon precocious, intense nineteen-year-old David Gascoyne, who had recently completed his Short Survey of Surrealism. Éluard introduced the two Englishmen, who ‘got talking’ about the fact that in London, little is known about the excitement going on in Paris [in contemporary art, especially surrealism]. They then decided to organise the International Surrealist Exhibition, which marked a decisive turn in Roland's life, in that he began to allow his role as an apostle of modernism to overshadow his career as an artist. For the remainder of his life, these two sides would struggle to co-exist.

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Moore, Daniel. "‘A transformed world’: Herbert Read, British Surrealism and the institutionalisation of modernism." In Insane Acquaintances. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266755.003.0005.

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This chapter focuses on the discourses that surrounded the 1936 International Surrealist exhibition in London and the development of a distinctly British Surrealist movement in the years leading up to the Second World War. Using the debates in the periodical press about the movement – and how it might represent a particularly English or British avant garde – this chapter articulates the connection between the movement’s leaders in Britain and the rise of institutional structures to encourage avant garde work in Britain. In particular, it sees Herbert Read as one of the key mediators of modernism in Britain, and ultimately the key driver for the institutionalisation of modernism in Britain in the years around the Second World War.

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Conference papers on the topic "International exhibition (1872 : London)"

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Acha, S., K. H. Van Dam, and N. Shah. "Spatial and temporal electric vehicle demand forecasting in central London." In 22nd International Conference and Exhibition on Electricity Distribution (CIRED 2013). Institution of Engineering and Technology, 2013. http://dx.doi.org/10.1049/cp.2013.1002.

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Webb, Ralph L., and Jin Wook Paek. "Entrance and Exit Losses for Developing Flow in Plain Fin Heat Sinks." In ASME 2003 International Electronic Packaging Technical Conference and Exhibition. ASMEDC, 2003. http://dx.doi.org/10.1115/ipack2003-35354.

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Prediction of pressure drop for duct flow through heat sinks involves calculation of inlet and exit losses. These predictions are typically done using Kc and Ke for “parallel plate channels” from the Kays and London book, Compact Heat Exchangers. However, these equations assume fully developed flow at the exit and thus include the effect of full velocity profile development. Electronic heat sinks operate in the “developing flow” region. So, use of the published Kc and Ke from the Kays and London book will result in over-estimate of the actual Kc and Ke values. The authors have performed analysis that allows accurate calculation of Kc and Ke values with parallel plate channels for operation in the “developing flow” region. The results are presented in graphical form as a function of contraction ratio and x+ (= x/DhRe). These results will allow accurate estimate of Kc and Ke values for developing flow. Entrance and exit losses can account for as much as 30% of the total pressure drop in electronic heat sinks having short flow lengths. However, the error associated with evaluation of Kc and Ke based on fully developed flow for parallel plates is small.

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Walton, C. M. "Detecting and locating MV failure before it occurs. Experience with live line partial discharge detection on underground paper insulated 11 kV cables in London." In 16th International Conference and Exhibition on Electricity Distribution (CIRED 2001). IEE, 2001. http://dx.doi.org/10.1049/cp:20010712.

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Farrier, L. "Investigating the faulted performance of warship power systems with integrated energy storage." In 14th International Naval Engineering Conference and Exhibition. IMarEST, 2018. http://dx.doi.org/10.24868/issn.2515-818x.2018.031.

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The need to integrate energy storage systems (ESS) with warship power systems to meet future dynamic loads such as high power electric weapons is apparent. This opens up challenges with design integration of ESS with power systems and operational aspects such as steady-state, transient and faulted performance. This paper describes the integration of ESS with a candidate power system as a case study as part of an ongoing timedomain simulation investigation at University College London. The paper describes the models and power management structure of the simulation testbed, that comprises battery based ESS and diesel generators in a hybrid electric power and propulsion system. The results of two scenarios are presented, the first verifies power sharing between a diesel generator and ESS during load levelling under single generator operation, the second illustrates the ability of the ESS to provide ride through power during a generator fault on the main distribution bus. The conclusions suggest that under voltage in the candidate system outside of acceptable limits occurs during fault ride through when in single generator operation.

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