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Relevant bibliographies by topics / International Exhibition of 1862 (London)

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Academic literature on the topic 'International Exhibition of 1862 (London)'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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Journal articles on the topic "International Exhibition of 1862 (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 (January 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 (March 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 (October 11, 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 (December 1, 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&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 (August 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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6

Testa, Stephen. "Josiah D. Whitney and William P. Blake: Conflicts in Relation to California Geology and the Fate of the First California Geological Survey." Earth Sciences History 21, no. 1 (January 1, 2002): 46–76. http://dx.doi.org/10.17704/eshi.21.1.l175607470v75232.

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Josiah D. Whitney and William P. Blake shared common social and educational backgrounds and pursued similar professional career paths at a time when employment in geology was undependable. Their professional paths crossed numerous times over the course of five decades in what initially was an amicable professional relationship that evolved by 1860 into competition for state geologist and director of the first California Geological Survey, and California commissioner for the London International Exhibition. Beyond simple competition, Whitney and Blake disagreed over important mainstream geological and ethnological issues germane to California during the latter half of the nineteenth century. The primary issues evolved around the potential economic value of oil and the Bodie Mining District, earthquakes and seismic risk, origin of the Yosemite Valley, the significance of the Calaveras Skull and the antiquity of man, the age of the gold-bearing rocks of California, and formation of the College of California. Both men were influential, however, Blake's contributions to the early geologic understanding of California were more optimistic and compatible with California's needs, while correctly forecasting the state's potential growth and providing insight into the geology and mineral and agricultural resources of the region. Despite Whitney's contributions while serving as director, his personal disposition and pessimistic views sealed the fate of the first geological survey of California.

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Di Bello, Patrizia. "‘Multiplying Statues by Machinery’: Stereoscopic Photographs of Sculptures at the 1862 International Exhibition." History of Photography 37, no. 4 (November 2013): 412–20. http://dx.doi.org/10.1080/03087298.2013.780750.

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Salvesen, Britt. "“The Most Magnificent, Useful, and Interesting Souvenir”: Representations of the International Exhibition of 1862." Visual Resources 13, no. 1 (January 1997): 1–32. http://dx.doi.org/10.1080/01973762.1997.9658408.

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Coelho, Anna Carolina De Abreu, Sérgio Moreno Rédon, Rafael Gonçalves Gumiero, Andréa Regina De Britto Costa Lopes, and Maria Rita Vidal. "“UMA INDÚSTRIA AUSENTE”: A REGIÃO DA AMAZÔNIA NA EXPOSIÇÃO INTERNACIONAL DE LONDRES (1862)." Revista da Casa da Geografia de Sobral (RCGS) 21, no. 1 (October 9, 2019): 165–81. http://dx.doi.org/10.35701/rcgs.v21n1.611.

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As exposições universais durante o século XIX eram denominadas “festas do progresso”, vitrines para apresentar o melhor de cada país. Essa busca por uma representação civilizada poderia ocorrer de várias formas quando se tratava dos países das américas do sul e central, no caso brasileiro o relatório da Exposição Universal de Londres (1862), escrito por Francisco Inácio de Carvalho Moreira, demonstra uma escolha por ressaltar a diversidade dos produtos provinciais. Indo ao encontro dessa exposição da diversidade, este artigo busca entender as formas regionais de representação das províncias do Pará e do Amazonas, cujos produtos eram notadamente objetos naturais, advindos do extrativismo, pela comissão brasileira; partindo de uma discussão sobre civilização e natureza na região da Amazônia.Palavras-chave: Região; Exposição; Amazônia; Londres; Natureza; Civilização. AbstractThe universal exhibitions during the nineteenth century were called "festivals of progress", showcases to present the best of each country. This search for a civilized representation could occur in many ways when it came to the countries of the South and Central America, in the Brazilian case the report of the Universal Exhibition of London (1862), written by Francisco Inácio de Carvalho Moreira, shows a choice to emphasize the diversity of provincial products. Going to this exhibition of diversity, the aim is to understand the representation regional forms of Pará and Amazonas provinces, whose products were notably natural objects, derived from extractivism by the Brazilian commission; starting from a discussion about civilization and nature in the Amazon region.Keywords: Region; Exhibition; Amazon; London; Nature; Civilization. ResumenLas exposiciones universales durante el siglo XIX eran llamadas “fiestas de progreso”, escaparates para presentar lo mejor de cada país. Esa búsqueda por una representación civilizada ocurrió de varias formas cuando se trataba de los países de América del Sur y Central. En el caso de Brasil el informe de la Exposición Universal de Londres (1862) escrito por Francisco Inácio de Carvalho Moreira, demuestra una acción por resaltar la diversidad de productos provinciales. Yendo al encuentro de esa exposición de la diversidad, este artículo busca entender las formas regionales de representación de las provincias de los Estados del Pará e del Amazonas escogidas por la comisión brasileña, cuyos productos seleccionados eran mayoritariamente naturales, producidos por la actividad extractiva; iniciando una discusión sobre civilización y naturaleza en la región de la Amazonia.Palabras clave: Región; Exposición Universal; Amazonia; Londres; Naturaleza; Civilización.

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BENNETT, SUSAN. "POKING ITS NOSE INTO EVERYTHING—THE SOCIETY FOR THE ENCOURAGEMENT OF ARTS, MANUFACTURES AND COMMERCE." Earth Sciences History 37, no. 2 (January 1, 2018): 229–46. http://dx.doi.org/10.17704/1944-6178-37.2.229.

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The Society was said ‘to poke its nose into everything’ and this can be seen from the awards it made across a wide spectrum of activities, including the discovery of cobalt in the United Kingdom, mapping of English counties, improved methods of extracting the ore, assaying, reclaiming land, mining equipment, improving crucibles and portable furnaces. The Society also laid the groundwork for the Great Exhibition of 1851 and organized the second exhibition at South Kensington in 1862. From the mid-nineteenth century the Society's lecture program represented the wide range of its activities, including mineralogy and geology. This paper provides a brief overview on the work of the Society, its influence worldwide, and also highlights some individuals with a particular interest in mineralogy and geology, connected with the Society, including one of the founding members of the Geological Society of London, Arthur Aikin.

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Dissertations / Theses on the topic "International Exhibition of 1862 (London)"

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Dishon, Dalit. "South Kensington's forgotten palace : the 1862 International Exhibition Building." Thesis, Royal Holloway, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428483.

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Books on the topic "International Exhibition of 1862 (London)"

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

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2

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.l: 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.l: s.n., 1985.

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4

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. [Montreal?: s.n.], 1985.

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5

(1862), Nova Scotia Board of Commissioners for International Exhibition. Report of Nova Scotia Commissioners for International Exhibition, 1862. Halifax, N.S: T. Chamberlain, 2002.

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6

(1862), Nova Scotia Board of Commissioners for International Exhibition. Report of Nova Scotia Commissioners for International Exhibition, 1862. [Halifax, N.S.?: s.n.], 1991.

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7

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

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

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9

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

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10

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. Sutton, Surrey: Reed Business Information, 1997.

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Book chapters on the topic "International Exhibition of 1862 (London)"

1

"Japan and International Exhibitions, 1862–1910." In Commerce and Culture at the 1910 Japan-British Exhibition: Centenary Perspectives, 27–34. Global Oriental, 2013. http://dx.doi.org/10.1163/9789004235427_005.

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2

"South Kensington’s Forgotten Palace: The 1862 International Exhibition Building." In Die Weltausstellung von 1851 und ihre Folgen, 315–24. K. G. Saur, 2002. http://dx.doi.org/10.1515/9783110960198.315.

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Scaglia, Ilaria. "Images from the 1935–36 International Exhibition of Chinese Art in London." In Nation Branding in Modern History, 266–73. Berghahn Books, 2018. http://dx.doi.org/10.2307/j.ctvw04dpw.19.

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"‘Made in Italy’: Sculpture and the Staging of National Identities at the International Exhibition of 1862." In Performing National Identity, 75–99. Brill | Rodopi, 2008. http://dx.doi.org/10.1163/9789401205238_006.

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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. Venice: 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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Watanabe-O'Kelly, Helen. "Showcasing the Empire." In Projecting Imperial Power, 210–30. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198802471.003.0009.

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The second half of the nineteenth century and the first half of the twentieth were remarkable for large-scale international exhibitions of agricultural products, manufactured goods, technological inventions, and artworks that were staged in major cities in purpose-built buildings and visited by very large numbers of people. These events were demonstrations of national pride, functioned as engines of modernity, and promoted the global exchange of knowledge, global competition, and global trade. The chapter discusses how Napoleon III used the Paris exhibitions of 1855 and 1867 to promote himself and his Empire and how Franz Joseph engaged in international diplomacy during the Viennese world exhibition on 1873. Pedro II used his prestige to promote Brazilian exhibits in Paris in 1862 and 1857, in Vienna in 1873 and in Philadelphia in 1876.

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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, 121–49. 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 of 1862 (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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