DOCSLIB.ORG

Exhibitions and Expositions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Exhibitions and Expositions Expositions Universelles, Great Exhibitions and World's Fairs Name of Exhibition Start Date End Date Location Country Notes Society of Artists of Great Britain Exhibition 1760 1760 London UK Held at the Society of the Encouragement of Arts, &c., in the Strand opposite Beaufort Street, in the Great Room (eighty feet by forty feet). Ran for a fortnight. Open to the public from 9am to 2pm. Contained 130 works by 69 exhibitors. Total catalogue sales were 6,582, leading Luckhurst to estimate 20,000 visitors. £100 balance from sale of catalogues. Society of Arts Exhibition 1761 1761 London UK Open for four weeks, and opened from 7am to 1pm. In 1760, the Society of Arts decided to buy all machines which entered its competition and won prizes. Exhibited in a warehouse alongside the society's headquarters during April. Society of Artists of Great Britain Exhibition 1761 1761 London UK Held at the Great Room, Spring Gardens, Charing Cross. From 9 May for a month. 230 works. Entrance gained through purchase of a catalogue, which was also season ticket. Royal Academy Exhibition 1769 - 1780 1769-1780 London UK Opened on 26 April. Contained 130 works. Held in the Auction Room in Pall Mall. Held annually until 1780. Royal Academy Exhibition 1780-1836 1780-1836 London UK Held annually at Somerset House, in the Great Room, at the top of the building. Products of Industry Exhibition 1789 1789 Geneva Switzerland Small scale Products of Industry Exhibition 1790 1790 Hamburg Germany Small scale Products of Industry Exhibition 1791 1791 Prague Czechoslovakia Small scale National Exhibition 1797 1797 Forecourt of the France Initiated by Marquis d'Aveze and Francois de Neufchateau. Louvre, Paris Held at Chateau of St Cloud, although d'Aveze had to flee due to Bonaparte's war. Included furniture, clocks, bookbinding, carpets, porcelain and tapestries. Exhibits were for sale. French National Exhibition (1) 1798 1798 Champs de Mars, France Viewed as first proper international exhibition, as it included Paris an instructional rationale. Lasted three days, from 17th to 21st September, and had 110 exhibitors. Exhibits were not for sale. Jury appointed for awarding prizes of public recognition. Buildings were a square arcade, sixty arches, surrounding a central 'Temple of Industry.' Objects included clocks, glassware, textiles, chemical products, leatherware, furniture, weapons, scientific and surgical instruments, printing. Author: J C Kristensen Page 1 of 6 Date: 1/5/07 Expositions Universelles, Great Exhibitions and World's Fairs French National Exhibition (2) 1801 1801 Louvre Courtyard, France Lasted six days and had 220 exhibitors. Tried to include Paris artists as well as manufacturers, but the artists declined. Textile machinery and products became more dominant. Jacquard's look was exhibited here. French National Exhibition (3) 1802 1802 Louvre Courtyard, France Lasted seven days and had 540 exhibitors. Paris French National Exhibition (4) 1806 1806 Esplanade des France Lasted 24 days, with 1422 exhibitors. Held in February. Invalides, Paris National Exhibition 1818 1818 Munich Germany French National Exhibition (5) 1819 1819 Inside the Louvre, France Lasted 35 days and had 1,662 exhibitors. Paris National Exhibition 1820 1820 Ghent Belgium French National Exhibition (6) 1823 1823 Inside the Louvre, France Lasted 50 days and had 1,642 exhibitors. Paris National Exhibition 1823 1823 Stockholm Sweden National Exhibition 1824 1824 Tournai Belgium National Exhibition 1825 1825 Haarlem Belgium National Exhibition 1826 1826 Dublin Ireland French National Exhibition (7) 1827 1827 Inside the Louvre, France Lasted 62 days, with 1,695 exhibitors Paris National Exhibition 1827 1827 Nantes France National Exhibition 1827 1827 Madrid Spain National Exhibition 1828 1828 New York USA National Exhibition 1829 1829 Moscow Russia National Exhibition 1829 1829 St Petersburg Russia National Exhibition 1830 1830 Brussels Belgium French National Exhibition (8) 1834 1834 Place de la France Lasted 60 days, with 2,447 exhibitors. Concorde, Paris National Exhibition 1835 1835 Lille France National Exhibition 1835 1835 Bordeaux France National Exhibition 1836 1836 Toulouse France National Exhibition 1836 1836 Dijon France Models of Machinery, Philosophical Instruments, Works in 1837 1837 Manchester UK Organised and held at the Mechanics Institute Fine and Useful Arts, Objects in Natural History and Specimens of British Manufacturers, etc. Author: J C Kristensen Page 2 of 6 Date: 1/5/07 Expositions Universelles, Great Exhibitions and World's Fairs Royal Academy Exhibition 1837-1868 1837-1868 London UK Held annually in six galleries at the east end of the newly built National Gallery. French National Exhibition (9) 1839 1839 Champs Elysees, France Lasted 60 days, with 3,381 exhibitors. Paris French National Exhibition (10) 1844 1844 Champs Elysees, France Lasted 60 days, with 3,960 exhibitors. Paris All German Exhibition 1844 1844 Berlin Germany 3,040 exhibits, 1,932 from Prussia. National Exhibition 1845 1845 Bordeaux France Society of Arts Exhibition 1847 1847 London UK Held in March, in the Great Room of the Society's House, featured 200 exhibits to be the first 'exhibition of select specimens of British manufactures and decorative art.' 20,00 visitors. French National Exhibition (11) 1849 1849 Champs Elysees, France Lasted six months, with 4,532 exhibitors. Proposed to be Paris international in scope but rejected. National Industrial Exhibition 1849 1849 Birmingham UK Held in association with the Mechanics Institute movement at Bingley Hall. Temporary buildings were purpose built and it was held in connection with the annual meeting of the British Association. La Exposicion publica 1850 1850 Madrid Spain The Great Exhibition 1851 1851 London UK Four exhibiting categories: Manufactures, Machinery, Raw Materials and Fine Arts. A total area of 26 acres, with 18 acres under cover. 14,000 exhibitors, with 6,039,500 paying visitors. Cost to organisers £292,750, with £438,200 taken in gate receipts and £67,900 given as a public grant. National Exhibition 1852 1852 Cork Ireland Great International Exhibition 1853 1853 Dublin Ireland Devoted to art and manufacturing. Exhibition of the Industry of All Nations. Aka New York's 1853 1854 New York USA Financial failure. President of organising committee, P T World Fair. Barnum. Total area of 5 acres, with 4,000 exhibitors and 1,150,000 visitors. Cost to organisers $640,000 but took $340,000 taken in gate receipts. Loss borne by private company. Exposition Universelle 1855 1855 Paris France First international French Exhibition. A total area of 34 acres, with 24 acres under cover. 24,000 exhibitors, with 4,162,330 visitors. Cost to organisers 11,500,000FR (£450,000), and takes 3,200,000FR (£125,000). Loss borne by state. Author: J C Kristensen Page 3 of 6 Date: 1/5/07 Expositions Universelles, Great Exhibitions and World's Fairs The Art Treasures Exhibition 1857 1857 Manchester UK Regarded as a supplement to the Great Exhibition of 1851. Housed in a building which covered three acres. International Exhibition 1862 1862 London UK A total area of 24 acres, with 23 acres under cover. 28,600 exhibitors, with 6,211,000 visitors. Cost to organisers £459,750, and took £448,600. £11,000 gifted to clear deficit. Intercolonial Exhibition of Australasia 1866 1867 Melbourne Australia Yorkshire Fine Art and Industrial Exhibition 1866 1866 York UK International Exhibition 1867 1867 Paris France A total area of 165 acres, plus 50 acres in agricultural annexe, with 35 acres under cover. 42,200 exhibitors, with 11,000 visitors. Cost to organisers 23,400,000FR (£950,000), and took 14,280,000FR (£575,000), with 12,000,000FR (£500,000) grant from state and city. National Exhibition of Works of Art 1868 1868 Leeds UK Exposition des Beaux-Arts Appliqués a l'industrie 1869 1869 Paris France Royal Academy Exhibition 1869 1869 London UK Held at new purpose built premises at Burlington House, with sixteen galleries, allowing 1,500 exhibits. International Exhibition 1870 1870 Sydney Australia International Exhibition 1873 1873 London UK International Exhibition 1873 1873 Vienna Austria A total area of 450 acres, with 60 acres under cover. 42,000 exhibitors, with a total of 7,254,600 visitors, of which 5,058,300 paid. Cost to organiser 58,000,000FR (£2,235,000), and took 11,000,000FR (£450,000). Deficit met by state. Exhibition 1874 1874 London UK Exposition Internationale 1876 1876 Brussels Belgium Centennial Exhibition 1876 1876 Philadelphia USA A total area of 250 acres, with 71 acres under cover. 30,000 exhibitors, with a total of 9,857,600 visitors, of which 8,004,250 paid. Cost to organiser over £8million (£1.7million), and took $4,314,5000 (£900,000) with a grant of $4,210,000 ($875,000) from Congress and State. International Exhibition 1870 1870 Sydney Australia Author: J C Kristensen Page 4 of 6 Date: 1/5/07 Expositions Universelles, Great Exhibitions and World's Fairs International Exhibition 1878 1878 Paris France A total area of 192 acres, with 70 acres under cover. 52,800 exhibitors, with a total of 16,032,750 visitors, of which 13,000,000 paid. Cost to organiser over 55,400,000FR (£2.2million), and took 27,700,000FR (£1.1million) with a grant of $6,000,000 (£250,000) from the city. Balance from the state. Garden Palace Exhibition 1879 1879 Sydney Australia International Exhibition 1880 1880 Melbourne Australia Colonial Exhibition 1881 1881 Adelaide Australia Colonial Exhibition 1881 1881 Perth Australia Colonial Exhibition 1882 1882 Christchurch Australia Fisheries Exhibition 1883 1883 London UK Held at South Kensington. Colonial Exhibition 1883 1883 The Netherlands Devoted primarily to colonialism. International Health Exhibition 1884 1884 London UK Held at South Kensington. Included Galton's Anthropometric Laboratory. Colonial and Indian Exhibition 1886 1886 London UK Colonial Exhibition 1887 1887 Adelaide Australia International Exhibition of Industry, Science and Art 1888 1888 Glasgow UK Centenary Exhibition 1888 1888 Melbourne Australia International Exhibition 1888 1888 Brussels Belgium Devoted to science and industry.
Load more

Recommended publications
  • St Vincent's Hospital Melbourne
    St Vincent’s Hospital Melbourne – Aikenhead Wing Proposed demolition Referral report and Heritage Impact Statement 27 & 31 Victoria Parade, Fitzroy July 2021 Prepared by Prepared for St Vincent’s Hospital Melbourne Quality Assurance Register The following quality assurance register documents the development and issue of this report prepared by Lovell Chen Pty Ltd in accordance with our quality management system. Project no. Issue no. Description Issue date Approval 8256.03 1 Draft for review 24 June 2021 PL/MK 8256.03 2 Final Referral Report and HIS 1 July 2021 PL Referencing Historical sources and reference material used in the preparation of this report are acknowledged and referenced as endnotes or footnotes and/or in figure captions. Reasonable effort has been made to identify and acknowledge material from the relevant copyright owners. Moral Rights Lovell Chen Pty Ltd asserts its Moral right in this work, unless otherwise acknowledged, in accordance with the (Commonwealth) Copyright (Moral Rights) Amendment Act 2000. Lovell Chen’s moral rights include the attribution of authorship, the right not to have the work falsely attributed and the right to integrity of authorship. Limitation Lovell Chen grants the client for this project (and the client’s successors in title) an irrevocable royalty- free right to reproduce or use the material from this report, except where such use infringes the copyright and/or Moral rights of Lovell Chen or third parties. This report is subject to and issued in connection with the provisions of the agreement between Lovell Chen Pty Ltd and its Client. Lovell Chen Pty Ltd accepts no liability or responsibility for or in respect of any use of or reliance upon this report by any third party.
    [Show full text]
  • Paolo Giorza and Music at Sydney's 1879 International Exhibition
    ‘Pleasure of a High Order:’ Paolo Giorza and Music at Sydney’s 1879 International Exhibition Roslyn Maguire As Sydney’s mighty Exhibition building took shape, looking to the harbour from an elevated site above the Botanic Gardens, anxiety and excitement mounted. This was to be the first International Exhibition held outside Europe or America and musical entertainment was to be its greatest attraction.1 An average of three thousand people would attend each week day and as recent studies have shown, Sydney’s International Exhibition helped initiate reforms to education, town planning, technologies, photography, manufacturing and patronage of the arts, music and literature.2 Although under construction since January 1879, it was mid May before the Exhibition’s influential Executive Commissioner Patrick Jennings3 announced the appointment of his friend, Milanese composer Paolo Giorza4 as musical director: [H]is credentials are of such a nature both as a conductor, composer and artist, that I could not justly pass them over. I think that he should also be authorised to compose a march and cantata for the opening ceremony … Signor Giorza offers to give his exclusive services as composer and director and performer on the organ and to organise a competent orchestra of local artists for promenade concerts, and to conduct the same.5 The extent of Jennings’s personal interest in Exhibition music is evident in this report publicising Giorza’s appointment. It amounts to one of the colony’s most interesting cultural documents for the ideas, attitudes and objectives it reveals, including consideration of whether an ‘Australian School of Music, as distinguished from any of the well-defined schools’ existed.
    [Show full text]
  • International Exhibitions, Expositions Universelles and World's Fairs, 1851-2005: a Bibliography
    Freie Universität Berlin, Germany California State University, Fresno, USA International Exhibitions, Expositions Universelles and World’s Fairs, 1851-2005: A Bibliography by Alexander C.T. Geppert, Jean Coffey and Tammy Lau 1. Introduction _________________________________________________________ 5 2. Research Aids ______________________________________________________ 7 2.1 Research Aids General _________________________________________________7 2.2 Bibliographies ________________________________________________________8 2.3 Review Articles ______________________________________________________10 2.4 Journals and Newsletters ______________________________________________10 3. History and Theory of International Exhibitions: General Works _______________ 11 3.1 Official Exhibition Regulations ___________________________________________11 3.2 Exhibition Theory _____________________________________________________11 3.3 Exhibition History _____________________________________________________13 4. International Exhibitions, 1851-2005 ____________________________________ 28 4.1 Australia ____________________________________________________________28 4.1.0 Australia Genera l _____________________________________________28 4.1.1 International Exhibition, Sydney 1879-1880 _________________________28 4.1.2 International Exhibition, Melbourne 1880-1881 ______________________28 4.1.3 Centennial International Exhibition, Melbourne 1888-1889 _____________28 4.1.4 Expo 88, Brisbane 1988 ________________________________________28 4.2 Austria _____________________________________________________________28
    [Show full text]
  • The Shoalhaven Chronograph with Berry Newsletter August/September 2016
    Berry and District Historical Society Inc www.berryhistory.org.au email: [email protected] The Shoalhaven Chronograph with Berry Newsletter August/September 2016 In this issue: • Dates for your Diary • James Barnet Lecture • The Little Red Cross Shop • The Chronograph is Available on the Museum Website • Volunteers Wanted • Books for Sale in the Museum • Bigfoot Adventures • Trivia • Items for the Next Issue Dates for your Diary Saturday 10th September 2016 Gerringong and District Historical Society invites you to celebrate: 25 Years of the Gerringong & District Museum Guest speaker: Dr Roslyn Russell “Objects, Stories, Identity, & the Gerringong Museum” Details: 7.30pm, Saturday 10th September 2016 at Gerringong Museum, 10 Blackwood Street Gerringong RSVP: By Monday 5th September for catering purposes email [email protected] or phone Margaret on 4234 1127 The Shoalhaven Chronograph with Berry Newsletter August/September 2016 Page 1 James Barnet: Colonial Architect of a Thousand Public Buildings A Talk by Donald Napper On May 26th this year, Donald Napper gave a presentation in the Berry Court House on the colonial architect James Barnet. This talk was significant in that it was held at the Berry Court House, which was designed by Barnet. Donald Napper is Emeritus Professor and a past Pro‐Vice‐Chancellor of the College of Science and Technology at the University of Sydney. Over the years, Napper has developed an internationally Berry Court House recognised expertise in polymer colloids and the Photo: C. Pretty polymerisation processes. He has (co‐)authored over 180 scientific articles in the field and is a Fellow of the Australian Academy of Science (FAA) and of the Royal Australian Chemical Institute (RACI).
    [Show full text]
  • Music As Triumph at Australia's International Exhibitions, 1879–1888
    ‘Turning the Wilderness into Flowers:’ Music as Triumph at Australia’s International Exhibitions, 1879–1888 Jennifer Royle In 1872, travel writer and English novelist Anthony Trollope recorded in his notes how struck he was by the grandeur and dimensions of Melbourne, which he believed possessed ‘all the pride of youthful power.’ According to Trollope, so compelled were Melbourne residents to tell him the story of their city that the writer became overwhelmed by their enthusiasm, or as he put it, their fondness for the colonial art of ‘blowing:’ They ‘blow’ a good deal in Queensland;—a good deal in South Australia. They blow even in poor Tasmania. They blow loudly in New South Wales, and very loudly in New Zealand. But the blast of the trumpet as heard in Victoria is louder than all the blasts,—and the Melbourne blast beats all the other blowing of that proud colony. My first, my constant, my parting advice to my Australian cousins is contained in two words—‘Don’t Blow.’1 While Trollope was, I suspect, prone to more than a little exaggeration, the essence of his comments, that Australians enjoyed telling the story of colonial progress, was never more justified than in the years of Australia’s International Exhibitions held between 1879 and 1888. Australia had already shown a steady commitment to the competitive and educative principals of the International Exhibition, having participated in most of the world exhibitions since 1851. Indeed, the objectives outlined in 1851 by Prince Albert that the International Exhibition would provide ‘a new starting point from which all nations will be able to direct their further exertions,’ seems to have been particularly attractive to colonial countries trying to establish themselves in world markets.2 From 1851 the Australian colonies sent representatives and products for display to major overseas exhibitions including London (1862, 1871), Paris (1855, 1867), Vienna (1873) and Philadelphia in 1876.
    [Show full text]
  • Another Two Diagonal Avenues Intersect the Site, Radiating from the Central Section of the Gardens on Carlton Street, to the Two Southern Entry Points
    ROYAL EXHIBITION BUILDING AND CARLTON GARDENS Another two diagonal avenues intersect the site, radiating from the central section of the gardens on Carlton Street, to the two southern entry points. The avenue on the east side is planted with Plane trees (Platanus x acerifolia). Near the Works Depot, in the avenue’s most northern extent, the trees are planted at wide spacings. This may have been a realisation of John Guilfoyle’s 1916 proposal to remove every second plane tree from the South Garden Plane Tree Avenue. It is unclear when the removal was to take place. The plane tree avenue referred to may have been that in the North Garden and not the one in the South Garden. In the southern section the trees are closely spaced, forming a denser over canopy and providing a stronger sense of enclosure. The avenue on the opposite diagonal on the west side of the gardens is planted with Grey Poplars (Populus x canescens) also reaching senescence. A replanting on the south-west side of this avenue with poplars occurred in 2006. The avenue’s integrity is strongest near Carlton Street where the trees are regularly spaced and provide good canopy coverage. 4.4.5 North Garden Boundary Trees The layout of the North Garden in the 1890s was primarily based on extensive avenue plantings crossing the site, with little in the way of other ornamentation. Individual specimen trees were mainly planted around the perimeter of the site, forming loose boundary plantations. The spaces between the avenue plantations remained relatively free of in-fill plantings, with expanses of turf being the primary surface treatment in these areas.
    [Show full text]
  • Annual Report 2004
    2004 2005 ANNUAL REPORT MUSEUM OF APPLIED ARTS & SCIENCES INCORPORATING THE POWERHOUSE MUSEUM & SYDNEY OBSERVATORY The Hon Bob Debus MP Attorney General, Minister for the Environment and Minister for the Arts Parliament House Sydney NSW 2000 Dear Minister On behalf of the Board of Trustees and in accordance with the Annual Reports (Statutory Bodies) Act 1984 and the Public Finance and Audit Act 1983, we submit for presentation to Parliament the annual report of the Museum of Applied Arts and Sciences for the year ending 30 June 2005. Yours sincerely Dr Nicholas G Pappas Dr Anne Summers AO President Deputy President ISSN 0312-6013 © Trustees of the Museum of Applied Arts and Sciences 2005. Compiled by Mark Daly, MAAS. Design and production by designplat4m 02 9299 0429 Print run: 600. External costs: $14,320 Available at www.powerhousemuseum.com Contemporary photography by MAAS photography staff: Sotha Bourn, Geoff Friend, Marinco Kojdanovski, Jean-Francois Lanzarone and Sue Stafford (unless otherwise credited). Historical photos from Museum archives. Contents 02 President’s Foreword 03 Director’s Report 04 Mission and structure 05 Organisation chart 06 Progress against Strategic Plan 07 Goals 2005-06 08 Museum honours th 09 125 anniversary celebrations 10 Highlights of 2004-05 11 The Powerhouse Foundation 11 Evaluating our audiences, exhibitions and programs 12 Exhibition program 13 Travelling exhibitions 13 Public and education programs tm 15 SoundHouse and VectorLab 15 Sydney Observatory 16 Indigenous culture 16 Regional services 17 Migration
    [Show full text]
  • Kaldor Public Art Projects Royal Botanic Garden Sydney, Australia
    Kaldor Public Art Projects Royal Botanic Garden Sydney, Australia JONATHAN JONES barrangal dyara (skin and bones) 17.09— 03.10.16 Download the Project 32 App now at kaldor.org Project Hours 10am—Sunset #barrangaldyara From our Stakeholders Welcome I am thrilled that the Australian Government The project is an opportunity to tell a The latest Kaldor Public Art Project, The Gadigal clan is one Working with Jonathan Jones on barrangal 2016 has been a very big year for the Royal is able to support such a groundbreaking remarkable story from Sydney’s history that barrangal dyara (skin and bones), will be an dyara (skin and bones) has been a wonderful Botanic Garden Sydney—the 200th Birthday project. barrangal dyara (skin and bones) will had largely been forgotten. I believe that impressive temporary artwork which will of twenty-nine clans personal experience for me, my admiration of Australia’s oldest scientific institution, be an important moment not just in Sydney’s the ambitious scale of the project will be of complement the City’s Eora Journey. for Jonathan has grown as the project has and second-oldest botanic garden in the history but also for our nation’s story. international significance and remembered I commend artist Jonathan Jones for that make up the Eora progressed. His deep connection to his Southern Hemisphere. for many years to come. recalling an almost forgotten event in nation. The Eora nation ancestors and country has given me an This amazing Kaldor project, barrangal Minister for Communications, Sydney’s history, the destruction by fire insight into a different Australia.
    [Show full text]
  • Brief for the Powerhouse Design Competition
    POWERHOUSE PRECINCT PARRAMATTA INTERNATIONAL DESIGN COMPETITION STAGE 2 DESIGN BRIEF ACKNOWLEDGMENT OF COUNTRY 3 Message from the Minister for the Arts 3 Message from the President of Trustees We acknowledge Australia’s First Nations Peoples as the Traditional Owners and Custodians of the land and give 4 Introduction respect to the Elders — past and present — and through 5 Aims and objectives them to all Aboriginal and Torres Strait Islander peoples. 6 PART 1: POWERHOUSE PRECINCT VISION 14 A New Powerhouse RECONCILIATION 36 Powerhouse Precinct: Structure 58 Powerhouse Precinct: Connectivity Together we will build a culture of respect and exchange, 70 Powerhouse Precinct: Program acknowledging deep Australian Aboriginal and Torres Strait 84 Powerhouse Precinct: Growth Islander connections and continuing practices in applied arts 92 Powerhouse Precinct: Context and sciences. The NSW Government recognises and shares 96 Museum of Applied Arts and Sciences the value and importance of preserving, revitalising and 98 Museum of Applied Arts and Sciences Collection strengthening Australian Aboriginal and Torres Strait Islander 112 Museum of Applied Arts and Sciences Act 1945 cultures, histories and achievements. Central to achieving the 114 Powerhouse Precinct: Policy alignment NSW Government and the Museum of Applied Arts and Sciences vision for reconciliation is the exploration and fulfilment of a range of mutually beneficial opportunities in partnership with 122 PART 2: DESIGN BRIEF Traditional Owners and Australian Aboriginal and Torres Strait 125 Key design considerations Islander cultures and networks, allowing the activities of the 126 Area schedule Museum to be linked to Australian Aboriginal and Torres Strait 128 Area descriptions Islander peoples as a fundamental human right.
    [Show full text]
  • Charles Bayliss Collection
    Charles Bayliss Collection A unique opportunity to purchase a collection of twelve views of Sydney and the harbour by photographer Charles Bayliss (Australian, 1850–1897), containing some of Australia’s largest surviving wet-plate collo dion process photographs from the 19th century. Price on application. Collectors’ List No. 196, 2019 Josef Lebovic Gallery 103a Anzac Parade Kensington NSW 2033 p: (02) 9663 4848 e: [email protected] w: joseflebovicgallery.com [Circular Quay, Royal Botanic Gardens And View Of Sydney Looking North-East, From The Garden Palace], c1879. Civic pride and panoramas — Charles Bayliss The people appearing in the A&A Photographic Company pictures might buy Australia’s most accomplished panoramic photographer one or two prints, but Beaufoy Merlin saw the opportunity for later sales further afield to intending settlers or investors.3 For the next decade Charles Bayliss by Gael Newton mastered the art of photography while working for Merlin’s A&A Photographic Company in New South Wales and Victoria. Merlin was entrepreneurial, but When British-born, Australian-raised photographer Charles Bayliss (1850– there is little to suggest he was a technical innovator. Subsequent events 1897) died in Sydney aged only 47, the Australasian Photo-Review said of suggest Bayliss was a naturally innovative and gifted artist-technician. him ‘As a landscape photographer he had few equals and no superiors… The work he did in every direction was of the best quality and is too well known In 1872 while working in the central west goldfields of New South Wales and wide to be improved by eulogy.’1 However, like most 19th century pioneer Beaufoy Merlin met German-born Bernhardt O.
    [Show full text]
  • International Exhibitions, Expositions Universelles and World's Fairs, 1851-2005: a Bibliography
    Freie Universität Berlin, Germany California State University, Fresno, USA International Exhibitions, Expositions Universelles and World’s Fairs, 1851-2005: A Bibliography by Alexander C.T. Geppert, Jean Coffey and Tammy Lau 1. Introduction_________________________________________________________ 5 2. Research Aids ______________________________________________________ 7 2.1 Research Aids General _________________________________________________7 2.2 Bibliographies ________________________________________________________8 2.3 Review Articles ______________________________________________________10 2.4 Journals and Newsletters ______________________________________________10 3. History and Theory of International Exhibitions: General Works _______________ 11 3.1 Official Exhibition Regulations ___________________________________________11 3.2 Exhibition Theory _____________________________________________________11 3.3 Exhibition History _____________________________________________________13 4. International Exhibitions, 1851-2005 ____________________________________ 28 4.1 Australia ____________________________________________________________28 4.1.0 Australia General _____________________________________________28 4.1.1 International Exhibition, Sydney 1879-1880_________________________28 4.1.2 International Exhibition, Melbourne 1880-1881 ______________________28 4.1.3 Centennial International Exhibition, Melbourne 1888-1889 _____________28 4.1.4 Expo 88, Brisbane 1988 ________________________________________28 4.2 Austria _____________________________________________________________28
    [Show full text]
  • Royal Exhibition Building and Carlton Gardens
    World Heritage Scanned Nomination File Name: 1131.pdf UNESCO Region: ASIA AND THE PACIFIC __________________________________________________________________________________________________ SITE NAME: Royal Exhibition Building and Carlton Gardens DATE OF INSCRIPTION: 7th July 2004 STATE PARTY: AUSTRALIA CRITERIA: C (ii) DECISION OF THE WORLD HERITAGE COMMITTEE: Excerpt from the Report of the 28th Session of the World Heritage Committee Criterion (ii): The Royal Exhibition Building and the surrounding Carlton Gardens, as the main extant survivors of a Palace of Industry and its setting, together reflect the global influence of the international exhibition movement of the 19th and early 20th centuries. The movement showcased technological innovation and change, which helped promote a rapid increase in industrialization and international trade through the exchange of knowledge and ideas. BRIEF DESCRIPTIONS The Royal Exhibition Building and its surrounding Carlton Gardens were designed for the great international exhibitions of 1880 and 1888 in Melbourne. The building and grounds were designed by Joseph Reed. The building is constructed of brick and timber, steel and slate. It combines elements from the Byzantine, Romanesque, Lombardic and Italian Renaissance styles. The property is typical of the international exhibition movement which saw over 50 exhibitions staged between 1851 and 1915 in venues including Paris, New York, Vienna, Calcutta, Kingston (Jamaica) and Santiago (Chile). All shared a common theme and aims: to chart material and moral progress through displays of industry from all nations 1.b State, Province or Region: Melbourne, Victoria 1.d Exact location: S37 48 22.0 E144 58 13.0 Nomination of ROYAL EXHIBITION BUILDING AND CARLTON GARDENS, MELBOURNE by the Government of Australia for Inscription on the World Heritage List.
    [Show full text]