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Creative Commons CC BY-NC-ND 4.0 DEED
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artwork
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artwork
Oil paint on mahogany
[ { "append_role_to_name": false, "date": "1802–1873", "fc": "Sir Edwin Henry Landseer", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sir-edwin-henry-landseer-323" } ]
2,194
[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999978, "shortTitle": "Robert Vernon" }, { "id": 999999956, "shortTitle": "Collection" } ]
1,829
<a href="https://www.tate.org.uk/art/artists/sir-edwin-henry-landseer-323" aria-label="More by Sir Edwin Henry Landseer" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Sir Edwin Henry Landseer</a>
Low Life
1,847
[]
Presented by Robert Vernon 1847
A00702
{ "id": 6, "meta": { "type": "art.Classification" } }
8064
7011781 7008136 7002445 7008591
Sir Edwin Henry Landseer
1,829
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<p>Landseer's dog paintings of the 1830s are among his most popular works. About half consist of commissioned, life-size 'portraits', the rest are independent subjects, smaller in scale and usually with a narrative content. In an etching of 1822, which anticipates <i>Low Life</i>, the dog in this picture is identified as Jack. He belongs to the tradition of Landseer's early, unruly tykes, an element which gradually disappeared in his work. The same dog reappears in <i>A Jack in Office</i> (<i>c</i>.1833, Victoria and Albert Museum, London). This particular work was conceived as a pair with <i>High Life</i> (Tate A00703), depicting a faithful deerhound, symbol of an aristocratic and chivalric past. The intention was to juxtapose two dogs from different worlds and different social classes as representations of their absent owners. There is a long literary and pictorial tradition behind such contrasts - virtue and vice, good and evil - which usually have some kind of moral purpose. Here the contrast is more one of character than of morality. The surly, battle-scarred terrier fiercely guards his master's shop. The surrounding accessories, painted with tremendous realism, indicate that his master is a rough, working-class man: the beer tankard and clay pipe, the whip and key hanging on the hook, the weathered stone step. Other props convey his actual profession: the scarred butcher's block with knife and bottle; the butcher's top hat and worn boots. The terrier represents the tough, urban values of the plebeian English workman, as opposed to the deerhound, who represents the refined, the chivalrous and the patrician. The picture was exhibited at the British Institution in 1831 and was later acquired, along with <i>High Life</i>, by Robert Vernon, who had an important collection of 19th Century British art. Vernon owned several works by Landseer, eight of which he bequeathed to the National Gallery in 1847. Two of these were destroyed in the flood of 1928, but the other six, including <i>High Life</i>, are still in the Tate collection (A00702, N00409, N00411, N00412 and N00415). <b>Further reading:</b>Richard Ormond, <i>Sir Edwin Landseer</i>, exhibition catalogue, Philadelphia Museum of Art, Philadelphia 1982, p.99, no.59, reproduced p.101, in colour.Robin Hamlyn, <i>Robert Vernon's Gift - British Art for the Nation 1847</i>, exhibition catalogue, Tate Gallery, London 1993, p.69. Frances FowleDecember 2000</p>
false
1
https://media.tate.org.u…00/A00702_10.jpg
323
painting oil paint mahogany
[ { "artistRoomsTour": false, "dateText": "1 April 2006 – 27 August 2006", "endDate": "2006-08-27", "exhibitionLegs": [ { "dateText": "5 October 2005 – 5 February 2006", "endDate": "2006-02-05", "id": 2384, "startDate": "2005-10-05", "venueName": "Van Gogh Museum (Amsterdam, Netherlands)", "venueWebsiteUrl": "http://www.vangoghmuseum.nl/" }, { "dateText": "25 March 2006 – 27 August 2006", "endDate": "2006-08-27", "id": 2385, "startDate": "2006-03-25", "venueName": "Carnegie Museum of Art (Pittsburgh, USA)", "venueWebsiteUrl": null } ], "id": 2171, "startDate": "2006-04-01", "title": "Fierce Friends: Artists & Animals in the Industrial Era, 1750-1920", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "25 May 2018 – 30 September 2018", "endDate": "2018-09-30", "exhibitionLegs": [ { "dateText": "25 May 2018 – 30 September 2018", "endDate": "2018-09-30", "id": 11675, "startDate": "2018-05-25", "venueName": "Turner Contemporary (Margate, UK)", "venueWebsiteUrl": null } ], "id": 9638, "startDate": "2018-05-25", "title": "Animals & Us", "type": "Loan-out" } ]
Low Life
1,829
Tate
1829, exhibited 1831
CLEARED
6
support: 457 × 352 mm frame: 700 × 990 × 90 mm
accessioned work
Tate
Presented by <a href="/search?gid=999999978" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Robert Vernon</a> 1847
[ { "ajax_url": null, "canonical_url": null, "content": "<p>Landseer's dog <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/painting\" title=\"Glossary definition for 'Painting'\"><span>paintings</span></a> of the 1830s are among his most popular works. About half consist of commissioned, life-size '<a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/portrait\" title=\"Glossary definition for 'Portrait'\"><span>portraits</span></a>', the rest are independent subjects, smaller in scale and usually with a <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/n/narrative\" title=\"Glossary definition for 'Narrative'\"><span>narrative</span></a> content. In an <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/etching\" title=\"Glossary definition for 'Etching'\"><span>etching</span></a> of 1822, which anticipates <i>Low Life</i>, the dog in this picture is identified as Jack. He belongs to the tradition of Landseer's early, unruly tykes, an element which gradually disappeared in his work. The same dog reappears in <i>A Jack in Office</i> (<i>c</i>.1833, Victoria and Albert Museum, London).\n\n</p><p>This particular work was conceived as a pair with <i>High Life</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/landseer-high-life-a00703\" title=\"View the details of this artwork\"><span>A00703</span></a>), depicting a faithful deerhound, symbol of an aristocratic and chivalric past. The intention was to juxtapose two dogs from different worlds and different social classes as representations of their absent owners. There is a long literary and pictorial tradition behind such contrasts - virtue and vice, good and evil - which usually have some kind of moral purpose. Here the contrast is more one of character than of morality.\n\n</p><p>The surly, battle-scarred terrier fiercely guards his master's shop. The surrounding accessories, painted with tremendous <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/r/realism\" title=\"Glossary definition for 'Realism'\"><span>realism</span></a>, indicate that his master is a rough, working-class man: the beer tankard and clay pipe, the whip and key hanging on the hook, the weathered stone step. Other props convey his actual profession: the scarred butcher's block with knife and bottle; the butcher's top hat and worn boots. The terrier represents the tough, urban values of the plebeian English workman, as opposed to the deerhound, who represents the refined, the chivalrous and the patrician. \n\n</p><p>The picture was exhibited at the British Institution in 1831 and was later acquired, along with <i>High Life</i>, by Robert Vernon, who had an important collection of 19<sup>th</sup> Century British art. Vernon owned several works by Landseer, eight of which he bequeathed to the National Gallery in 1847. Two of these were destroyed in the flood of 1928, but the other six, including <i>High Life</i>, are still in the Tate collection (<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/landseer-low-life-a00702\" title=\"View the details of this artwork\"><span>A00702</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/landseer-king-charles-spaniels-the-cavaliers-pets-n00409\" title=\"View the details of this artwork\"><span>N00409</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/landseer-highland-music-n00411\" title=\"View the details of this artwork\"><span>N00411</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/landseer-deer-and-deer-hounds-in-a-mountain-torrent-the-hunted-stag-n00412\" title=\"View the details of this artwork\"><span>N00412</span></a> and <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/landseer-a-dialogue-at-waterloo-n00415\" title=\"View the details of this artwork\"><span>N00415</span></a>).\n\n</p><p><b>Further reading:</b><br/>Richard Ormond, <i>Sir Edwin Landseer</i>, exhibition catalogue, Philadelphia Museum of Art, Philadelphia 1982, p.99, no.59, reproduced p.101, in colour.<br/>Robin Hamlyn, <i>Robert Vernon's Gift - British Art for the Nation 1847</i>, exhibition catalogue, Tate Gallery, London 1993, p.69.\n\n</p><p>Frances Fowle<br/>December 2000<br/></p>", "display_name": "Summary", "publication_date": "2005-09-15T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]
[ "animals: mammals", "architecture", "class", "clothing and personal items", "cup / mug", "dog - non-specific", "door", "features", "kitchen", "objects", "pipe", "social comment", "society" ]
null
false
67 1017 88 19657 570 971 17 84 1091 158
false
Creative Commons CC BY-NC-ND 4.0 DEED
artwork
Oil paint on mahogany
[ { "append_role_to_name": false, "date": "1802–1873", "fc": "Sir Edwin Henry Landseer", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sir-edwin-henry-landseer-323" } ]
2,195
[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999978, "shortTitle": "Robert Vernon" }, { "id": 999999956, "shortTitle": "Collection" } ]
1,829
<a href="https://www.tate.org.uk/art/artists/sir-edwin-henry-landseer-323" aria-label="More by Sir Edwin Henry Landseer" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Sir Edwin Henry Landseer</a>
High Life
1,847
[]
Presented by Robert Vernon 1847
A00703
{ "id": 6, "meta": { "type": "art.Classification" } }
8064
7011781 7008136 7002445 7008591
Sir Edwin Henry Landseer
1,829
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<p>Landseer's dog paintings of the 1830s are among his most popular works. About half consist of commissioned, life-size 'portraits', the rest are independent subjects, smaller in scale and usually with a narrative content. This particular work was conceived as a pair with <i>Low Life</i> (Tate A00702), and depicting a battle-scarred terrier, guarding his master's shop. The intention is to juxtapose two dogs from different worlds and different social classes as representations of their absent owners. There is a long literary and pictorial tradition behind such contrasts as virtue and vice, good and evil, which usually have some kind of moral purpose. Here the contrast is more one of character than of morality. The deerhound in this picture reflects an aristocratic world of chivalry; the interior is like a scene from a Walter Scott novel. Various props scattered on the table and floor give the impression that the dog's master is a knight: hawking gloves, two rapiers, a sixteenth century-style helmet and breastplate, a standing cup, old leather-bound books, a partially unrolled document, a quill pen, a candlestick made from an eagle's talon and a bellpull. Through the window can be glimpsed a castellated tower. The dog itself was once thought to have been Scott's dog Maida, but in pose and colouring the dog is closer to Landseer's own deerhound, which appears with Maida in <i>A Scene at Abbotsford</i> <i>c.</i>1827 (Tate N01532). This dog represents the chivalrous, the rural and the patrician, as opposed to the feisty terrier, which represents the tough, urban values of the plebeian English workman. The picture was exhibited at the British Institution in 1831 and was later acquired, along with <i>Low Life</i>, by Robert Vernon, who had an important collection of 19th Century British art. Vernon owned several works by Landseer, eight of which he bequeathed to the National Gallery in 1847. Two of these were destroyed in the flood of 1928, but the other six, including <i>High Life</i>, are still in the Tate collection (Tate A00702, N00409, N00411, N00412 and N00415). <b>Further reading:</b>Richard Ormond, <i>Sir Edwin Landseer</i>, exhibition catalogue, Philadelphia Museum of Art, Philadelphia 1982, p.99, no.59, reproduced p.101, in colour.Robin Hamlyn, <i>Robert Vernon's Gift - British Art for the Nation 1847</i>, exhibition catalogue, Tate Gallery, London 1993, p.69. Frances FowleDecember 2000<b></b></p>
false
1
https://media.tate.org.u…00/A00703_10.jpg
323
painting oil paint mahogany
[ { "artistRoomsTour": false, "dateText": "1 April 2006 – 27 August 2006", "endDate": "2006-08-27", "exhibitionLegs": [ { "dateText": "5 October 2005 – 5 February 2006", "endDate": "2006-02-05", "id": 2384, "startDate": "2005-10-05", "venueName": "Van Gogh Museum (Amsterdam, Netherlands)", "venueWebsiteUrl": "http://www.vangoghmuseum.nl/" }, { "dateText": "25 March 2006 – 27 August 2006", "endDate": "2006-08-27", "id": 2385, "startDate": "2006-03-25", "venueName": "Carnegie Museum of Art (Pittsburgh, USA)", "venueWebsiteUrl": null } ], "id": 2171, "startDate": "2006-04-01", "title": "Fierce Friends: Artists & Animals in the Industrial Era, 1750-1920", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "25 May 2018 – 30 September 2018", "endDate": "2018-09-30", "exhibitionLegs": [ { "dateText": "25 May 2018 – 30 September 2018", "endDate": "2018-09-30", "id": 11675, "startDate": "2018-05-25", "venueName": "Turner Contemporary (Margate, UK)", "venueWebsiteUrl": null } ], "id": 9638, "startDate": "2018-05-25", "title": "Animals & Us", "type": "Loan-out" } ]
High Life
1,829
Tate
1829, exhibited 1831
CLEARED
6
support: 457 × 349 mm frame: 700 × 990 × 90 mm
accessioned work
Tate
Presented by <a href="/search?gid=999999978" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Robert Vernon</a> 1847
[ { "ajax_url": null, "canonical_url": null, "content": "<p>Landseer's dog <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/painting\" title=\"Glossary definition for 'Painting'\"><span>paintings</span></a> of the 1830s are among his most popular works. About half consist of commissioned, life-size '<a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/portrait\" title=\"Glossary definition for 'Portrait'\"><span>portraits</span></a>', the rest are independent subjects, smaller in scale and usually with a <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/n/narrative\" title=\"Glossary definition for 'Narrative'\"><span>narrative</span></a> content. This particular work was conceived as a pair with <i>Low Life</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/landseer-low-life-a00702\" title=\"View the details of this artwork\"><span>A00702</span></a>), and depicting a battle-scarred terrier, guarding his master's shop. The intention is to juxtapose two dogs from different worlds and different social classes as representations of their absent owners. There is a long literary and pictorial tradition behind such contrasts as virtue and vice, good and evil, which usually have some kind of moral purpose. Here the contrast is more one of character than of morality.\n\n</p><p>The deerhound in this picture reflects an aristocratic world of chivalry; the interior is like a scene from a Walter Scott novel. Various props scattered on the table and floor give the impression that the dog's master is a knight: hawking gloves, two rapiers, a sixteenth century-style helmet and breastplate, a standing cup, old leather-bound books, a partially unrolled document, a quill pen, a candlestick made from an eagle's talon and a bellpull. Through the window can be glimpsed a castellated tower. The dog itself was once thought to have been Scott's dog Maida, but in pose and colouring the dog is closer to Landseer's own deerhound, which appears with Maida in <i>A Scene at Abbotsford</i> <i>c.</i>1827 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/landseer-a-scene-at-abbotsford-n01532\" title=\"View the details of this artwork\"><span>N01532</span></a>). This dog represents the chivalrous, the rural and the patrician, as opposed to the feisty terrier, which represents the tough, urban values of the plebeian English workman.\n\n</p><p>The picture was exhibited at the British Institution in 1831 and was later acquired, along with <i>Low Life</i>, by Robert Vernon, who had an important collection of 19<sup>th</sup> Century British art. Vernon owned several works by Landseer, eight of which he bequeathed to the National Gallery in 1847. Two of these were destroyed in the flood of 1928, but the other six, including <i>High Life</i>, are still in the Tate collection (Tate <span>A00702</span>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/landseer-king-charles-spaniels-the-cavaliers-pets-n00409\" title=\"View the details of this artwork\"><span>N00409</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/landseer-highland-music-n00411\" title=\"View the details of this artwork\"><span>N00411</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/landseer-deer-and-deer-hounds-in-a-mountain-torrent-the-hunted-stag-n00412\" title=\"View the details of this artwork\"><span>N00412</span></a> and <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/landseer-a-dialogue-at-waterloo-n00415\" title=\"View the details of this artwork\"><span>N00415</span></a>).\n\n</p><p><b>Further reading:</b><br/>Richard Ormond, <i>Sir Edwin Landseer</i>, exhibition catalogue, Philadelphia Museum of Art, Philadelphia 1982, p.99, no.59, reproduced p.101, in colour.<br/>Robin Hamlyn, <i>Robert Vernon's Gift - British Art for the Nation 1847</i>, exhibition catalogue, Tate Gallery, London 1993, p.69.\n\n</p><p>Frances Fowle<br/>December 2000<br/><b><br/></b></p>", "display_name": "Summary", "publication_date": "2005-09-15T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]
[ "animals: mammals", "candle", "candlestick", "chair", "class", "desk", "dog, deerhound", "domestic", "furnishings", "heating and lighting", "interiors", "living room", "objects", "quill pen", "reading, writing, printed matter", "scroll", "social comment", "society" ]
null
false
67 767 2079 750 1017 926 11934 41 82 85 761 1939 174 2019 158
false
Creative Commons CC BY-NC-ND 4.0 DEED
artwork
Wood engraving on paper
[ { "append_role_to_name": false, "date": "1830–1896", "fc": "Frederic, Lord Leighton", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/frederic-lord-leighton-342" } ]
2,196
[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" }, { "id": 65600, "shortTitle": "Illustrations for ‘Dalziel’s Bible Gallery’, engraved by the Dalziel Brothers" } ]
1,881
<a href="https://www.tate.org.uk/art/artists/frederic-lord-leighton-342" aria-label="More by Frederic, Lord Leighton" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Frederic, Lord Leighton</a>
Spies Escape
1,924
[]
Presented by Gilbert Dalziel 1924
A00730
{ "id": 4, "meta": { "type": "art.Classification" } }
prints_and_drawings
7010063 7008166 7002445 7008591 7011781 7008136
Frederic, Lord Leighton
1,881
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<p>Here Leighton illustrates the story from the Book of Numbers which describes the plight of the Israelites as they approach Canaan, the land promised them by God. He shows two spies who have been sent by God to search out Canaan; they are about to flee the walled city that they find inhabited by man-eating giants.</p><p>Leighton was enthusiastic about being involved in the project to produce an illustrated Bible. He made nine designs for the volume which the Dalziels described as ‘among the finest of his works in black and white’.</p><p><em>Gallery label, November 2004</em></p>
true
1
https://media.tate.org.u…00/A00730_10.jpg
342
paper print wood engraving
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The Spies Escape
1,881
Tate
published 1881
Prints and Drawings Rooms
CLEARED
4
image: 168 × 181 mm
accessioned work
Tate
Presented by Gilbert Dalziel 1924
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false
177 92 584 12778 17 5424 195
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Creative Commons CC BY-NC-ND 4.0 DEED
artwork
Wood engraving on paper
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2,197
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1,881
<a href="https://www.tate.org.uk/art/artists/frederic-lord-leighton-342" aria-label="More by Frederic, Lord Leighton" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Frederic, Lord Leighton</a>
Cain and Abel
1,924
[]
Presented by Gilbert Dalziel 1924
A00731
{ "id": 4, "meta": { "type": "art.Classification" } }
prints_and_drawings
7010063 7008166 7002445 7008591 7011781 7008136
Frederic, Lord Leighton
1,881
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<p>This design illustrates the story of the first two sons of Adam and Eve, Cain a farmer and Abel a shepherd. The brothers sacrifice the products of their labour to God: Cain offers meat from his flock and Abel the results of his harvest. But God was more pleased with Abel’s offering, and Cain’s jealousy results in the brutal murder of his brother, shown here.</p><p>Leighton suffered from producing such detailed work; he wrote to the Dalziels, ‘I very much regret I find that the minute work – which I cannot satisfy myself – on these drawings has proved terribly trying to my eyes’.</p><p><em>Gallery label, July 2008</em></p>
true
1
https://media.tate.org.u…00/A00731_10.jpg
342
paper print wood engraving
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Cain and Abel
1,881
Tate
published 1881
Prints and Drawings Rooms
CLEARED
4
image: 178 × 159 mm
accessioned work
Tate
Presented by Gilbert Dalziel 1924
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Creative Commons CC BY-NC-ND 4.0 DEED
artwork
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1,881
<a href="https://www.tate.org.uk/art/artists/frederic-lord-leighton-342" aria-label="More by Frederic, Lord Leighton" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Frederic, Lord Leighton</a>
Samson and Lions
1,924
[]
Presented by Gilbert Dalziel 1924
A00732
{ "id": 4, "meta": { "type": "art.Classification" } }
prints_and_drawings
7010063 7008166 7002445 7008591 7011781 7008136
Frederic, Lord Leighton
1,881
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true
1
https://media.tate.org.u…00/A00732_10.jpg
342
paper print wood engraving
[]
Samson and the Lions
1,881
Tate
published 1881
Prints and Drawings Rooms
CLEARED
4
image: 184 × 184 mm
accessioned work
Tate
Presented by Gilbert Dalziel 1924
[]
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false
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Creative Commons CC BY-NC-ND 4.0 DEED
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2,199
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1,881
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Abram and Angel
1,924
[]
Presented by Gilbert Dalziel 1924
A00733
{ "id": 4, "meta": { "type": "art.Classification" } }
prints_and_drawings
7010063 7008166 7002445 7008591 7011781 7008136
Frederic, Lord Leighton
1,881
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true
1
https://media.tate.org.u…00/A00733_10.jpg
342
paper print wood engraving
[]
Abram and the Angel
1,881
Tate
published 1881
Prints and Drawings Rooms
CLEARED
4
image: 216 × 152 mm
accessioned work
Tate
Presented by Gilbert Dalziel 1924
[]
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null
false
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Creative Commons CC BY-NC-ND 4.0 DEED
artwork
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1,881
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Samson at Mill
1,924
[]
Presented by Gilbert Dalziel 1924
A00734
{ "id": 4, "meta": { "type": "art.Classification" } }
prints_and_drawings
7010063 7008166 7002445 7008591 7011781 7008136
Frederic, Lord Leighton
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true
1
https://media.tate.org.u…00/A00734_10.jpg
342
paper print wood engraving
[]
Samson at the Mill
1,881
Tate
published 1881
Prints and Drawings Rooms
CLEARED
4
image: 190 × 175 mm
accessioned work
Tate
Presented by Gilbert Dalziel 1924
[]
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null
false
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false
Creative Commons CC BY-NC-ND 4.0 DEED
artwork
Wood engraving on paper
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1,881
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Eliezer and Rebekah
1,924
[]
Presented by Gilbert Dalziel 1924
A00735
{ "id": 4, "meta": { "type": "art.Classification" } }
prints_and_drawings
7010063 7008166 7002445 7008591 7011781 7008136
Frederic, Lord Leighton
1,881
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true
1
https://media.tate.org.u…00/A00735_10.jpg
342
paper print wood engraving
[]
Eliezer and Rebekah
1,881
Tate
published 1881
Prints and Drawings Rooms
CLEARED
4
image: 175 × 149 mm
accessioned work
Tate
Presented by Gilbert Dalziel 1924
[]
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false
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false
Creative Commons CC BY-NC-ND 4.0 DEED
artwork
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1,881
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Moses Views Promised Land
1,924
[]
Presented by Gilbert Dalziel 1924
A00736
{ "id": 4, "meta": { "type": "art.Classification" } }
prints_and_drawings
7010063 7008166 7002445 7008591 7011781 7008136
Frederic, Lord Leighton
1,881
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true
1
https://media.tate.org.u…00/A00736_10.jpg
342
paper print wood engraving
[]
Moses Views the Promised Land
1,881
Tate
published 1881
Prints and Drawings Rooms
CLEARED
4
image: 229 × 137 mm
accessioned work
Tate
Presented by Gilbert Dalziel 1924
[]
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null
false
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false
Creative Commons CC BY-NC-ND 4.0 DEED
artwork
Wood engraving on paper
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2,203
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1,881
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Death First Born
1,924
[]
Presented by Gilbert Dalziel 1924
A00737
{ "id": 4, "meta": { "type": "art.Classification" } }
prints_and_drawings
7010063 7008166 7002445 7008591 7011781 7008136
Frederic, Lord Leighton
1,881
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true
1
https://media.tate.org.u…00/A00737_10.jpg
342
paper print wood engraving
[]
Death of the First Born
1,881
Tate
published 1881
Prints and Drawings Rooms
CLEARED
4
image: 194 × 175 mm
accessioned work
Tate
Presented by Gilbert Dalziel 1924
[]
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null
false
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Creative Commons CC BY-NC-ND 4.0 DEED
artwork
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Samson Carrying Gate
1,924
[]
Presented by Gilbert Dalziel 1924
A00738
{ "id": 4, "meta": { "type": "art.Classification" } }
prints_and_drawings
7010063 7008166 7002445 7008591 7011781 7008136
Frederic, Lord Leighton
1,881
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<p>This is one of the most powerful designs Leighton contributed to the Bible Gallery. It illustrates an episode from the story of Samson. Trapped in the city of Gaza, surrounded by Philistines who want revenge, Samson decides to frighten his assailants by ripping off the city gates. Here he is shrouded in the enormous gates which he decides to carry on his back to Mount Hebron.</p><p>Leighton creates a web of hatching to highlight Samson’s muscular figure. The contrasting areas of light and dark and the strong verticals contribute to the intensity and drama of the biblical subject.</p><p><em>Gallery label, November 2004</em></p>
true
1
https://media.tate.org.u…00/A00738_10.jpg
342
paper print wood engraving
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Samson Carrying the Gate
1,881
Tate
published 1881
Prints and Drawings Rooms
CLEARED
4
image: 168 × 187 mm
accessioned work
Tate
Presented by Gilbert Dalziel 1924
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Creative Commons CC BY-NC-ND 4.0 DEED
artwork
Oil paint on wood
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Falstaff Personating King
1,900
[]
Bequeathed by Henry Vaughan 1900
A00739
{ "id": 6, "meta": { "type": "art.Classification" } }
7011781 7008136 7002445 7008591
Charles Robert Leslie
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https://media.tate.org.u…00/A00739_10.jpg
346
painting oil paint wood
[]
Falstaff Personating the King
1,851
Tate
c.1851
CLEARED
6
support: 140 × 216 mm
accessioned work
Tate
Bequeathed by Henry Vaughan 1900
[]
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false
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Creative Commons CC BY-NC-ND 4.0 DEED
artwork
Oil paint on wood
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Head Falstaff
1,900
[]
Bequeathed by Henry Vaughan 1900
A00740
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7011781 7008136 7002445 7008591
Charles Robert Leslie
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painting oil paint wood
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Head of Falstaff
1,851
Tate
c.1851
CLEARED
6
support: 140 × 114 mm
accessioned work
Tate
Bequeathed by Henry Vaughan 1900
[]
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Creative Commons CC BY-NC-ND 4.0 DEED
artwork
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Head Prince Hal
1,900
[]
Bequeathed by Henry Vaughan 1900
A00741
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Charles Robert Leslie
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1
https://media.tate.org.u…00/A00741_10.jpg
346
painting oil paint canvas
[]
Head of Prince Hal
1,851
Tate
c.1851
CLEARED
6
support: 140 × 102 mm
accessioned work
Tate
Bequeathed by Henry Vaughan 1900
[]
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Creative Commons CC BY-NC-ND 4.0 DEED
artwork