- Table View
- List View
Sticks by Andy Goldsworthy (tactile)
by Markeaton SchoolThis is a tactile image of a sculpture at the side of a lake by British artist and environmentalist Andy Goldsworthy. The sculpture was constructed from sticks stuck into mud and assembled into a vertical grid
Star- to colour in (tactile)
by RnibThis is a tactile picture of a five-pointed star, ready to colour in. Its points are linked to each other by lines that divide the star into six areas: five triangles around the outside, and a pentagon (five-sided shape) in the centre. Each area has a different tactile texture.
Staffordshire Moorlands Pan (SEB)
by RnibThis dark green pan, discovered in Staffordshire in 2003, is made of copper alloy with a Celtic-style pattern inlaid with turquoise, blue, red and yellow-coloured enamel. It is quite small and could fit in the palm of the hand. Originally it may have had a handle, like that of a pan we use today, but is not attached now. The pan is circular with a small rim at the top and has a replacement base as the original base was missing when discovered. The rim and top of the base are nearly the same diameter, with the sides of the pan slightly curved from base to rim. About 5 mm from the rim, is an engraved inscription. Immediately below the inscription and extending to the base, is the Celtic-style patterning. The pattern is damaged in places due to the loss of the enamel but detail can still be clearly seen. It consists of a series of circles containing scrolling leaf shapes around a central flower motif. The tactile image is of a side view of the pan and shows the last 4 words of the inscription, along with 3 of the circles of the Celtic pattern and the triangular shapes between the circles. The rim and sides of the pan are shown as lines. The base is shown as solid texture. The shape of the letters in the inscription have been replicated exactly in a thick line. The Celtic pattern is shown with 4 types of textures - solid for the copper alloy, rough for the turquoise enamel, very rough for the blue enamel and hollows for missing enamel, mainly red. The triangular shapes between the circles are shown as a very rough texture, again for blue enamel.
South East Entrance Gates (SEB)
by RnibThis is a memorial to Godfrey Sykes (1824-1866) one of Sheffield’s famous craftsmen. The tactile image shows the basic shape of the memorial with the bronze relief and three main bands of decoration shown as textures. The metal railings have been shown with the base of the memorial behind them omitted. This monument is by James Gamble and based on some of Sykes' own designs. It was erected in the park in 1875. Terracotta was used to make the original gateways to the park at Winter Street and Western Bank. The Winter Street gateway and lodge were demolished in 1952 in order to construct the University Library. The Western Bank gateway can still be found at location 6 (South East Entrance Gates) of this tour.
Shield Crests (SEB)
by RnibThis page shows images of eight shield crests, four at the top of the page and four at the bottom. At the centre of the page is a large blank outline of a shield shape.
Salvidor Dali (UEB uncontracted)
by RnibThis image shows a portrait of Salvador Dali. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. He is facing you so all facial features can be found. Only his head, neck and some of his shoulders are shown. His black hair is cut in a very neat and tidy style. He has large black eyebrows. Down from them he stares with very wide brown eyes, they are nearly popping out. He has a long thin moustache which curves round down from, and just left and right of each eye. It ends in sharp points. He wears a smart jacket and tie. He has a handkerchief poking out of the jacket breast pocket in the bottom right of the image. The image is surrounded by an image border.
Salvador Dali (large print)
by RnibThis image shows a portrait of Salvador Dali. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. He is facing you so all facial features can be found. Only his head, neck and some of his shoulders are shown. His black hair is cut in a very neat and tidy style. He has large black eyebrows. Down from them he stares with very wide brown eyes, they are nearly popping out. He has a long thin moustache which curves round down from, and just left and right of each eye. It ends in sharp points. He wears a smart jacket and tie. He has a handkerchief poking out of the jacket breast pocket in the bottom right of the image. The image is surrounded by an image border.
Salvidor Dali (UEB contracted)
by RnibThis image shows a portrait of Salvador Dali. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. He is facing you so all facial features can be found. Only his head, neck and some of his shoulders are shown. His black hair is cut in a very neat and tidy style. He has large black eyebrows. Down from them he stares with very wide brown eyes, they are nearly popping out. He has a long thin moustache which curves round down from, and just left and right of each eye. It ends in sharp points. He wears a smart jacket and tie. He has a handkerchief poking out of the jacket breast pocket in the bottom right of the image. The image is surrounded by an image border.
Relief Marble Bust of Cinzio Benincasa (SEB)
by RnibThis is a marble relief from the 15 century. The relief is recessed within a moulded frame and has an inscription in carved capital letters in a strip across the base. The outer edge of the frame has large chips in it making the edge uneven. The sitter, a young man in his mid to late twenties, is shown in profile to the right, wearing a high cap encircled with a laurel wreath tied at the back with a ribbon. The tactile image shows the detail of the relief and moulded frame and has a key, in two columns, at the top of the page. The main part of the moulded frame is shown with a solid texture with a line for the inner most part of the frame. The large chips can be felt on the outer edge. The high cap and ribbon is shown with a rough texture which is also used to show the tunic. Solid shapes show the laurel wreath, chain and buttons on the front of the tunic. The facial features have been shown with lines.
Rama (SEB)
by RnibThis is an statue featuring Rama is shown facing the viewer. It is late 19th century from Krishnanagar, Bengal. Rama is standing with his feet slightly apart on a dark brown rectangular plinth. His left arm is held straight down, elevated slightly from his body, with his fingers clenched. His right arm is bent at the elbow and has the open palm of his hand facing upwards. He has a tall golden crown on his head and is wearing dangling earrings. He is painted all over in bright green paint with white and black eyes, red lips, red palms of his hands, short black hair and moustache, golden toenails and golden fingernails. His body is adorned with three golden necklaces of different lengths, two armbands, two wristbands and two anklets. He is wearing knee-length, baggy trousers, called dhoti, made out of a gauze-like material wrapped around the body like a skirt with another piece wrapped around between the legs to make the trouser shape. A twisted fabric rope-like belt is wound around his waist several times. The trousers and belt are a faded cream colour. The tactile image has a thick line to outline Rama and the plinth. Solid texture shows the crown, rope belt, armbands, wristbands, anklets, necklaces, hair, facial features and earrings. Two rough textures show the baggy trousers - one to show the "skirt" and one to show the piece between the legs. Braille labels: crown, earring, necklaces, armband, wristband, dhoti, foot with anklet, open palm, and plinth.
Prince and Princess by Ben Nicholson (SEB)
by RnibThis is a very abstract image, painted in 1932 by Ben Nicholson. It consists of grey lines, black solid shapes, thick stripes and random line hatching and has been created on a scrap piece of wood that adds to the experimental nature of Nicholson's work. The image is roughly divided into two halves - on the left are two playing card shapes (P) and on the right two profiles of heads (B and H), side by side, one on top of the other facing to the left. The card shapes and heads are separated by a patch of what looks like scribbled black lines with a row of vertical thick brown stripes above. The two card shapes have images in them that look like images on actual playing cards - on the right card is the two of clubs (C) and on the left card a queen (Q). The side profiles of the two heads are basic line profile portraits of Ben Nicholson (B) and his future wife, the sculptor Barbara Hepworth (H) and are intertwined so that one cannot work without the other. The tactile image is one and a half times smaller than the actual painting and follows as near as possible the lines and shapes on the image. A texture shows the patch of scribbled black lines with a different texture for the 7 stripes. Solid texture shows the areas of black shading and Nicholson's profile. Key to image: B: Ben Nicholson's profile C: two club shapes on playing card E: eye H: Barbara Hepworth's profile M: mouth N: nose P: playing card shape Q: queen's profile on playing card
Pilgrim Flask (SEB)
by RnibThis little flask would have been bought by a pilgrim to Canterbury, as a souvenir, about 1200-50. On the front of this flask Becket is flanked by two knights. The back bears a Latin inscription: ""Thomas is the best doctor of the worthy sick"". Almost black in colour, this flask is made of an inexpensive lead alloy and consists of a small container with an open neck and a pointed base to which three figures are attached at the front. The figures are larger than the container and are created as one piece joined together by supports that form an upside down horseshoe-shape. On the back of the flask, the container has a pointed shield-shaped embossed scene showing Becket kneeling on the right facing to the right with a knight standing behind him, dressed in chain mail and a Norman helmet, holding a long sword above his head. The tactile image shows the back of the flask with the Latin inscription and is nearly three times larger than the actual object. The horse-shoe shaped supports and metal loops are shown as a texture with no outline. The upper part of the container is shown with the same texture outlined with a thick line. The lower half shows the shield-shaped scene outlined with a thick line on a plain background. The Latin inscription is shown as solid shapes, following the lettering as closely as possible. The two figures within the shield-shape are shown in outline infilled with a second texture with the knight having a solid helmet and sword. The legs of the two knights and Becket are shown with a solid texture that joins directly onto the supports. The knights' helmets and swords are also solid texture, with the swords joining onto the top of the supports on either side. The knights are infilled with the second texture with criss-cross lines for their chain mail tunics. The lower half of Becket is shown with the same texture as the knights with vertical lines showing the patterning on his robe.
Photograph of Eastbourne Coastal Defences, 1940 (SEB)
by RnibThis is a black and white photograph taken in October 1940 that shows two sentries armed with Lee Enfield rifles and a Bren light machine gun. They are standing guard on the cliff tops at Birling Gap near Eastbourne on the south coast of England. Each sentry is wearing battle dress uniform - single-breasted blouse and trousers, anklets, army boots and tin helmet. Both are carrying web equipment including a gas mask, bayonet, water bottle, waterproof cape, small rucksack and pouches for ammunition. Both sentries are looking out to sea with their backs to the camera. They are standing close to the cliff edge with the machine gun set up on the grass between them. Each sentry is at ease, holding his rifle by the barrel, the rifle butt on the ground between his feet. In the distance are the tall white chalk cliffs of Birling Gap. A large coil of barbed wire starts near the sentry on the right and follows the cliff edge into the distance. The beach is directly below the cliffs. This image shows just one of the sentries, the one on the left of the photograph. The other sentry has been left out but his position on the image has been labelled in braille. The other braille labels added are: tin helmet, cape, rucksack, rifle, boot, Bren gun, barbed wire, sea, beach, cliff edge and cliffs.
Panathenic Amphora (UEB uncontracted)
by RnibThis page shows a Panatheniac Amphora, a large Greek ceramic jar. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. The image fills the page. It shows the large storage jar, 60 to 70 centimetres high, that was filled with ten gallons of olive oil and presented to winners in the Olympic Games. The Amphora is decorated in black on a ground of terra cotta, the natural red colour of the clay from which the jar was made. The jar is seen from the side. At the top of the image is the opening of the jars neck. Down the page is a band of decoration and to each side, a handle for carrying. The jar curves out on either side and has a band showing the images of two Olympic runners. They are seen from the side and each has two legs and one arm shown. Further down the page the jar curves in and there is a wide band of black colour with another band of decoration below this. At the bottom of the page, you can find the jars foot extending out to the right and left.
Panathenic Amphora (UEB contracted)
by RnibThis page shows a Panatheniac Amphora, a large Greek ceramic jar. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. The image fills the page. It shows the large storage jar, 60 to 70 centimetres high, that was filled with ten gallons of olive oil and presented to winners in the Olympic Games. The Amphora is decorated in black on a ground of terra cotta, the natural red colour of the clay from which the jar was made. The jar is seen from the side. At the top of the image is the opening of the jars neck. Down the page is a band of decoration and to each side, a handle for carrying. The jar curves out on either side and has a band showing the images of two Olympic runners. They are seen from the side and each has two legs and one arm shown. Further down the page the jar curves in and there is a wide band of black colour with another band of decoration below this. At the bottom of the page, you can find the jars foot extending out to the right and left.
Panathenic Amphora (large print)
by RnibThis page shows a Panatheniac Amphora, a large Greek ceramic jar. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. The image fills the page. It shows the large storage jar, 60 to 70 centimetres high, that was filled with ten gallons of olive oil and presented to winners in the Olympic Games. The Amphora is decorated in black on a ground of terra cotta, the natural red colour of the clay from which the jar was made. The jar is seen from the side. At the top of the image is the opening of the jars neck. Down the page is a band of decoration and to each side, a handle for carrying. The jar curves out on either side and has a band showing the images of two Olympic runners. They are seen from the side and each has two legs and one arm shown. Further down the page the jar curves in and there is a wide band of black colour with another band of decoration below this. At the bottom of the page, you can find the jars foot extending out to the right and left.
Painting of Tam O'Shanter and Nannie (figurehead of Cutty Sark) (SEB)
by RnibCutty Sarks figurehead is Nannie the witch, a character from Robert Burns poem Tam OShanter. This painting, by an unknown artist, depicts Tam on horseback being chased by Nannie, who is wearing her cutty sark. The ships figurehead has her arm outstretched with a horses tail clasped in her hand. When the ship was in port one of the apprentices would place some unpicked rope in her hand to represent Megs tail. In the centre of the painting is Tam riding his white horse Meg across the bridge over the River Doon. Meg's legs are shown striding out, arching over the arch of the bridge that has no sides, in her flight from the pursuing witch Nannie. Tam is wearing a blue bonnet, long brown jacket over a white shirt with red neckerchief round his neck, a paisley shawl around his shoulders, blue trousers and knee-high black and brown riding boots. He is holding his knobbly stick called a kebbie in his right hand above his head and he holds the horse's reins tightly in his left hand close to the bottom of Meg's neck. He turns his head to look back at Nannie who is immediately behind Meg and has managed to grasp Meg's tail in her left hand. Her white cutty sark billows out behind her showing her quick forward movement and her right breast is exposed. Behind Nannie, in the distance, you can see the church with flames leaping from the roof with the figure of a witch on a broomstick and the Devil playing bagpipes silhouetted against the flames. The whole scene is set against a dark sky with bolts of lightening zigzagging across it.
Op Art, November 21 - Toruside by Davidope (UEB uncontracted)
by RnibThis is an image based on a frame (one image taken from a film) from an animated artwork by Hungarian artist Davidope that gives the unsettling optical illusion of moving into a vortex. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. This work is in black and white. It is comprised of black and white tapered stripes that curve in from the outer edges of the square image to meet in the bottom left quarter. In the animation, the stripes rotate around the image in a clockwise direction to give the illusion of a vortex or whirlpool. Op art is painting that explores visual perception and illusion. It is abstract, often only black and white, and the images may appear to move, flash, vibrate or produce strange colour effects. Some people may find images of this sort uncomfortable to view.
Op Art, November 21 - Toruside by Davidope (UEB contracted)
by RnibThis is an image based on a frame (one image taken from a film) from an animated artwork by Hungarian artist Davidope that gives the unsettling optical illusion of moving into a vortex. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. This work is in black and white. It is comprised of black and white tapered stripes that curve in from the outer edges of the square image to meet in the bottom left quarter. In the animation, the stripes rotate around the image in a clockwise direction to give the illusion of a vortex or whirlpool. Op art is painting that explores visual perception and illusion. It is abstract, often only black and white, and the images may appear to move, flash, vibrate or produce strange colour effects. Some people may find images of this sort uncomfortable to view.
Op Art, November 21 - Toruside by Davidope (large print)
by RnibThis is an image based on a frame (one image taken from a film) from an animated artwork by Hungarian artist Davidope that gives the unsettling optical illusion of moving into a vortex. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. This work is in black and white. It is comprised of black and white tapered stripes that curve in from the outer edges of the square image to meet in the bottom left quarter. In the animation, the stripes rotate around the image in a clockwise direction to give the illusion of a vortex or whirlpool. Op art is painting that explores visual perception and illusion. It is abstract, often only black and white, and the images may appear to move, flash, vibrate or produce strange colour effects. Some people may find images of this sort uncomfortable to view.
Off to the Fishing Grounds by Stanhope Forbes (SEB)
by RnibThis painting shows the men of Newlyn at work. Fishing was a particularly dangerous job in the 19th century. Forbes shows the fishermen on a Cornish lugger, a traditional open topped fishing boat with two masts with sails. He liked Newlyn because of the wonderful light and the chance to live among the subjects of his paintings. It’s from 1886, oil paint on canvas. The main focus of the painting is the open deck of the lugger and Forbes has painted the scene as if he is actually on board the lugger standing with his back to the stern looking down the deck of the boat towards the pointed bow. He has also painted a small rowing boat (RB) to the right of the lugger's bow and in the distance, near the horizon (H) where the sky and sea meet, are further luggers (L) in full sail, some shown with their two sails clearly painted and others just small shapes in the far distance. The rowing boat has four passengers, a fisherman, a woman and two girls. They are looking towards a boy who is on board the lugger. To the left and facing the boy are two fishermen - one much older than the other. Around these two men are various pieces of equipment (E) used for winching their catch into the hold - coils of ropes, chains, a pulley, a bucket and a capstan. To the right and behind the older fisherman is the boat's foremast set in the middle of the deck. The lower part of the unfurled sail is shown to the left of the mast and going off the painting on the left-hand side. Just visible below the sail is the hull of another boat (B) with a small wave breaking on the bow showing that it is in forward motion. The tactile image is just over five times smaller than the actual painting and shows a simplified overview with the signature in the bottom right-hand corner. The sea and sky have no texture and are separated by a thin line. The strip of land is shown with a texture and this texture has also been used for the boy's and fishermen's trousers. The top rail along the sides of the lugger is shown by a very thick line that also outlines the entrance to the hold with the hold itself having no texture. A thinner line outlines the inside bottom edge of the lugger. The sail, deck and sides of the lugger are shown with a light texture. Solid texture shows the mast, boy and fishermen's boots and hats, red cloth bundle held by the boy, the lugger's equipment (capstan and pulleys), rowing boat, oars, gulls, distant luggers, and the hull of the boat showing from under the sail. The people in the rowing boat and the boy's and fishermen's jerseys are shown with a further texture with another texture for the oilskin coats. The ropes are shown with a textured line. Key to image: B: boat's hull visible just below sail D: deck E: equipment G: gulls H: horizon L: luggers in the distance P: pulley R: ropes RA: right arm of boy RB: rowing boat with 4 people in 1: young fisherman sitting on edge of hold 2: older fisherman standing inside hold 3: boy waving to rowing boat 4: young fisherman sitting on side of lugger 5: older fisherman standing on side of lugger
'Nelson and Napoleon exhibition' Portrait of Nelson by Beechey (SEB)
by RnibThis image shows a full-length portrait of Napoleon and is just part of the image that makes up the whole painting. He is shown standing facing you and he is looking slightly to his left. Go to the bottom of the image and find Napoleon's feet. He is wearing black shoes with large gold buckles on the top (solid with hollows for the buckles) and white silk knee-length stockings (shown as a hollow with bordering lines). He then has red velvet breeches, decorated at the knee with gold brocade (solid with hollows for brocade). Behind his breeches, the tails of his long jacket can be felt (rough). At his waist to the right, he has a long sword with a jewelled hilt (solid) suspended from a decorative belt (very rough) and that nearly reaches the floor. His long tailed jacket is also of red velvet (rough) decorated gold brocade and is double-breasted with the buttoned opening on his left. The jacket has long sleeves with deep cuffs (solid), a high collar that stands up to his cheeks (solid) and 2 rows of gold buttons (solid), most of which can be seen on the right-hand side of the jacket. Napoleon's left hand is pushed into the open jacket where the large buttonholes can be seen (solid). His right arm is outstretched and his fingers are pointing down. At his neck, he has a black cravat (very rough). He is a handsome man with a straight nose, neat eyebrows and short black hair (solid), parted to his left, and he has a fixed expression. The whole painting shows Napoleon standing in-between a throne-like chair, to his left, and a table, to his right, with long dark drapes in the background. The throne-like chair has gold decoration on it and the table is completely covered in dark velvet with a deep gold fringe at the bottom. To Napoleon's left, the long dark drapes are drawn back to reveal a view of a cathedral with a spire with rolling hills behind. On the table is a scroll that has large writing on it. Napoleon's right hand is just resting on this scroll and he is pointing to the writing on the scroll. Also on the table are more rolled scrolls, 2 quills and Napoleon's black hat.
'Nelson and Napoleon exhibition' Portrait of Napoleon by Ingres (SEB)
by Rnib"This image shows a full-length portrait of Napoleon and is just part of the image that makes up the whole painting. He is shown standing facing you and he is looking slightly to his left. Go to the bottom of the image and find Napoleon's feet. He is wearing black shoes with large gold buckles on the top (solid with hollows for the buckles) and white silk knee-length stockings (shown as a hollow with bordering lines). He then has red velvet breeches, decorated at the knee with gold brocade (solid with hollows for brocade). Behind his breeches, the tails of his long jacket can be felt (rough). At his waist to the right, he has a long sword with a jewelled hilt (solid) suspended from a decorative belt (very rough) and that nearly reaches the floor. His long tailed jacket is also of red velvet (rough) decorated gold brocade and is double-breasted with the buttoned opening on his left. The jacket has long sleeves with deep cuffs (solid), a high collar that stands up to his cheeks (solid) and 2 rows of gold buttons (solid), most of which can be seen on the right-hand side of the jacket. Napoleon's left hand is pushed into the open jacket where the large buttonholes can be seen (solid). His right arm is outstretched and his fingers are pointing down. At his neck, he has a black cravat (very rough). He is a handsome man with a straight nose, neat eyebrows and short black hair (solid), parted to his left, and he has a fixed expression. The whole painting shows Napoleon standing in-between a throne-like chair, to his left, and a table, to his right, with long dark drapes in the background. The throne-like chair has gold decoration on it and the table is completely covered in dark velvet with a deep gold fringe at the bottom. To Napoleon's left, the long dark drapes are drawn back to reveal a view of a cathedral with a spire with rolling hills behind. On the table is a scroll that has large writing on it. Napoleon's right hand is just resting on this scroll and he is pointing to the writing on the scroll. Also on the table are more rolled scrolls, 2 quills and Napoleon's black hat.
'Nelson and Napoleon exhibition' Horatia's christening cup (SEB)
by RnibThis image shows a side view of the gilt engraved christening cup which is in the shape of a goblet. The cup is 15 cm (6 inches) high. The base and bowl of the cup is shown as a solid with the stem shown as rough. The rim of the cup is decorated with simple lines (hollows in the solid). Below the decorated rim, is engraved the word "Horatia" in large flowing script. This is in turn surrounded by a simple oval pattern (shown as hollows). Below this oval is another slight more complex pattern (shown as hollows).
Mrs Mounter by Harold Gilman (SEB)
by RnibThis is an oil paint on canvas painting from This is one of several pictures Gilman painted of his fellow tenant and cleaning lady Mrs Mounter found at the Walker Art Gallery. Mrs Mounter, who dominates the painting, is sitting behind a table looking directly out of the painting with a fixed expression. Her head and upper body are just visible from behind the table that is laid ready for teatime and she has her arms out of sight down by her sides. Only part of the table is shown, the rest of it disappears off the bottom and lower left-hand side of the painting. Behind Mrs Mounter on the right of the painting, is a half opened panelled door with long finger plate through which you get a glimpse of striped vivid blue wallpaper. The tactile image is 3 times smaller than the actual painting and shows an overview of the painting with the signature in the bottom right-hand corner. Mrs Mounter's overcoat is shown by a texture with thick lines to show some of the black lines for the folds in the material. The overcoat texture also shows her hair, eyebrows, and the teapot stand. Solid texture shows her eyes, mouth, headscarf, neck scarf at the collar, teapot, spoons, chair and finger plate on the door. Two different textures show the cups/saucers/plates and milk jug. The table cloth has no texture. The pattern on the wallpaper is shown as thin lines on no texture. The door and panel is shown as a light texture with lines for the panel detail. Key to image: C: back of chair CL: large cup and saucer with spoon CS: small cup and saucer with spoon E: eyes H: headscarf and hair J: milk jug M: mouth N: nose O: overcoat P: edge of plate T: teapot on stand W: wallpaper