Coalbrookdale by Night
Philippe-Jacques de Loutherbourg
Coalbrookdale by Night by Philippe Jacques de Loutherbourg, 1801. Oil on canvas in gilt frame. Signed and dated bottom right. Exhibited as 'A View of Colebrook Dale by night' at the Royal Academy London in 1801. It shows the Bedlam furnaces at Coalbrookdale in Shropshire, with flames and smoke billowing from the centre of the picture. The picturesque gorge landscape to either side is lit by moonlight, and figures hurry in the foreground to transport raw materials and iron pigs.
'Over London-by Rail', engraving, London, England, 1872
Wood engraving from 'London: a pilgrimage', by Gustave Dore, 1872. Signed in the block blc: Over London - by Rail. Depicting [East End] tenements, washing in back gardens, chimney pots, railway in distance.
The Munition Girls
Stanhope Alexander Forbes
Painting, [The Munition Girls] / by Stanhope Alexander Forbes, 1918. Oil on canvas; 40x 50" or 103x127cm, in decorative gilt frame 132x152x8.5cm. Signed and dated bottom left. Female operatives making 4.5-inch shells at the Kilnhurst Steel Works of John Baker and Co. Ltd., Rotherham; steel billets are re-heated in a separate furnace and, still glowing, moved by hand to a steam hydraulic press for forging. Mr. George Baker commissioned this scene "to produce a memento for our women workers", and each of them received a framed copy of it.
Poster of Valentina Tereshkova, First woman cosmonaut
Poster, translated as the Light of (or Long live) the (World's) first woman (female) Cosmonaut; issued by the Soviet State Publishing House of Decorative/Fine Arts Moscow, 1963. Slogan title in Czech 'At Zije prvni kosmonautka sveta'; imprint in Russian. Featuring design of Vostok-6 and (photograph) HS portrait of Valentina Tereshkova in space helmet. [orbited Earth June 1963]. Lithograph, col. offset, 57 x 85 cm. In frame 67x95x2cm
Painting. [Mrs. Sage] / artist unknown, 1785. Oil on canvas, 77x 63cm or 92 x 78.5 x 11 cm in gilt frame. Portrait, HL, of Mrs. Letitia Ann Sage, 'The first English female aerial traveller' in Lunardi's balloon ascent of 29 June 1785; with balloon motif. Head, bust, white fur mantle, hat and half-veil. aeronaut/balloonist
A cast iron sculpture, 'Iron Baby', Edition AP III/III, by Antony Gormley, England, 1999 (see note).
Principal varieties of mankind', 3 May 1850.
Geographical Diagram. The Principal Varieties of Mankind. Published by James Reynolds 174 Strand, London. 3 May 1850. Drawn and engraved by John Emslie.
A steam hammer at work
James Hall Nasmyth
Painting. [A steam hammer at work] / by James Nasmyth (1808-1890), 1871. Oil on board; 40 x 50 cm, in gilt frame 52x62x6cm. Initialled and dated bl, J.N. 1871. This is an apotheosis of the artist-engineer's invention of 1839 as a triumph of civil engineering. Inside a foundry works, the large steam hammer is shaping a massive iron bar before it can be rolled onto a plate. Possibly the sketch exhibited at a Conversazione of the Institution of Civil Engineers on 1871 June 6, item 46, and painted at their request. Steel-making
Anatomical drawing of a human skeleton
Anatomical Drawing of a human skeleton signed: John Linnell. For a Students Ticket. February 25th 1840'. 39 numbered bones with inked key - additional pencil key and mss notes. Pen and brown/black ink hightened with white, on cream/buff paper. 700x430mm.
Terence Tenison Cuneo
Painting. [Waterloo Station] / by Terence Cuneo, May 1967. Signed and dated bl. Painted on site in the Science Museum, with the assistance of Anthony Kerr. Perspective view of the concourse of Waterloo Station, London, as seen from the first floor British Rail Southern Region Board Room windows. Includes both steam and diesel locomotives, porters, cars, passengers, indicator board and clock; relatives, artist and politicians of the day amongst the travelling public. General activity any day in the early 1960s
'Santa Medicina' sculpture by Eleanor Crook
Bronze, waxwork and glass sculpture by Eleanor Crook entitled 'Santa Medicina'. Commissioned by the Science Museum for the 'Faith, Hope and Fear' gallery in Medicine: The Wellcome Galleries. The bronze female figure holds a scalpel and scissors. Her hair is looped onto her head, crowned with a surgeon's mirror. Open down the back to reveal écorché muscles, her dress appears like an operating gown, the skirts encrusted with amulets. The skirts shelter a fragile waxwork figure in a glass case resembling a reliquary, encased in glass, under a blanket covered with symbolic pins, and surrounded by flickering candles.
'Self-Conscious Gene' sculpture by Marc Quinn
Bronze sculpture 'Self Conscious Gene' by Marc Quinn, 2019. Commissioned by the Science Museum for the 'Faith, Hope and Fear' gallery in Medicine: The Wellcome Galleries. This monumental sculpture portrays the artist, actor and model Rick Genest, known as ‘Zombie Boy’. He stands 6 metres tall, holding an anatomy book. His upper body is covered in anatomical tattoos, his legs encased in ripped genes, and his feet in laced boots.
Trade card. [Edmund] Culpeper, cross daggers representing his address [Crosse Daggers, Moor Fields] London. diagrams (from top left to top right) for two Platonic solids (cube and tetrahedron), circumferentor, lode-stone, gunner's calipers, Gunter's quadrant, dividers, set-square, horizontal dial, terrestrial globe, protractor, plotting scale, Gunter's rule, sector, dividers, backstaff, telescope, forestaff, nocturnal, parrallel rule, prism, Wilson screw-barrel, microscope, nose spectacles, reading glass, universal ring dial, plane table and alidade, graphometer, two Platonic solids (octahedron, dodecahedron). E. Culpeper Sculp. London. (Calv. 106)
'Royal Address of Cadwallader ap-Tudor ap-Edwards ap-Vaughan, Water-King of Southwark', print, London, England, 1832
Coloured etching by G[eorge] Cruikshank: Source of the Southwark Water Works, or [headed] Salus Populi Suprema Lex. Published by S. Knight, . 51x32.5cm. Printed on broadsheet with text poem beneath: Royal Address of Cadwallader... water-king of Southwark [John Edwards]. Concern at pollution and threat to public health. In frame 69x44x2cm
Anamorphosis Painting of Perspective View of a Ship Model
Willem van de Velde
An anamorphosis painting of a perspective stern view of a ship model / Artist unknown, c.1744-1774. Oil on panel; 43.5 x 52.5 cm in gilded frame, 53.5 x 62 x 4.3 cm. Formerly attributed to 'Van de Velde'. Panel is made from three pieces of wood, the paint overlaid. Painted viewing circle encloses an image of a woman's head. Ship model is of French origin; mounted upon a marbled tabletop. With cylindrical mirror (see 1948-326/2) and anamorphic prints (see 1948-326/3-22).
'Bloom' kinetic sculpture by Studio Roso
'Bloom' kinetic sculpture by Studio Roso, commissioned for the 'Medicine and Us' gallery in Medicine: The Wellcome Galleries at the Science Museum, 2019. Hanging from the ceiling, a powder-coated black, branched, mild-steel structure spreads across the gallery and over the balcony into the neighbouring space. Each branch supports a polypropylene propeller, motor and LED unit. These glow, change colour and turn in 18 different sequences over a 20-minute loop.
Scientific Researches! - New Discoveries in Pneumaticks! - or, an Experimental Lecture on the Powers of Air
"Scientific Researches! - New Discoveries in Pneumaticks! - or, an Experimental Lecture on the Powers of Air". Coloured etching by James Gillray, published 23 May 1802 by Hannah Humphrey St James's Street, London.
'The British Nave' at the Great Exhibition of 1851
Print. Chromolithograph, 'The British Nave', Plate 3 (Proof) of a set of four large prints commemorating the Opening of the Great Exhibition of 1851, [after paintings by Joseph Nash]. Printed and published by Dickinson Brothers, New Bond Street. . Image 54.5x75cm on card 71x88cm. Signed Joseph Nash in ink on lower left edge of image. View of the Western or British Nave looking East, with long panorama of structure and layout of main avenue. In centre above horse's head is dioptric revolving lighthouse reflector mechanism by Chance Brothers & Co; then Seeley fountain; large Ross telescope; Coalbrookdale Dome. Large case on foreground left with model of Liverpool docks, beside cotton and beneath Philosophical and electric displays. Banners hang from balconies with arms of cities of Britain: York is nearest on right. Queen Victoria with Prince Albert and family are being escorted through on tour; guests and visitors stand watching and waiting. In frame, 84x100x2cm
North Eastern coalfield: colliery pit-head and coking ovens 
Painting, one of a pair, entitled 'North Eastern coalfield: colliery pit-head and coking ovens' by W. Wheldon, 1845. Oil on canvas, octagonal. Each painting shows a colliery pit head with associated coking ovens on the Northumberland and Durham coal field. Here we see Pease's West colliery at Crook, with The Lucy Pit (opened 1849) and Bank Foot coke ovens.
Nimbus, or rain cloud
[Cloud modifications] / E Kenyon [Kennion] with Luke Howard. - n.d. [March 1849]. - one of 4 drawings: pen, watercolour, with white; 28x19cm or smaller; [Plate 5] Nimbus, or rain cloud. - Original studies of clouds "from nature" by Luke Howard, with landscapes by "Mr Kenyon". These were lithographed by EM Williams and printed by M&N Hanhart as illustrations for the 3rd edition of Howard's Essay on the Modifications of Clouds, 1865. The explanations of plates prefacing this edition are by "LH, March 1849" who gave "a number of sketches" to Kenyon. Clouds and landscapes of drawings 1 and 3 are closely related to engravings in Rees' Cyclopedia, dated (Science Museum copy) 1810 and 1820, after work by "E. Kennion" or E. Kennyon" ie, Edward Kennion (1744-1809). It is not known whether these watercolours were executed by 1809, by Edward Kennion using cloud sketches made by Luke Howard (1772-1864) during his most active time of cloud sketching and observation; or, whether Howard refers to Kennion's son Charles John (1789-1853), also an accomplished landscape artist, who may have worked with these sketches in 1849 or 180-. The watercolours are not dated, and more than one finished study may have been made by Howard from his sketchbooks, at any time 180- to 1849. nos. 1 and 4 together in frame 51x37.5x2.5cm.
Entrance into Manchester across Water Street
Ackermann and Company
Print. Aquatint, coloured. 'Entrance into Manchester across Water Street'. T T Bury. delt; H. Pyall. sculpt. - 'Plate 6' of Views on the Liverpool and Manchester Railway. - London, Published Feby 1831 by R Ackermann, 96 Strand. image 19.8x25cm on sheet 23.5x27.5cm. In frame 41x44x2cm
Lunardi's second balloon ascending from St. George's Fields, 1785
Julius Caesar Ibbetson
Painting, [Lunardi's second balloon ascending from St. George's Fields] / Julius Caesar Ibbetson, c.1785. Oil on canvas, 52x62cm in gilt frame 60x71x5.5cm. Formerly thought to have been by George Day, this is now attributed to Julius Caesar Ibbetson, and is a fuller version of the smaller oil by him in the Museum of London. A version exhibited at the Royal Academy London, 1788 (cat. 126). Shows the ascent from St. George's Fields, Islington, London, of George Biggin and Mrs. Sage, 29 June 1785; showing crowds, gantry, gas apparatus and Lunardi's balloon; balloon ascension; gas balloon; gantry
Caricature showing a publican's dilemma during a cholera epidemic, Europe, c. 1854
Print. lithograph, some col, caricaturing precautions in a cholera epidemic [c1840-1865]. 1. 'Fearing the spread of the cholera' (gin drinkers beware, publican's dilemma), image 10x7cm edged to 12x9cm. Framed with /2 and /3, 52x21x2cm
Engraving, trade card of Dudley Adams, 60 Fleet Street London. [c1800]. 39x24.5cm to platemark. Advertising a wide range of optical, philosophical and mathematical instruments, astronomical instruments etc including demonstration pieces; terrestrial globe, air-pump, surveyor's level, forestaff, universal ring dial, protractor, waywiser, astronomical quadranton stand, azimuth compass, drawing instruments in case, Gunter's quadrant, military surveyor's gniometer, nocturnal, horizontal dial, level, backstaff, alidade and plane table, orrery, armillary sphere. Cartouche of patronage by King George III, below; portrait of Tycho Brahe, top (family firm began at TB's Head, 1735; Dudley continued it, 1795-1821). In frame 55x40x1.5cm. (16"x 10 1/2") (Calv. 5).
Portrait of Ada, Countess of Lovelace
Alfred Edward Chalon
Watercolour, Ada Lovelace, possibly by A E Chalon (1780-1860), [c1840]. 25 x 18.3 cm. Portrait, TQL to L. looking front, in evening dress with mantilla, holding fan
Stipple-engraved portrait of Margaret Bryan and two children
Print. Stipple-engraved portrait entitled 'MRS. BRYAN and CHILDREN.' Engraved by William Nutter after a miniature of the same size painted by Samuel Shelley. 172x137mm engraved area.
Operative Society of Bricklayers
Engraving, some colour: [Membership Certificate] Operative Society of Bricklayers. Designed by A.J. Waudby. [c1866-1870?]. The figures Engraved by C.H. Jeens. Engraved by J.H. Le Keux. Printed by Bradbury, Wilkinson & Co. Farringdon Road, London EC. Issued Leighton Buzzard branch, March 1887. Platemark 58x45.7cm, sheet 69.5x51cm. Trade Union emblem with figures, inset scenes of gauge work, brick laying, brick making, assorted tools and props. In frame 74.5x56.5x2cm
Stone sculpture of R J Mitchell
Stone sculpture of R J Mitchell, made of welsh slate by Stephen Kettle, London, England, 2005
The Great Exhibition Polka 1851
Lithograph, colour: The Great Exhibition Polka 1851, for the pianoforte, composed and dedicated to HRH Prince Albert by Frank B Tussaud. Printed by Stannard & Dixon, issued by Duff & Hodgson, London . Sheet music cover with picture of Crystal Palace exterior and visitors. 34.5x24cm.
'Investment; Tabitha’s Gown'
'Investment: Tabitha’s Gown', hand embroidered thread and mirrors on linen; cotton binding and fastening, by Tabitha Moses, Liverpool, England, 2014
Caricature showing 'The State Doctor' during a cholera epidemic, Europe, c. 1854
Print. lithograph, some col, caricaturing precautions in a cholera epidemic [c1840-1865]. 2. 'The State Doctor' (wearing expensive frock coat amid drugs and large pestles), image 9.5x6cm edged to 11.5x8cm. Framed together with /1, /3, 52x21x2cm
Trade card: Tho. Tutell, Charring Cross, London. Print of early Scientific Instruments (Engraved by Tuttell). 'Mathematical Instrumt. maker to ye Kings most excellt. Majesty'. more than 60 instruments depicted. Each illustration is numbered as if the picture was a catalogue. Vignette shows surveying instruments in use. (Calv. 408)
'Dr Syntax and his wife making an experiment in pneumatics', print, London, England, 1820
Aquatint, col. 'Dr Syntax and his Wife Making an experiment in Pneumatics'. Plate  from 'Dr. Syntax in Paris' [W Combe, 1820]. platemark 15x23cm, image 11x19cm. Caricature, scene dancing in drawing room, Nooth? chemical apparatus on lower left. In frame 29.5x35.5x1.5cm
Stipple-engraved portrait of Benjamin Martin
Print (stipple engraving). Engraved by R. Page, London, 1815. Titled ‘BENJ. MARTIN.’. The print is a bust-length portrait of Benjamin Martin, shown against a plain background in a simple oval frame. Facing to the right, he wears a wig, coat, waistcoat and cravat. A small, framed, rectangular vignette below the portrait shows a globe and a telescope, both mounted on tripods. Lettered underneath the composition with title.
Satirical print of a failed balloon launch from Foley House, London in 1784
Print (etching with aquatint). Satirical depiction of John Sheldon and Allen Keegan’s failed balloon launch from the gardens of Lord Foley’s house in Portland Place, London, in September 1784. The balloon’s enormous shape is exaggerated to resemble a human bottom from which flames erupt and smoke billows. A much smaller balloon appears to shoot out of the fire, in the form of a grinning head with ass's ears wearing a jester’s cap lettered ‘THE ENGLISH BALLOON 1784’. Spectators watch from the ground and the garden wall as people attempt to bring the situation under control. Lettered underneath the image ‘Caelum ipsum petimus Stultitia’ ['In our foolishness, we reach for the sky itself'], from Horace, Odes 1.3. Designed and etched by Paul Sandby, probably London, 1784.
Painting by Gilbert Daykin, 1886-1939. "Choke Damp", 1937-1938. Oil on canvas; 75.5x63cm in frame 88x76x7.5cm. A miner lies on a rail track, overcome by choke damp - the excess of carbon dioxide and nitrogen (otherwise called black damp in the 19th century as it extinguished flame safety lamps). Other miners, lamps lit, come to his aid. Possibly from an incident at Warsop Main. When electric lamps were used they gave no warning; miners could work too long in a dangerous atmosphere. The danger could be removed with effective ventilation, present in deep mines; in shallow mines, it was a greater danger than fire damp. Effects of choke damp, if not death, included asthma and premature ageing.
Engraving of Theory of pulleys (Theorie elementaire des Poulies)
Engraving, coloured. [Theory of pulleys] = Theorie elementaire des Poulies.. Noeuds employes dans la Marine et dans l'Industrie. Grave sur acier par Langevin; Impe par Fosset... Maison Basset..., Paris. [1850-1860?]. Book plate [two page spread] illustrating 50 assorted knots, 37 pulleys and 20 other assemblages, with key diagrams. Sheet 55x71.5cm. In frame 72.5x86x3cm
The Dutton Viaduct on the Grand Junction Railway, over the Valley of the Weaver
Wrightson and Webb
Engraving, coloured. The Dutton Viaduct on the Grand Junction Railway, over the Valley of the Weaver... Painted by T[homas] Creswick; Engraved by W. Radclyffe. Published by Wrightson and Webb, New Street, Birmingham. [c1837-1840]. 32x40.5cm to platemark. Image 21x32.5cm, laid to platemark 31.8x40.6cm on sheet 35.5x44cm. From designs by G Stephenson Esqre and erected under the direction of J Locke esqr. [Viaduct was completed 9 December 1836; GJR opened July 1837]. Scene includes fishing boat, basket; two small trains on viaduct. In frame 43x49x2cm
print. engraving and etching. CAROLVS II. SOCIETATIS REGALIS AVTHOR & PATRONVS - SOCIETATIS PRAESES - ARTIVM INSTAVRATOR Evelyn inv D.D.C.; Wenceslaus Hollar f.1667. [London] [J. Martyn] 1667. [trimmed to] 20x16.5cm. Frontispiece from 4to version of first edition of: History of the Royal Society of London, for the improving of natural knowledge/Thomas Sprat. - London, T.R. for J. Martyn, 1667. The frontispiece consisting of the arms of the Royal Society appeared in editions of 1667, 1702 and 1722, but was omitted from the fourth edition of 1734. This second frontispiece appeared only in the larger impressions of the first edition of 1667. Portraits; Bust of Charles II, patron of the Royal Society, upon an inscribed pedestal and crowned by the figure of Fame. Supported to l. by Viscount Brouncker, first President of the Society; to r. by Sir Francis Bacon, instigator of concept of a society of scientists and philosophers in The New Atlantis. Above, the coat of arms of the Society. In gallery setting, opening to world beyond, amid books and various scientific Instruments. Charles II, King of Great Britain 1630-1685. Bacon, Francis. Hollar, Wenceslaus 1607-1677.
Shaving by Steam
Print. Shaving By Steam / Shilster [?]. . Pub by E King Chancery Lane, nd. - [London, 1800-1830]. Etching, handcol.; image 20x32cm, platemark 24.6x35cm, sheet 29.5x41.8cm. Satire on steam power here applied to a 'Patent Shavograph' a group mass shaving device whose customers suffer... parts keyed A-K
Mezzotint portrait of John Theophilus Desaguliers
Print (mezzotint). Engraved by Peter Pelham after Hans Hysing, 1725; published by John Bowles, London. Titled ‘J. T. Desaguliers Legum Doctor, Regiae Societatis Londinensis | Socius, Honoratissimo Duci de Chandos à Sacris. Philosophiae Naturalis | Experimentorum ope Illustrator.’ The print is a half-length portrait of John Theophilus Desaguliers, shown seated at a table against a plain background. Facing to the left, he wears a wig and clerical dress. He holds a magnifying glass in one hand, and a prism rests on the table. Lettered underneath the image with title, and maker and publication details as follows: ‘H. Hysing pinx’; ‘P Pelham fec: 1725’; ‘Sold by John Bowles at the Black Horse in Cornhill’.
Bust of Albert Einstein (1879 - 1955)
Bronze bust of Albert Einstein by Jacob Epstein, 1933. Signed Epstein. Worked from a week of informal morning sittings in a retreat in a camp near Cromer, Norfolk. Einstein had left Nazi Germany and rested in this safe haven before going to the USA. The head is unfinished
Print: Chemical Lectures / Designed & Published by Thomas Rowlandson, James St. Adelphi [London], nd.[c.1810]. Etching, col.; image 23x33cm on sheet trimmed to 25x34.5cm. Satire featuring the young Humphry Davy lecturing to a mixed audience at the Surry [ie, Surrey] Institution in London, chemical apparatus on the lecturing bench; in the audience is [?] Friedrich Accum (1769-1838), appointed chemistry lecturer at the SI in 1803), with Accum's book 'Chemical lectures' in his pocket. In frame 28x37x2cm. [BM11605]. NB: In the Annals of Science April 2000, an article suggests that the lecturer in the scene is in fact Accum himself, and that Davy did not lecture at the Surrey (name not in official lists); however the lecturer is depicted as a young man, whereas Accum by 1810 is forty years of age.
Audio visual art installation (he. 5.9m x wid. 3.7m x dep. 0.79m), titled ‘Listening Post’ by Mark Hansen and Ben Rubin installed at the Science Museum, London, 2008. The artwork immerses the audience in computer-synthesised text, voice and other audio fragments sampled from the internet. Hardware includes screen modules, support beam, connective wiring, 8 audio speakers plus one subwoofer, control system (computers, audio equipment and networking accessories with spares) and a selection of software for installation and operation. The artwork immerses the audience in computer-synthesised text, voice and other audio fragments sampled from the internet. The hardware includes screen modules, support beam, connective wiring, 8 audio speakers plus one subwoofer, control system (computers, audio equipment and networking accessories with spares) and a selection of software for installation and operation.
Portrait, photogravure, Nicolaus Copernicus / Phot
Portrait, photogravure, Nicolaus Copernicus / Photographische Gesellschaft Berlin
Caricature of an undertaker hoping for cholera, Europe, c. 1854
Print. lithograph, some col, caricaturing precautions in a cholera epidemic [c1840-1865]. 3. 'Hoping for the spread of the cholera' (a gleeful undertaker, in hat, news reports of deaths), image 10x7cm edged to 12x9cm. Framed together with /1, /2, 52x21x2cm
Poster advertising lectures on phrenology, Trowbridge, Wiltshire, England, 1851
Lectures on phrenology, physiology, etc. April 3-10 1851. On yellow paper, 58x23cm. In frame, 64x28.5x2cm.
James Watt and the Steam Engine Print
Print. Engraving with mezzotint, [James Watt and the Steam Engine]. Engraved by James Scott, 1860, after painting by James Eckford Lander [ie, Lauder]. Trimmed
Praeclarissimus Isaacus Newton Eques
Print. Engraving, Praeclarissimus Isaacus Newton Eques, by G. Bickham, published by Robert Sayer, 8 May 1787. Depicting Isaac Newton in portrait bas-relief medallion format, bust profile to R, inset in geometric rays, centre of starry firmament with allegorical figures, putti, and assorted scientific instruments - scales, telescopes, dividers etc. Trimmed to 35 x 24 cm, image 34 x 23 cm. In frame 51x37.5x2.5cm.