Title
spatula lime.spatula
Identifier
Description
One of two spatulae made from the limb bones of cassowary. Decoration: dots & interlocking step pattern in relief, ornamented with seeds, shells, crab claws, teeth and red cloth.
Date
Early: 1850 Late: 1899
Format
L: 335 mm
Coverage
Melanesia Papua.New.Guinea South.East coast
Creator
Macgregor,William Sir
Relation
bone cassowary.bone crab.claws seeds cloth tooth
Contributor
Macgregor, William Sir
Abstract
The Inuit of Arctic America used all their limited natural resources to provide food, shelter and equipment to allow them to survive in the extreme conditions of the area. Men carried a sewing kit as part of their hunting equipment. They sewed the hides from their prey animals by piercing the skin with carved ivory bodkins and sewing them together with ivory needles and threads of sinew. Ivory carving was also a long-established skill, and tools and decorative items were made. This is a skin needle-case with two skin loops, probably to attach it to clothing and an extra sheath attached, sewn together with sinew. It contains three ivory wound plugs, 'tauputang' which are pin-shaped and have flattened points. A square-sectioned peg with a perforation at the head is attached to the kit by a twisted sinew thread, as is an iron harpoon head, or 'naulang' with a brass socket and a forked tail, which probably was kept in the small conical sheath. There may have originally been a needle, now lost. This is a kit that would be used when seal-hunting, the plugs and peg were used to close the wound in the carcase to prevent it filling with water and sinking, and also to prevent the loss of blood and blubber. The kit comes from Cape Dorset, Baffin Island, Canada and was in use at the end of the 19th or beginning of the 20th century.
Political cartoon attacking Spain, Holland, Prussia and Austro-Hungary as faithless allies in the war against France. See catalogue of Political and personal Satires, Vol.VII 1771-1783, M.D. George, London 1942, item no. 8477.
Political cartoon. Britain is depicted as outweighing America France, Spain and Holland. Defiance of Britain standing alone contrasts with 31603 and the acknowledgement of defeat. See catalogue of Political and personal Satires, Vol.V 1771-1783, M.D. George, London 1935, item no. 5827
One of a series of views of Aberdeen produced by Smith and Swan in 1822. See also 30317, 30172,30307. Joseph (or Joshua) Swan was a Glasgow-based engraver active c.1820-40. The Bow Brig was designed and built by John Jeans in 1747. It was removed in 1851. Rather than an image of progress as are the many images of the nearby 'Union Bridge', the Bow bridge is here used as an opportunity for nostalgia.
Topographic view of Braemar published in London.
Pastoral image of the city. In contrast to near contemporary views there is no reference to industrial activity at all with much of the city screened by foreground trees. (see 30460) 'Smith' may be G. Smith who produced several views of the city in partnership with J. Swan in 1822. A number of these share the non-industrial depiction of the city. See 30317.
Stonehaven is depicted from the South and seen as a thriving port and semi-manufacturing town. William Henry Bartlett (1809-1854) was a London topographical illustrator.
Generic romantic Scottish castle depicted as remote with picturesque figures in middle distance.
Town is seen from the beach with a view of Kinnaird Castle and the harbour. Published in London. William Daniell (1769-1837) a London based engraver is now best remembered for the plates illustrative of India engraved with his uncle Thomas Daniell. One of a number of images produced by Daniell in Scotland in 1822. See 31570
Example of Enlightenment scientific inquiry. Probably contemporary with the geological research of James Hutton. Letters keyed into the image linked to a (missing) explanatory text. 'Bullers' is more commonly 'Bullars'. The view is not topographically accurate.
Romantic image of kilted figure with a dog visiting Scotts grave in the decaying Abbey. Wholly in keeping with Scott's romanticised conception of Scotland's past. Engraver is probably William Miller (1796-1882) accomplished Edinburgh engraver who illustrated numerous volumes of Scott. A founder member of the RSA in 1826 Miller withdrew after the first meeting. Bell may be John Anderson Bell (1809-65) a Glasgow born architect and watercolourist.
This is one of a large number of images of the Stuart dynasty in general in the university collection. These images attest to Stuart Royal patronage of King's College and later to the prolonged Jacobite sympathies of both King's and Marischal Colleges. In particular there are a large number of images, particularly engravings, of Mary, reflecting her role as one of the cast of 'hero' figures from Scottish history in whom much of nineteenth century Scottish identity was invested. This image is part of the Romantic presentation of Mary as tragic heroine. There is no attempt to record the features of the subject accurately. Mary is depicted as ideally beautiful.
Political cartoon attacking Spain, Holland, Prussia and Austro-Hungary as faithless allies in the war against France. See catalogue of Political and personal Satires, Vol.VII 1771-1783, M.D. George, London 1942, item no. 8477.
Political cartoon. Britain is depicted as outweighing America France, Spain and Holland. Defiance of Britain standing alone contrasts with 31603 and the acknowledgement of defeat. See catalogue of Political and personal Satires, Vol.V 1771-1783, M.D. George, London 1935, item no. 5827
One of a series of views of Aberdeen produced by Smith and Swan in 1822. See also 30317, 30172,30307. Joseph (or Joshua) Swan was a Glasgow-based engraver active c.1820-40. The Bow Brig was designed and built by John Jeans in 1747. It was removed in 1851. Rather than an image of progress as are the many images of the nearby 'Union Bridge', the Bow bridge is here used as an opportunity for nostalgia.
Topographic view of Braemar published in London.
Pastoral image of the city. In contrast to near contemporary views there is no reference to industrial activity at all with much of the city screened by foreground trees. (see 30460) 'Smith' may be G. Smith who produced several views of the city in partnership with J. Swan in 1822. A number of these share the non-industrial depiction of the city. See 30317.
Stonehaven is depicted from the South and seen as a thriving port and semi-manufacturing town. William Henry Bartlett (1809-1854) was a London topographical illustrator.
Generic romantic Scottish castle depicted as remote with picturesque figures in middle distance.
Town is seen from the beach with a view of Kinnaird Castle and the harbour. Published in London. William Daniell (1769-1837) a London based engraver is now best remembered for the plates illustrative of India engraved with his uncle Thomas Daniell. One of a number of images produced by Daniell in Scotland in 1822. See 31570
Example of Enlightenment scientific inquiry. Probably contemporary with the geological research of James Hutton. Letters keyed into the image linked to a (missing) explanatory text. 'Bullers' is more commonly 'Bullars'. The view is not topographically accurate.
Romantic image of kilted figure with a dog visiting Scotts grave in the decaying Abbey. Wholly in keeping with Scott's romanticised conception of Scotland's past. Engraver is probably William Miller (1796-1882) accomplished Edinburgh engraver who illustrated numerous volumes of Scott. A founder member of the RSA in 1826 Miller withdrew after the first meeting. Bell may be John Anderson Bell (1809-65) a Glasgow born architect and watercolourist.
This is one of a large number of images of the Stuart dynasty in general in the university collection. These images attest to Stuart Royal patronage of King's College and later to the prolonged Jacobite sympathies of both King's and Marischal Colleges. In particular there are a large number of images, particularly engravings, of Mary, reflecting her role as one of the cast of 'hero' figures from Scottish history in whom much of nineteenth century Scottish identity was invested. This image is part of the Romantic presentation of Mary as tragic heroine. There is no attempt to record the features of the subject accurately. Mary is depicted as ideally beautiful.
Is Part Of
UUID
860f8de4-49ba-495d-9b4d-4bbf64026c88