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Galleria dell' Accademia, Venice: painting 'The Presentation of the Virgin in the Temple' by Titian

RIBA26730
Titian (c. 1485-1576)
NOTES: The ceiling of this room, formerly the Sala dell' Albergo of the Scuola della Carita, dates from the 15th century. The 'Presentation' was painted between 1534 and 1539.

Chichester Cathedral: relief of Christ at the House of Mary and Martha

RIBA26902
NOTES: Founded as a cathedral in 1075, the building was completed in 1108. Much of the Norman stonework, arcading and the timber-roofed nave were destroyed by fire in 1187 and were rebuilt and extended in Early English style in the 13th century.

Palazzo Ducale (Doge's Palace), Venice: Sala del Senato

RIBA27022
Da Ponte, Antonio (c. 1512-1597)
NOTES: The ceiling of the room, designed by Antonio da Ponte, is by Cristoforo Sorte and dates from 1581. The painting in the centre of the image is by Tintoretto.

San Pietro di Castello, Venice: side chapel

RIBA27039
NOTES: The church was built on a design by Palladio of 1557.

San Pantalon, Venice: side chapel

RIBA27046
NOTES: The church was built in 1668-1686. The decoration of the interior was completed in the 18th century.

Parish Church of St Leonard (Leonardskirche), Frankfurt am Main: the Antwerp Altar to Mary in the north transept with the painting of the Last Supper forming part of the predella

RIBA27764
Holbein, Hans, the Elder (c. 1460-1524)
NOTES: The painting of the Last Supper was executed by Hans Holbein the Elder in 1501. This was later removed to a museum. The Antwerp Altar was executed between 1515 and 1520.

Queen Mary's Dolls' House: elevations of the saloon north wall incorporating a laquered cabinet and frames for paintings by Sir John Lavery

RIBA29660
Lutyens, Sir Edwin Landseer (1869-1944)
NOTES: The dolls' house was conceived both as a gift from the British nation to Queen Mary and as an historical record of the ideal early 20th century English house. Princess Marie Louise commissioned Lutyens to design the house and together with the involvement of Sir Henry Morgan and a huge range of well-known manufacturers, it became a showcase for 1920s British craftsmanship and design. The house first went on display at the British Empire Exhibition at Wembley in 1924.

Letter from the sculptor Helen Phillips to Erno Goldfinger discussing a proposed balsa wood sculpture for their stand at the 'This is tomorrow' exhibition of 1956, held at the Whitechapel Art Gallery, London

RIBA30286
Goldfinger, Erno (1902-1987)
NOTES: Goldfinger and Phillips collaborated with the artist Victor Pasmore on an installation for the 'This is tomorrow' exhibition, held at the Whitechapel Art Gallery, London in 1956. Their Group 7 exhibit intended to demonstrate how architects and artists could work collaboratively.

Letter from Erno Goldfinger to the artist Victor Pasmore concerning the 'This is tomorrow' exhibition of 1956, held at the Whitechapel Art Gallery, London

RIBA30289
Goldfinger, Erno (1902-1987)
NOTES: Goldfinger and Pasmore collaborated with the sculptor Helen Phillips on an installation for the 'This is tomorrow' exhibition, held at the Whitechapel Art Gallery, London in 1956. Their Group 7 exhibit intended to demonstrate how architects and artists could work collaboratively. In this letter, Goldfinger discusses insurance for a work of art by Pasmore and describes the construction of Helen Phillips's balsa wood sculpture, which she completed while staying at the Goldfingers' house.

Sketched plan and elevations for the Group 7 stand at the 'This is tomorrow' exhibition, Whitechapel Art Gallery, London, including indications of a relief wall sculpture by Victor Pasmore

RIBA30290
Goldfinger, Erno (1902-1987)
NOTES: Goldfinger and Pasmore collaborated with the sculptor Helen Phillips on an installation for the 'This is tomorrow' exhibition, held at the Whitechapel Art Gallery, London in 1956. Their Group 7 exhibit intended to demonstrate how architects and artists could work collaboratively.
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