Nameless Collection

A Sketch for Nameless and Friendless, c. 1857 (oil on panel)
989815 A Sketch for Nameless and Friendless, c.1857 (oil on panel) by Osborn, Emily Mary (1834-93); 22.7x29.3 cm; Private Collection; (add.info.: A Sketch for Nameless and Friendless)

An Every-Day Scene in the Morgue, identifying the Unknown Dead (litho)
6021951 An Every-Day Scene in the Morgue, identifying the Unknown Dead (litho) by American School, (19th century); Private Collection; (add.info.: An Every-Day Scene in the Morgue)

Nameless and Friendless by Emily Mary Osborn
Engraving after the painting by Emily Mary Osborn, which was exhibited at the Royal Academy in 1857 and subsequently at the 1862 International Exhibition

The International Exhibition, "Nameless and Friendless"(engraving)
1587662 The International Exhibition, " Nameless and Friendless" (engraving) by English School, (19th century); Private Collection; (add.info.: The International Exhibition)

Nameless, Nameless (Yacht), Yachts, 1880

Ink cartridges
Black and colour ink cartridges

Poe / The Premature Burial
THE PREMATURE BURIAL " Deep, deep, & for ever, into some ordinary & nameless GRAVE"

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"Nameless: A Journey through Time and Emotion" Step into the world of "Nameless", where art, history, and mystery intertwine. From the hauntingly beautiful painting "A Sketch for Nameless and Friendless" to the poignant scene of "Pilgrimage past the Unknown Warrior", these glimpses into namelessness evoke a range of emotions. In Emily Mary Osborn's masterpiece, "Nameless and Friendless", we witness the struggles faced by those without identity or social standing. The engraving from "The International Exhibition" further emphasizes their plight, reminding us that even in a bustling crowd, some remain unnoticed. Yet not all namelessness is tragic; it can also be awe-inspiring. Standing before Napes Needle in Keswick's Lake District, one feels small and insignificant amidst nature's grandeur. Similarly, aboard the enigmatic yacht named "Nameless", one can imagine sailing towards unknown horizons with only adventure as a companion. But what about facelessness? It raises questions about our own identities – do we truly know ourselves? Are we just another face in an ever-growing crowd? These thoughts are echoed by Poe's chilling tale of premature burial and its connection to ink cartridges - symbols of expression rendered useless if left unused. And then there is Evangeline – her name may be known but her story shrouded in obscurity. Like many others who have been forgotten throughout history, she represents countless untold tales waiting to be discovered. Finally, we come full circle to an everyday scene in the morgue where efforts are made to identify unknown bodies. This lithograph serves as a reminder that every life deserves recognition; no one should be condemned to anonymity after death. Through this collection of diverse hints spanning centuries and mediums – from paintings to yachts –we delve into the depths of what it means to be nameless.