William Mackenzie Collection (page 5)

Toads, 1885. From The National Encyclopaedia. A Dictionary of Universal Knowledge by Writers of Eminence in Literature, Science and Art. [William Mackenzie, London, Edinburgh & Glasgow, 1885]

Tortoise, 1885. From The National Encyclopaedia. A Dictionary of Universal Knowledge by Writers of Eminence in Literature, Science and Art. [William Mackenzie, London, Edinburgh & Glasgow, 1885]

Bats. (Chiroptera), 1885. From The National Encyclopaedia. A Dictionary of Universal Knowledge by Writers of Eminence in Literature, Science and Art

Let me the Canakin Clink, c1875. Artist: Sir John Gilbert
Let me the Canakin Clink, c1875. Act II, Scene II, from Shakespeares Othello. Lago, Cassio and Montano drinking in the hall of the castle. From The Illustrated Library Shakespeare

Speed Master, be one of them, c1875. Artist: Robert Charles Dudley
Speed.. Master, be one of them.. c1875. A scene from Shakespeares Two Gentlemen of Verona: Act IV, Scene I, c1875. From The Illustrated Library Shakespeare

Posthumus. My queen! My mistress! O lady weep no more. Cymbeline: Act I, Scene I, c1875. Artist: Robert Charles Dudley
Posthumus. My queen! My mistress! O lady weep no more. Cymbeline: Act I, Scene I, c1875. A scene from Cymbeline by Shakespeare. From The Illustrated Library Shakespeare

My lord, the mind of Bolingbroke is chang d; You must to Pomfret, not unto the Tower, c1875. A scene from Shakespeares Richard II. From The Illustrated Library Shakespeare

Come away death c1875. Artist: Sir John Gilbert
Come away death c1875. A scene from Shakespeares Twelfth Night: Act II, Scene II. From The Illustrated Library Shakespeare. [William Mackenzie, London, Edinburgh and Glasgow, c1875]

Sebastian: Why! Theres for thee! And there! And there!, c1875. Artist: Robert Charles Dudley
Sebastian: Why! Theres for thee! And there! And there!, c1875. Act IV, Scene I, from Shakespeares Twelfth Night. From The Illustrated Library Shakespeare

Arthur speaks in King John: Act IV, Scene I, c1875. Artist: Sir John Gilbert
Arthur speaks in King John: Act IV, Scene I. Or Hubert, if you will, cut out my tongue, So I may keep...King John, c1875. From The Illustrated Library Shakespeare

Autolycus sings in The Winters Tale: Act IV, Scene III, c1875. Artist: Sir John Gilbert
Autolycus sings in The Winters Tale: Act IV, Scene III, c1875. From The Illustrated Library Shakespeare. [William Mackenzie, London, Edinburgh and Glasgow, c1875]

As You Like It: Act II, Scene V. Under the Greenwood Tree, sung by Amiens, c1875. Artist: Sir John Gilbert
As You Like It, Act II, Scene V. Under the Greenwood Tree, sung by Amiens English poet and playwright, c1875. A scene from Shakespeares As You Like It. From The Illustrated Library Shakespeare

Sigh No More, Ladies, Sigh No More, c1875. Artist: Sir John Gilbert
Sigh No More, Ladies, Sigh No More, c1875. A scene for Shakespeares Much Ado About Nothing, Act 2, Scene 3. From The Illustrated Library Shakespeare

Dat Is As It Sall Please De Roi Mon Pere, c1875. Artists: William Shakespeare, Robert Charles Dudley
Dat Is As It Sall Please De Roi Mon Pere, c1875. The character Katharine in Shakespeares Henry V: Act V, Scene II. From The Illustrated Library Shakespeare

The musician sings in The Two Gentlemen of Verona: Act IV Scene II, c1875. Artist: Sir John Gilbert
The musician sings in The Two Gentlemen of Verona: Act IV Scene II, c1875. This scene from Shakespeares The Two Gentlemen of Verona shows Proteus wooing Silvia

Plan of the Panama Canal, late 19th century. Artist: William Mackenzie
Plan of the Panama Canal, late 19th century

Entrance to the tunnel of the Liverpool & Manchester railway, Edge Hill, Liverpool, c1820s. Artist: John Davies
Entrance to the tunnel of the Liverpool & Manchester railway, Edge Hill, Liverpool, c1820s. This tunnel, seen here under construction ran from Edge Hill to Lime Street, Liverpool

The King receives Ministers. Lord Amulree arriving at Buckingham Palace. 9 November 1931

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William Mackenzie was a man of many interests and passions, as evidenced by the collection of maps and historical artifacts he left behind. Among his prized possessions was an old map of Nottingham from 1893, taken from the Comprehensive Gazetteer Atlas of England and Wales. This intricate map provided a glimpse into the past, showcasing the layout and streets of this historic city. In addition to his fascination with local history, Mackenzie also had a keen interest in international affairs. He possessed a map of Prussia dating back to around 1872, its creator unknown. This detailed depiction offered insight into the political landscape of that time. Mackenzie's collection extended beyond maps alone; it included engravings such as Oppenheim from c1872 by E I Roberts. The artist beautifully captured this German town's essence through their skilled craftsmanship. One particular item that caught Mackenzie's attention was the ground plan of Rievaulx Abbey from 1897. This architectural blueprint showcased every nook and cranny of this medieval abbey, allowing him to immerse himself in its rich history. Another artwork within his possession was Alexander Francis Lydon's painting titled "From the North-West, Kirkstall Abbey" dating back to c1880 (1897). It depicted this ancient ruin nestled amidst serene surroundings—a testament to Mackenzie's appreciation for both art and heritage. Among his treasured portraits were those depicting notable figures like The Right Honourable Edward Geoffrey Stanley, Earl of Derby circa 1860 (c1884), exuding regality with every stroke. Another portrait featured Henry St. John, Viscount Bolingbroke circa 1710 (c1884), capturing an influential statesman during an era long gone but not forgotten. Mackenzie's love for cartography extended beyond individual cities; he owned comprehensive gazetteer atlases encompassing Birmingham and Sheffield from 1893—maps that revealed the growth and development of these industrial powerhouses.