{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O1070772"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O1070772/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2009CR3882/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2009CR3882/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2009CR3882","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017JW1613","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O1070772/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O1070772","accessionNumber":"D.751-1904","objectType":"Drawing","titles":[{"title":"The Expulsion of the Danes from Manchester","type":"popular title"}],"summaryDescription":"","physicalDescription":"Original cartoon for the fresco 'The Expulsion of the Danes from Manchester'","artistMakerPerson":[{"name":{"text":"Brown, Ford Madox","id":"A8189"},"association":{"text":"artist","id":"AAT25103"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"black chalk","id":"AAT80058"}],"techniques":[{"text":"drawing (image-making)","id":"AAT54196"}],"materialsAndTechniques":"chalk drawing","categories":[{"text":"Drawings","id":"THES48966"}],"styles":[],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2009CR3882","2017JW1613"],"imageResolution":"high","galleryLocations":[{"current":{"text":"B","id":"THES304785"},"free":"","case":"","shelf":"","box":""}],"partTypes":[[{"text":"drawings","id":"AAT33973"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"England","id":"x28826"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"1879-1880","earliest":"1879-01-01","latest":"1880-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[],"creditLine":"","dimensions":[{"dimension":"Height","value":"76.2","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Width","value":"162.5","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Height","value":"985","unit":"mm","qualifier":"","date":{"text":"2015","earliest":"2015-01-01","latest":"2015-12-31"},"part":"frame","note":""},{"dimension":"Width","value":"1837","unit":"mm","qualifier":"","date":{"text":"2015","earliest":"2015-01-01","latest":"2015-12-31"},"part":"frame","note":""},{"dimension":"Depth","value":"52","unit":"mm","qualifier":"","date":{"text":"2015","earliest":"2015-01-01","latest":"2015-12-31"},"part":"frame","note":""}],"dimensionsNote":"","marksAndInscriptions":[{"content":"1880","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"","position":"","script":"","translation":"","transliteration":"","type":"","note":"Signed and dated"}],"objectHistory":"Original cartoon for the fresco in the City Hall, Manchester.\r\n\r\n'Begun about November 1879 and completed February/March 1880;artist's executor's sale, 29-31 May 1894 (159), repr., bt. Rathbone, £21; Harold Rathbone; purchased by the Victoria & Albert Museum, 1904 (D751-1904).'\r\n\r\nSource: Bennett, Mary. Ford Madox Brown; A Catalogue Raisonne. New Haven and London: Yale University Press, 2010, vol. 1, pp 302, cat no. A108.1.\r\n\r\nSigned and dated 1880. \r\n\r\nBought from Harold Rathbone, 31 March 1904.","historicalContext":"","briefDescription":"Ford Madox Brown, 'The Expulsion of the Danes from Manchester', made 1879-80, signed and dated 1880. Black chalk.","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"Julian Treuherz, <u>Ford Madox Brown. Pre-Raphaelite Pioneer</u> Manchester: Manchester Art Gallery, 2011. ISBN: 9780901673800.\r\n\r\nThe following is the full text of the catalogue entry, pp.188-9: \n\n'Based on a brief passage in the Anglo-Saxon Chronicle about Edward the Elder sending men to Manchester after the town had been damaged by the Danes, Brown invented a scene showing the Danish invaders driven out of Manchester pursued by the Saxon soldiers. In a confused mêlée of smoke, pigs, dogs and fallen bodies, the Danish invaders carry a young chieftain out on an improvised stretcher, whilst the townspeople fire missiles at the Danes including boiling water and a roof tile, which lands on the head of the standard-bearer. The improvised interventions of the Mancunians, in bright sunlight, are featured more prominently than the activity of Edward the Elder's soldiers, seen in the distance on the left. At the town gate, a young Dane looks back with a gesture of defiance, and a boy fires an arrow; Brown emphasized the extreme youth of the Danish warriors, who were sent out in quest of booty as young as fifteen. Further didactic details include the gold bracelets worn by the wounded chieftain to show the wealth acquired by the Danes from melting down booty; and the polygonal blocks of the pavement, indicating the Roman road. Juxtaposed with the broken standard is a stone figure of Christ, symbolizing the victory of Christianity over heathenism, but Christ's head is cut off at the top, perhaps a veiled allusioin to Brown's agnosticism. Christianity is also represented by the churches at the far left and right. \n\nThe sweeping composition with gesticulating figures recalls the work of Brown's teacher in Antwerp, Baron Gustav Wappers, but in place of the heroic action of Wappers' protagonists, Brown's central figures are faintly ridiculous. Brown's composition places the action in a narrow space in the centre, with distant views opened up at the edges. He used variants of this type of composition elsewhere in the series. \n\nCharles Rowley was the model for the defeated chieftain lying on the ground, and the novelist Hall Caine was used for the stretcher bearer with the prominent eyes. The black chalk version of the composition is the artist's preliminary cartoon, a quarter the size of the mural. This was the third subject to be painted.' 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