First version, exhibited at the Great Exhibition, London, 1851

After Joseph Nash, “Plate XXV. America, from the North-West End,” Dickinson’s Comprehensive Pictures of the Great Exhibition of 1851 (London: Dickinson Brothers, 1854). Hand-colored chromolithograph. Yale Center for British Art, New Haven.After Joseph Nash, “Plate XXV. America, from the North-West End,” Dickinson’s Comprehensive Pictures of the Great Exhibition of 1851 (London: Dickinson Brothers, 1854). Hand-colored chromolithograph. Yale Center for British Art, New Haven.
After John Absolon, “View in the East Nave (The Greek Slave, by Power [sic]),” Recollections of the Great Exhibition of 1851 (London: Lloyd Brothers, 1851). Hand-colored lithograph by Day & Son. The Metropolitan Museum of Art, New York.After John Absolon, “View in the East Nave (The Greek Slave, by Power [sic]),” Recollections of the Great Exhibition of 1851 (London: Lloyd Brothers, 1851). Hand-colored lithograph by Day & Son. The Metropolitan Museum of Art, New York.
“The Greek Slave, by Hiram Power [sic],” Exhibition Supplement to the Illustrated London News 19, no. 509 (August 9, 1851), front cover. Wood engraving. Yale Center for British Art, New Haven.“The Greek Slave, by Hiram Power [sic],” Exhibition Supplement to the Illustrated London News 19, no. 509 (August 9, 1851), front cover. Wood engraving. Yale Center for British Art, New Haven.
“The Industrial Exhibitor. – No. XXIX. General View of the American Department,” The Illustrated Exhibitor: A Tribute to the World’s Industrial Jubilee (London: John Cassell), September 6, 1851, n.p. (folded plate between 254–55). Wood engraving. Yale Center for British Art, New Haven.“The Industrial Exhibitor. – No. XXIX. General View of the American Department,” The Illustrated Exhibitor: A Tribute to the World’s Industrial Jubilee (London: John Cassell), September 6, 1851, n.p. (folded plate between 254–55). Wood engraving. Yale Center for British Art, New Haven.
“International Exhibition,” The (London) Times, April 29, 1851, 5. “International Exhibition,” The (London) Times, April 29, 1851, 5.

First version, exhibited at the Great Exhibition, London, 1851

John Grant consented to lend his Greek Slave to the Great Exhibition of the Works of Industry of All Nations, which opened at the Crystal Palace in Hyde Park, London, in 1851. The request for the loan was made by N. S. Dodge, the United States Commissioner for the American section. As at Henry Graves in 1845, the statue was placed on its rotating pedestal in a curtained gazebo. It became the major attraction of the United States exhibit, and its dramatic presentation was recorded in many prints and engravings.[1] (This is further discussed in Martina Droth’s essay.)



[1] Martina Droth, Jason Edwards, and Michael Hatt, eds., Sculpture Victorious: Art in an Age of Invention, 1837–1901 (New Haven: Yale University Press, 2014), 315–22.

 

 

 

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After Joseph Nash, “Plate XXV. America, from the North-West End,” *Dickinson’s Comprehensive Pictures of the Great Exhibition of 1851* (London: Dickinson Brothers, 1854). Hand-colored chromolithograph. Yale Center for British Art, New Haven.
After Joseph Nash, “Plate XXV. America, from the North-West End,” Dickinson’s Comprehensive Pictures of the Great Exhibition of 1851 (London: Dickinson Brothers, 1854). Hand-colored chromolithograph. Yale Center for British Art, New Haven. After Joseph Nash, “Plate XXV. America, from the North-West End,” Dickinson’s Comprehensive Pictures of the Great Exhibition of 1851 (London: Dickinson Brothers, 1854). Hand-colored chromolithograph. Yale Center for British Art, New Haven.
After John Absolon, “View in the East Nave (The Greek Slave, by Power [sic]),” *Recollections of the Great Exhibition of 1851* (London: Lloyd Brothers, 1851). Hand-colored lithograph by Day & Son. The Metropolitan Museum of Art, New York.
After John Absolon, “View in the East Nave (The Greek Slave, by Power [sic]),” Recollections of the Great Exhibition of 1851 (London: Lloyd Brothers, 1851). Hand-colored lithograph by Day & Son. The Metropolitan Museum of Art, New York. After John Absolon, “View in the East Nave (The Greek Slave, by Power [sic]),” Recollections of the Great Exhibition of 1851 (London: Lloyd Brothers, 1851). Hand-colored lithograph by Day & Son. The Metropolitan Museum of Art, New York.
“The Greek Slave, by Hiram Power [sic],” *Exhibition Supplement to the Illustrated London News* 19, no. 509 (August 9, 1851), front cover. Wood engraving. Yale Center for British Art, New Haven.
“The Greek Slave, by Hiram Power [sic],” Exhibition Supplement to the Illustrated London News 19, no. 509 (August 9, 1851), front cover. Wood engraving. Yale Center for British Art, New Haven. “The Greek Slave, by Hiram Power [sic],” Exhibition Supplement to the Illustrated London News 19, no. 509 (August 9, 1851), front cover. Wood engraving. Yale Center for British Art, New Haven.
“The Industrial Exhibitor. – No. XXIX. General View of the American Department,” *The Illustrated Exhibitor: A Tribute to the World’s Industrial Jubilee* (London: John Cassell), September 6, 1851, n.p. (folded plate between 254–55). Wood engraving. Yale Center for British Art, New Haven.
“The Industrial Exhibitor. – No. XXIX. General View of the American Department,” The Illustrated Exhibitor: A Tribute to the World’s Industrial Jubilee (London: John Cassell), September 6, 1851, n.p. (folded plate between 254–55). Wood engraving. Yale Center for British Art, New Haven. “The Industrial Exhibitor. – No. XXIX. General View of the American Department,” The Illustrated Exhibitor: A Tribute to the World’s Industrial Jubilee (London: John Cassell), September 6, 1851, n.p. (folded plate between 254–55). Wood engraving. Yale Center for British Art, New Haven.
“International Exhibition,” *The (London) Times*, April 29, 1851, 5.
“International Exhibition,” The (London) Times, April 29, 1851, 5. “International Exhibition,” The (London) Times, April 29, 1851, 5.
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