Principal Sources Consulted

Total Page:16

File Type:pdf, Size:1020Kb

Principal Sources Consulted Principal Sources Consulted Main Texts The Letters of Wilkie Collins, 2 vols, eds. William Baker and William M. Clarke (London: Macmillan, 1999). The Public Face of Wilkie Collins: The Collected Letters, 4 vols, eds. William Baker, Andrew Gasson, Graham Law and Paul Lewis (London: Pickering & Chatto, 2005). The Pilgrim Edition of the Letters of Charles Dickens, 12 vols, eds. Madeline House, Graham Storey, Kathleen Tillotson, and others (Oxford: Oxford University Press, The Clarendon Press, 1965–2002). Oxford Dictionary of National Biography, 60 vols, eds. H.C.G. Matthew and others (Oxford: Oxford University Press in association with the British Academy, 2004). William Baker, Wilkie Collins’ Library: A Reconstruction (Westport, Conn.: Greenwood Press, 2002). William M. Clarke, The Secret Life of Wilkie Collins (Farr Thrupp, Glouc.: Alan Sutton, 1996). Wilkie Collins, Memoirs of the Life of William Collins, Esq., R.A., 2 vols (London: Longman, Brown, Green, and Longman, 1848). ———, Ioláni, or Tahiti as it was, A Romance, ed. Ira B. Nadel (Princeton: Princeton University Press, 1999). Davis, Nuel Pharr, The Life of Wilkie Collins (Urbana, IL: University of Illinois Press, 1956). Gasson, Andrew, Wilkie Collins: An Illustrated Guide (Oxford: Oxford University Press, 1998). Page, Norman, Wilkie Collins: The Critical Heritage (London: Routledge, 1974). Parrish, M.L., with E.V. Miller, Wilkie Collins and Charles Reade: First Editions Described with Notes (London: Constable, 1940; New York: Burt Franklin, 1968 reprinted). Peters, Catherine, The King of Inventors: A Life of Wilkie Collins (Princeton: Princeton University Press, 1993). Thompson, Julian, Wilkie Collins: The Complete Shorter Fiction (London: Robinson, 1995). William B. Todd and Ann Bowden, Tauchnitz International Editions in English, 1841–1855: A Bibliographical History (New Castle, Delaware and London, 1993, second printing). Secondary Texts Anonymous. “‘Celebrities at Home,’ No. 81, Mr. Wilkie Collins in Gloucester Place,” The World, 26 December 1872 [reprinted by Edmund Yates, Celebrities at Home, 3rd Series, London 1879] 355. 213 214 Principal Sources Consulted Anonymous “Our Portrait Gallery: ‘Mr. Wilkie Collins’,” Men and Women, 5 February 1882, 281–282. Ashley, Robert, Wilkie Collins (London: Arthur Barker, 1952; New York, Roy Publishers, 1952). Beetz, Kirk H., Wilkie Collins: An Annotated Bibliography, 1889–1976 (Metuchen, NJ and London: The Scarecrow Press, 1978). ———, “Wilkie Collins and The Leader,“ Victorian Periodicals Review (Spring 1982) 20–29. Collins, William [Senior] Memoirs of a Picture. (London: Printed by C.D. Stower for H.D. Symonds, 1805). Collins, Wilkie, Heart and Science, ed. Steve Farmer (Peterborough, Ont, Canada: Broadview Press, 1996). ———, The Moonstone, ed. Steve Farmer (Peterborough, Ont, Canada: Broadview Press, 1999). ———, “Reminiscences of a Story Teller,” Universal Review, 1 (May–August 1888): 182–192. Hanes, Susan, Wilkie Collins’s American Reading Tour, 1873–1874. London: Pickering & Chatto, forthcoming. Hyder, C.K., “Wilkie Collins in America,” Studies in English, vol. 6: 4 (1940). Lohrli, Anne, Household Words: A Weekly Journal, 1850–1859 Conducted by Charles Dickens. Table of Contents, List of Contributors and their Contributions (Toronto: University of Toronto Press, 1973). Nayder, Lillian, Wilkie Collins (New York: Twayne, 1997). ——–, Unequal Partners: Charles Dickens, Wilkie Collins, and Victorian Authorship (Ithaca and London: Cornell University Press, 2002). Oppenlander, E.A., Dickens’ All the Year Round: Descriptive Index and Contributors List (Troy, New York: Whiston, 1984). Page, Norman, A Dickens Chronology. London: Macmillan, 1988. Peters, Catherine, “Collins (William) Wilkie (1824–1889),” Oxford Dictionary of National Biography vol. 12 (Oxford University Press, 2004) 734–738. Robinson, Kenneth, Wilkie Collins: A Biography (London: Bodley Head, 1951). Sayers, Dorothy L. Wilkie Collins: A Critical and Biographical Study, ed. E.R. Gregory. Toledo, Ohio: Friends’ of the University Libraries, 1977. Universal Review, 1 (May–August 1888) 182–192. Memories of Victorian London, 1912. Walford, L.B. Memories of Victorian London. (London: Edward Arnold, 1912). Wilkie Collins and Dickens Eliot, T.S. “Wilkie Collins and Dickens,” Times Literary Supplement, 4 August 1927: 525–526. Wilkie Collins Society Journal (annual, 1–8, 1981–1991; NS 1–, 1998–). The Wellesley Index to Victorian Periodicals, 1824–1900, 5 vols, ed. W.E. Houghton and E.R. Houghton and J.H. Slingerland (Toronto and Buffalo: University of Toronto Press and Routledge: 1966–1979, 1989). Index This index is divided into three sections: (1) works by Wilkie Collins arranged by: Articles/Short Stories/Reviews Novels/ Plays/Collections (2) people – references to family, friends, contemporaries and others (3) places – homes, visits/stays in British Isles/Europe/America, etc. 1. Works by Wilkie Collins [Publication dates, alternative titles, collection republication, and other publication dates are given if not included in the text of A Chronology]: Articles/Short Stories/Reviews ‘The Air and the Audience’, see ‘The Dead Alive’, 165–166 ‘The Use of Gas in Theatres’ ‘The Dead Hand’, 96 ‘The Arts’, 71 ‘The Dead Lock I, Italy …’, 135 ‘Awful Warning to Bachelors’ [review], 98 ‘The Debtor’s Best Friend’, 95 ‘Deep Design on Society’, 97 ‘Bachelor Bedroom’, 105 ‘The Deliverance’, 90 ‘A Batch of Fictions’, 74 ‘The Devil’s Spectacles’, 182 ‘The Black Cottage’, 91 ‘The Diary of Anne Rodway’ ‘Bold Words By a Bachelor’, 90 [‘The Brother Owens Story of ‘Books Necessary for a Liberal Anne Rodway’], 87 Education’, 199 ‘Doctor Dulcamara M.P.’, 102 ‘A Breach of British Privilege’, 103 ‘Double-bedded Room’, 96 ‘Brinsley Norton …’ ‘Douglas Jerrold’, 103 [projected? Peters 140], 68 ‘A Dramatic Author’, 104 ‘The British Artists’, 78 ‘Dramatic Grub Street Explored in ‘Brother Griffith’s Story of Mad Two Letters’, 98 Monkton’, 47 ‘The Dream Woman’, 81–82, 165, ‘Burns. Viewed as a Hat Peg’, 103 168–169, 182 ‘The Duel in Herne Wood’, 177–178 ‘The Captain’s Last Love’, 174–175 ‘The Cauldron of Oil’ [‘Case Worth ‘É.D. Forgues on the Caricaturists of Looking At’], 113 England’, 80 ‘A Clause for the New Reform Bill’ ‘The Exhibition of the Royal [with CD], 101 Academy’, 43 ‘The Clergyman’s Confession’, 171 ‘A Column to Burns’, 103 ‘A Fair Penitent’, 93 ‘Considerations on the Copyright ‘Farmer Fairweather’, 201 Question’ [pamphlet], 184 ‘Fatal Fortune’, 169 ‘The Courier of Lyons’, 71 ‘Fie! Fie! Or the Fair Physician’, 182, ‘The Cruise of the Tomtit’, 81 190 215 216 Index ‘Fine Passages in Verse and Prose’, 205 ‘The Little Huguenot’, 92, 97, 99 ‘The First Officer’s Confession’, ‘Love’s Random Shot’, 182, 192 205–206 ‘The Frozen Deep’ [prose novella], 85 ‘Magnetic Evenings at Home’ ‘M. Forgues and the Caricaturists of [‘Magnetic Letters’], 47–49 England’, 57 ‘A Marriage Tragedy’, 97 ‘Four Novels’, 77 ‘Memoirs of an Adopted Son’, 112 ‘The Fourth Poor Traveller’, 73 ‘Memorandum Relating to the Life and Writings of Wilkie Collins’, ‘Gabriel’s Marriage’ [‘The Nun’s Story 116 of Gabriel’s Marriage’], 57, 78 ‘A Message from the Sea’, 110, 117 ‘Geoffrey Crayon’s New Sketchbook’, ‘The Midnight Mass: An Episode on 76 the History of the Reign of Terror’ ‘The Ghost in the Cupboard’, 106 [translation Balzac], 49–51 ‘The Ghost’s Touch’, 196–197, 203 ‘Miss Jéromette and the Clergyman’, ‘The Girl at the Gate’, 195 171 ‘Give Us Room!’, 97 ‘Miss or Mrs?’, 158 ‘The Great (Forgotten) Invasion’, 103 ‘The Monkton’s of Wincot Abbey’, 47 ‘Mr. Silk Buckingham’ [review], 75 ‘The Haunted House’, 106, 117 ‘Mrs. Badgery’ [reprinted in Novels ‘The Hidden Cash’, 200, 204 and Tales From Household Words. ‘Highly Proper!’, 101 Tauchnitz, 1857 and in Alicia ‘House to Let’ [with CD], 101–102 Warlock, 1875], 95 ‘How I Married Him’, 187 ‘Mrs. Bullwinkle’ [My Miscellanies], 98 ‘How I Write my Books’, 205 ‘My Black Mirror’, 61, 88 ‘My Lady’s Money’, 176–177, 180 ‘The Incredible Not Always ‘My Spinsters’, 88 Impossible’, 50 ‘The Mystery of Marmaduke’, 180 ‘John Steadiman’s (the Chief Mate’s) ‘The National Gallery and the Old Account’, 90 Masters’, 89 ‘A Journey in Search of Nothing’, 95 ‘A National Wrong’ [with J. Payn], 150 ‘A New Book Selling Dodge’, 75 ‘The Lady of Glenwith Grange’, 86 ‘A New Mind’, 102 ‘Laid Up in Two Lodgings. My Paris ‘Nine o’Clock’, 51 Lodging’, 83, 85 ‘No Thoroughfare’, 137–139, 142, 144 ‘The Last Stage Coachman’, 20 ‘The Novels of M. Hendrick ‘The Lazy Tour of Two Idle Conscience’ [review], 80 Apprentices’, 95–96 ‘Les Dimans de la Couronne’, 72 ‘An Old Maid’s Husband’, 202–203 ‘Let at Last’ [with CD], 102 ‘The Ostler’, see ‘The Dream Woman’ ‘[Letter: Errors in Athenaeum review of ‘Over the Way’, 102 The Queen of Hearts]’, 106 ‘Letters about Italy’ [unpublished], ‘Paradoxical Experience’, 101 68 ‘A Passage in the Life of Mr. Perugino ‘Life of William Etty, R.A.’ [review], Potts’, 46 75 ‘Percy and the Prophet’, 176–177 ‘Literature’ [‘Bentley’s New Publishing ‘A Petition to the Novel-Writers’, 90 Adventure’], 75 ‘Picking up Waifs at Sea’, 115 Index 217 ‘A Pictorial Tour of St. George ‘Talk Stoppers’, 89 Bosherville’, 30, 42 ‘A Terribly Strange Bed’, 50, 163 ‘The Picture Galleries of England; I, ‘Thanks to Dr. Livingstone’ [review], The Earl of Ellesmere’s Collection; 97 II, Northumberland House and ‘Theatres’ [review], 72 Syon House; III, Dulwich Gallery’, ‘To Think or Be Thought For’, 88 [non-fiction], 43–44 ‘Tom Tiddler’s Ground’, 115, 117 ‘Pity a Poor Prince’, 102 ‘[Trollope’s The Warden]’ [review], 76 ‘A Plea for the
Recommended publications
  • Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
    MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as
    [Show full text]
  • Industry and the Ideal
    INDUSTRY AND THE IDEAL Ideal Sculpture and reproduction at the early International Exhibitions TWO VOLUMES VOLUME 1 GABRIEL WILLIAMS PhD University of York History of Art September 2014 ABSTRACT This thesis considers a period when ideal sculptures were increasingly reproduced by new technologies, different materials and by various artists or manufacturers and for new markets. Ideal sculptures increasingly represented links between sculptors’ workshops and the realm of modern industry beyond them. Ideal sculpture criticism was meanwhile greatly expanded by industrial and international exhibitions, exemplified by the Great Exhibition of 1851, where the reproduction of sculpture and its links with industry formed both the subject and form of that discourse. This thesis considers how ideal sculpture and its discourses reflected, incorporated and were mediated by this new environment of reproduction and industrial display. In particular, it concentrates on how and where sculptors and their critics drew the line between the sculptors’ creative authorship and reproductive skill, in a situation in which reproduction of various kinds utterly permeated the production and display of sculpture. To highlight the complex and multifaceted ways in which reproduction was implicated in ideal sculpture and its discourse, the thesis revolves around three central case studies of sculptors whose work acquired especial prominence at the Great Exhibition and other exhibitions that followed it. These sculptors are John Bell (1811-1895), Raffaele Monti (1818-1881) and Hiram Powers (1805-1873). Each case shows how the link between ideal sculpture and industrial display provided sculptors with new opportunities to raise the profile of their art, but also new challenges for describing and thinking about sculpture.
    [Show full text]
  • Review of 'Sculpture Victorious: Art in an Age of Invention, 1837–1901' At
    Review of ‘Sculpture Victorious: Art in an Age of Invention, 1837–1901’ at the Yale Center for British Art, 11 September to 30 November 2014 Jonathan Shirland Stepping out of the elevator onto the second floor, the trio demand attention immediately, and thereby recalibrate our (stereotyped) relation- ship to Victorian sculpture at a stroke. They are impossible to ignore, or walk past. Yet they are a difficult grouping, with the darkly coloured, male, full-length statue of James Sherwood Westmacott’s Saher de Quincy, Earl of Winchester of 1848–53 in uncertain relation to the two very different yet equally captivating busts of Victoria positioned to his left (Fig. 1). Francis Leggatt Chantrey’s rendering from 1840 makes the nineteen-year-old queen sexy: the animated mouth and nostrils, bare neck and shoulders, and subtle folding of the tiara into the plaits of hair reinforcing an exem- plary demonstration of the sensuality of marble. Yet, Alfred Gilbert’s mon- umental three-foot bust made between 1887 and 1889 for the Army & Navy Club in London looms over the shoulder of Chantrey’s young queen; the multiple textures, deep undercutting, and surface detail present an ageing Victoria at her most imposing. So what is Westmacott’s piece doing here as an adjunct to this pairing of sculptural portraits? The curators were perhaps keen to show off the first of their many coups by immediately pre- senting to us a novel sculptural encounter: Westmacott’s Earl is normally removed from close scrutiny, looking down on the chamber of the House of Lords from a niche twenty-five feet above the floor, alongside statues of seventeen other barons and prelates who in 1215 helped to secure the signing of the Magna Carta.
    [Show full text]
  • The Connoisseur (Sir Gerald Ryan
    1 TheConnoisseur An Illustrated Magazine For Collectors Edited by C. Reginald Grundy Vol. LIX. (JANUARY—APRIL. 1921) LONDON Published by the Proprietor, W. CLAUDE JOHNSON, at tiii., Editorial and Advertisement Okkices of The Connoisskuu, AT I, Duke Street, St. James's, S.W. i 192 1 MROSE AND SONS 1 DERIIY AND I.ONDO 8(i 1)656 NDEX ARTICLES AND NOTES A Beautiful Jacobean Hanging (Note) .Authors and Contributors—coiilinucd. "A Citv Banquet," by Fred Roc, K.I., R.B.C. Richardson, Mrs. Herbert. The Fashion Plates '(Note) of Horace Vernet (Art.) ... ... ... yy Adam and other Furniture (Note) ... Roberts, C. Clifton. Salopian China (Art.) ... 2.( Aitken, John E., Drawings by (Note) Roe. F. Gordon. The Life and Work of F. W. An Outpost of London, by Criticus (Note) Hayes, A.R.C.A., F.R.G.S. (Art.) 103 Angelica Kautfmann and Her .Art. by Lady Victoria Rusconi, Art. Jahn. The Tapestries of Mantua Manners (.\rt.) by Raphael (Art.) 77 Another New Gallery (Note) Williamson, Dr. G. C. Some Notes on the Portraits of Sir Pliilip Sidney (Art) ... Antique Business Extension (Note) 217 Antiques at Waring's (Note) Books Reviewed. Aquatints. Old (Note) A Bookseller's igo Authors and Contributor.s. Catalogue " A Catalogue of Etchings by Augustus John, Andrews, Cyril Bruyn. The Valencia Altar-piece 1901-1914." by Campbell Dodgson ... 5S (Art.) " A Dweller in Mcsnpntamia," by Donald Maxwell 1S7 Brochner, Georg. Old Danish Furniture (.Art.)... " A Hamll.".i. ..I Imlini Art," by E. B. Havell ... 188 Brockwell. Maurice W. Frans Hals Pictures at " Haarlem (Note) A Histiii\ <\ I \ri\,l,iy Things in England," by M.
    [Show full text]
  • FFT Fall 2006.Indd
    ODYSSEY A PUBLICATION OF FUND FOR TEACHERS VOLUME 2 FALL 2006 Fellowships Impacting Teachers, Classrooms and Communities Students tackle Erie Canal rewatering project as part of school curriculum A teacher dreams. That dream comes which have rivers or canals in the heart of those four communities,” said Hillman. into fruition with a Fund for Teachers fel- the city. Those that have been revitalized “Each group gained different valuable lowship. The fellowship inspires teachers, have become a hub for recreational activi- information such as taxes, the historical students and schools. The school takes the ties, tourism and economic growth. significance and the far-reaching impact on reins in leading a community-wide effort. The students met with mayors, devel- the community.” That’s exactly what has transpired at opers, marketing personnel and other After returning home, they analyzed Genesee Community Charter School in dignitaries who helped them encompass data collected, built spreadsheets with Rochester, New York. the project’s magnitude. valuable statistics and prepared a written Shannon Hillman, a sixth grade teacher, “The students were very well received in See CANALS, Page 4 applied for a FFT grant to research the re- lationship between select European canals and their surrounding communities. Students met with She visited Ireland, England, Scotland Mayor David N. Cicilline and Italy. in Providence, Rhode “I was able to bring back numerous Island last year to learn more about that cityʼs resources for the school staff and students rewatering efforts. to use regarding information on the canals, Below, they are working simple machines and community benefits on canal revitalization due to revitalization,” explained Hillman.
    [Show full text]
  • John Gibson and the Anglo-Italian Sculpture Market in Rome
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Loughborough University Institutional Repository John Gibson and the Anglo-Italian Sculpture Market in Rome: Letters, Sketches and Marble Alison Yarrington Tate Papers no.29 John Gibson established a hugely successful sculpture studio in Rome, and despite strong reasons to return to London, such as the cholera outbreaks in Rome in the 1830s, he remained steadfast in his allegiance to the city. His status and success in this intensely competitive environment was promoted through a sympathetic engagement with a wide variety of friends, fellow sculptors and patrons. This paper explores this method of engagement, notably through Gibson’s works for and correspondence with the 6th Duke of Devonshire. There is no place in Europe like Rome for the number of artists of different nations, there is no place where there is so much ambition of who shall produce the finest works – this concentration for fame keeps up the art and good taste. Here art is not a money making trade. You should make an effort to come here and we would go to the Vatican together.1 When John Gibson penned this letter to his friend and former fellow pupil John Barber Crouchley in early May 1837, his primary place of residence and the centre of his sculptural practice was firmly established in Rome, with his career on a firm upward trajectory towards success and recognition. By contrast, Crouchley, who had been prevented by his father from travelling abroad with Gibson when he left Liverpool in 1817, saw his ambitions as a sculptor subsequently fade.
    [Show full text]
  • Nathaniel Hitch and the Making of Church Sculpture Claire Jones
    Nathaniel Hitch and the Making of Church Sculpture Claire Jones Housed at the Henry Moore Institute in Leeds is the archive of the now little-known sculptor, architectural sculptor, and sculptor’s modeller, Nathaniel Hitch (1845–1938).1 Unlike the extensive manuscript, printed, and visual material in Hamo Thornycroft’s archive, also held at the Henry Moore Institute, Hitch’s consists of hundreds of photographs pasted into two albums. These demonstrate the range of sculptural activity undertaken by Hitch, including figurative work, architectural sculpture, and anima- lier sculpture. Above all, they represent sculpture intended for Christian places of worship: recumbent effigies; altars; free-standing figures of saints, bishops, and biblical figures; reliefs of biblical scenes; Christ on the cross; Christ in groups; the Virgin Mary and Child; and sculpture for church fur- niture and furnishings. Hitch’s archive therefore offers significant docu- mentation for the study of Victorian sculpture practice outside the more familiar areas of the Academy and ideal classical sculpture: namely, church sculpture. The photographs are taken within Hitch’s studio or workshop. The space itself is only fragmentarily visible, and the sculptor himself is noticea- bly absent from all the photographs. This is distinct to the ‘at home’ and ‘in studio’ photographs of society sculptors such as Thornycroft, which recent scholarship has usefully examined in terms of the private-public domain of the artist’s studio and the role of these studios and photographs in an I would like to thank Claire Mayoh, archivist at the Henry Moore Institute, her maternity cover Janette Martin, and Georgia Goldsmith at the Bulldog Trust for assisting me in my research and for kindly providing the images for this publication.
    [Show full text]
  • John Gibson Tennant Gallery.Indd
    Large Print John Gibson RA A British Sculptor in Rome Tennant Gallery Do not remove from gallery First Floor, Main Galleries and Fine Rooms Gallery Gallery Gallery Gallery Gallery Four Five Six Seven Eight Gallery Central Gallery Gallery Three Hall Ten Nine First Floor, Main Galleries and Fine Rooms Gallery Gallery Gallery Gallery Gallery Four Five Six Seven Eight Gallery Central Gallery Gallery Three Hall Ten Nine Gallery Vestibule ShopGallery Main Galleries Main Galleries Vestibule Shop Eleven Eleven Fine Rooms Lift Weston Rooms Tennant Reynolds Gallery Room Council Room FineFine Rooms Lift You are inRooms The Tennant Gallery Weston Way In and Out Rooms i iii ii Showcase Free standing sculptures 2 John Gibson RA A British Sculptor in Rome The John Madejski Fine Rooms 8 September – 18 December 2016 Contents Page 4 Introduction to the exhibition Page 7 Introduction to this room Page 10 List of works Page 25 Free-standing sculptures Page 29 Showcase This exhibition on John Gibson RA is supported by The production of RA large print guides is generously supported by Robin Hambro 3 John Gibson RA A British Sculptor in Rome “In England my life would be spent in making busts and statues of great men in coats and neckties; here I am employed upon poetical subjects which demand the exercise of the imagination, and the knowledge of the beautiful.” – John Gibson During the nineteenth century, John Gibson (1790–1866) was Britain’s most celebrated and successful sculptor. His elegant neoclassical works set the standard for his British peers over a period of nearly fifty years, yet his career path was unusual.
    [Show full text]
  • FRIENDS of the NON-CATHOLIC CEMETERY in ROME NEWSLETTER SPRING 2014 No
    Spring 2014No. 17 FRIENDSFRIENDS No. 26 of the Non-Catholic Cemetery in Rome N E W S L E T T E R Now published in English and Italian editions! The Non-Catholic Cemetery in Rome. Its history, its people and its survival for 300 years, by Nicholas Stanley-Price, 2014. On sale at the Visitors’ Centre or through www.cemeteryrome.it The Garden Room: a new asset for events and visitors Photo: N. Stanley-Price Stanley-Price N. Photo: Stanley-Price N. Photo: Autopsy room before renovation Garden Room renovated Thanks to generous donors we have a new room for receiving visi- ling water leakage through the skylight and rising damp in the walls, tors and holding events such as talks and small exhibitions. We have followed by repair and re-painting. The works, duly approved by the renovated the building that was formerly an autopsy room and re- Soprintendenza of the City of Rome, were designed by architect named it the ‘Garden Room’. For making this possible, we are ex- Flavio Bonsignore and supervised by architect Luigi Carosi. tremely grateful to John and Mary McGuigan, art historians resident The Garden Room had a ‘soft opening’ last September when it in the USA but regular visitors to Rome, Friends of the Cemetery rained during the Family Day organised by the British Embassy. The and contributors to the Newsletter (see next article). British Ambassador, H.E. Christopher Prentice, welcomed Friends, The building straddles the wall that divides the Old and New Ceme- volunteers and their families to guided tours and a magnificent tea teries.
    [Show full text]
  • Artwork Information
    10-11. William Teed the Younger Trentham 1804 – London 1891 RELIEF WITH THE PROFILE OF A MATURE WOMAN Oval terracotta, 30 x 25 cm Inscription beneath the base of the profile: W THEED FECIT / Romae 1843 RELIEF WITH THE PROFILE OF A YOUNG WOMAN Oval terracotta, 28 x 23 cm Inscription beneath the base of the profile: W. THEED FECIT / Roma 1846 t is truly surprising how little is still known today of the long stay in Rome of William Teed the Younger. Te son of a sculptor, he received his early training from his father William Teed the Elder (1764 – 1817), before going on to work in the studio of Ed- Iward Hodges Baily (1788 – 1867); he was admitted to the Royal Academy Schools already in 1820, aged barely sixteen. In 1826 he left for Rome where he completed his training under the greatest sculptors of mature Neoclassicism: the 19th-century sources on Teed report that he was active in the workshops of as many as three different masters of the first order, Bertel Tor- valdsen, Pietro Tenerani and John Gibson, to which names we should also add that of Richard James Wyatt.1 Hitherto, however, virtually nothing has emerged on Teed’s apprenticeship in Rome lasting over twenty years: the documents in the Torvaldsen archive, for example, do not mention any sculpture worked on by the young English artist. Tenerani definitively left the workshop of the Danish master, whose favourite student he had been, in 1827,2 and we cannot rule out the possibility that Teed frequented the workshops of both in this period.
    [Show full text]
  • Page I of I Https:Llwiscmail. Wisc.Edu/Iwc Static/Layoutlshell
    Page I of I Subject: Lending Request Date: 08/29/1404:25 PM To: [email protected] From: Interlibrary Loan - Lending <[email protected]> Type of Request: Article IL Number: 128918580 Call Number: N867~ Co - Location: art Article Details: Article Title: John Gibson and his 'Tinted Venus' Article Author: Cooper, Jeremy Journal Title: The Connoisseur IiIR sales annlolal Journal Volume : Journal Issue: Journal Month/Date: Journal Year: 1971 1 O;-;c..~:;1~~" Pages: 84-92 GZM TN : 2531354 SPECIAL INSTRUCTIONS: If you have questions please contact the ILL staff at [email protected]. Thank you, University of Wisconsin-Interlibrary Loan Department THIS MATERIAL MAY BE PROTECTED BY COPYRIGHT LAW (TITLE 17 U.S. CODE). https:llwiscmail. wisc.edu/iwc _static/layoutlshell.html?lang=en-US&2-6.0 1_002019 9/2/2014 John Gibson and his 'Tinted Venus' JEREMY COOPER URING his lifetime 'John Gibson of Rome' became an Exhibition of 1862 a sculpture which attained the greatest D elected 11lcmbcr of the Royal Academies in London, possible notoriety. Munich, Berlin and Turin, of the Imperial Academy in St. The marble statue which aroused the Victorian public to Petersburg, and of the Pontifical Academics of St. Luke in conflicting storms, ranging from excessive abuse to ecstatic Bologna and Ravenna. With so rcfined and academic a pedigree, praise, was known as the 'Tinted Venus' (see colour plate) , divergence from the established artistic norm might seenl and it is the purpose of tlus article to provide the grounds for a unlikely, and in many respects Gibson did fit snugly into this balanced lustorical and aesthetic assessment of this the principal well defiu9d niche.
    [Show full text]
  • AT the Period to Which the Athenseum Book-Plate
    THE ATIIEN/EUM BOOK-PLATE. By Frederick G. Blair. Read 12 February, 1925. T the period to which the Athenseum book-plate A belongs, interest in book-plates was only beginning in this country; it was not until 1880 that we had any work devoted to the serious study of the subject. 1 It is not therefore surprising to find that the records of the Athemeum reveal very little about its book-plate, or the source from which the design was first obtained, but I hope to show that William Roscoe was responsible for its introduction and subsequent use as a book-plate. The first reference I have found is under the date August nth, 1817: Resolved: " That the design exhibited by Mr. Clements for a wood engraving proper to be affixed to works presented to the Library, be adopted."2 The design consists of a group of thirteen figures stand­ ing round what is presumably a stone chest, and gazing earnestly into it are figures, some clothed in livery, others in a semi-nude condition. The central figure wears a plumed helmet and carries a lance upon which is placed a bird; one figure appears to be lifting a volume out of the chest. The design was printed on hand-made paper, is oval in shape and measures 2| in. by 2 in.; underneath is the word " Athemeum " and below this again are the words " Bequeathed to this Institution By " and three lines for 1 .1 i-uide to the study of book-plates (ex libris), by the Hon.
    [Show full text]