DOCSLIB.ORG

6688 EZL.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
6688 EZL.Pdf E2L I I . FINE BRITISH AND CONTINENTAL PEWTER, METALWORK, FINE ENGLISH AND CONTINENTAL OAK FURNITURE THURSDA Y 30 APRIL 1981 at 11.00 a.m. and 2.30 p.m. THURSDAY 30 APRIL 1981 Catalogue All sales subject to the conditions printed in this catalogue MORNING SESSION AT 11.00 A.M. PEWTER 5 A NORTHERN FRENCH FLAGON. the baluster body with D-shaped handle and shaped thumbpiece V ARJOUS PROPERTIES to the domed cover a nd spout. 1.8th Century Sin. (20cm.) high A PAIR OF FRENCH OIL-LAMPS with bell-shaped reservoirs on tapering stems and circular bases, 19th Century 9in. (23cm.) high (2) 6 A SOUTH GERMAN FLAGON. the tapering cylindrical body cast in relief with a displayed eagle, its head forming the spout and holding a shield, inscribed at the base with the date 1790, with 2 scroll handle and shaped thumbpiece to the domed cover. 19th Century AN IRISH HALF-GALLON MEASURE of harvester type 13in. (33cm.) high inscribed Austin & Sons, Cork, with scroll handle and spreading foot 9-l-in. (24cm.) high 7 3 A COMPOSITE SET OF FOUR IRISH HARVESTER MEASURES of typical design with scroll handles A DUTCH PEAR-SHAPED FLAGON with scroll handle ranging in capacity from half-pint to half-gill, and shaped thumbpiece to the domed circular one by Austin & Sons, Cork, early 19th Century cover and spout, late 18th Century largest 5in. (12.5cm.) high (4) 9in. (23cm.) high 4 8 A DUTCH FLAGON with baluster body, scrolled A COLLECTION OF TEN VICTORIAN BULBOUS handle and shell-shaped thumbpiece to the MEASURES with scroll handles. ranging in capacity domed cover and spout, early 19th Century from half-pint to quartyr-gill l1in. (28cm.) high largest Hin. (9.5cm.) high (10) 5 I 1 THURSDAY 30 APRIL 1981 I I! I I I'1'I [10] 9 12 A PORRINGER with ring-turned circular bowl, A CONTINENTAL FLAGON, the baluster body with II pierced and scroll ha ndle, late 17th /early 18th D-shaped handle to the domed cover, on spread­ il:I Century ing foot, possibly Iberian, 18th Century ,11 stin. (21.5cm.) high 11 5tin. (l3cm.) diam. 13 10 A SCOTTISH UNCRESTED TAPPIT HEN MEASURE, the A SMALL PORRINGER. the base cast with an armorial baluster body with D-shaped handle and scrolled shield, shell-shaped handle thumbpiece to the domed cover, late 18th/early 3tin. (8cm.) diam. 19th Century I Hin. (29cm.) high 11 14 A GEORGE IV ALE-JUG by C. Bentley, Woodstock, AN AMERICAN TEAPOT, the bulbous body with the baluster body with D-shaped handle to the scroll handle, domed cover and spout on domed cover and spout spreading foot 9tin. (23 .5cm.) high 7in. (18cm.) high 6 J THURSDAY 30 APRIL 1981 (20) 15 18 A SCOlTISH FLAGON, the cylindrical body on A PLAIN CIRCULAR CHARGER with moulded rim, moulded foot and inscribed 'South College Street engraved with initials RMA, 18th Century, 16tin. U.P. Church 1858', with scroll handle and double (42cm.) diam.; and another with MA and two volute thumbpiece to the flat circular cover, coronets, 18th Century, 16tin. (42cm.) diam. (2) 19th Century 19 16 A DUTCH FLAGON of Normandy type, the A COMPOSITE SET OF SIX VICTORIAN BULBOUS cylindrical body with D-shaped handle to the MEASURES with D-shapedhandles, ranging in flat circular cover, 19th Century capacity from quart to quarter-gill, some by 8tin. (21.5cm.) high James Yates, Birmingham largest 6in. (15cm.) high (6) 20 17 A PAIR OF CHARLES II PORRINGERS, the circular ANOTHER SET OF SIX similar to the preceding bowls with shaped and pierced handle, touch largest 6in. (15cm.) high (6) HB on handles (2) 7 I II, THURSDA Y 30 APRIL 1981 ·11 I I iI 1.1 li 11 I:" I:' 1,.1 [ '\ 11 1 1• ' 11.1 "I i' l [22] [21] :1 I, 21 24 1 I A SCOTTISH CRESTED TAPPIT HEN MEASURE, the A MONTEITH, the circular bowl with ring-turned 11·1 baluster body with scroll handle and thumbpiece sides engraved with an armorial shield on spread­ !' to the domed cover and finia l, initialled on neck ing foot, touch William Cornelius Swift TB, MW, late 18th Century lOin. (2S.Scm.) diam. 12in. (30.Scm.) high 25 22 I:; AN ENGLISH BALUSTER MEASURE with D-shaped A COMMONWEALTH FLAGON, the cylindrical body handle and hammerhead thumbpiece to the flat I: with scroll handle and double volute thumbpiece circular cover 1 to the flat circular cover, on spreading foot, 5tin. (13cm.) high i inscribed on handle PEIRS 9tin. (24cm.) high 26 23 A GERMAN PLATE with gadrooned rim and engraved with a full length female portrait A PAIR OF BEAKERS, the tapering cylindrical bodies holding a fish in her left hand and olive branch on m~ulded feet, inscribed J.S. I and 4, late in her right hand standing on a socle, 11 tin. 18th Century, touch D.G.M., Dutch or German (29cm.) diam.; and a circular plate with beaded 6tin. (I6cm.) high (2) rim. both 18th Century. ?tin. (I8.Scm.) diam. (2) 8 THURSDA Y 30 APRIL 1981 [32] [31] [29] 27 30 A SCOTIISH BALUSTER MEASURE with scroll handle A PAIR OF PLAIN CIRCULAR CHARGERS with moulded and shell thumbpieee to the fl at circular cover, rims, Newcastle, 18th Century late 18th /early 19th Century, Sin. (l2.Scm.) high; lSin . (38cm.) diam. (2) another, similar, lacking cover, Sin . (12 .Scm.) high; a pl ai n baluster-shaped gill measure, 3iin. (9cm.) high ; and a Victorian tankard by J. Moynes with scroll handle and spreading foot 6t in . (16cm.) hi gh (4) 31 A SCOTIISH POT-BELLIED FLAGON with D-shaped handle and plain thumbpiece to the domed cover on spreading foot, late 17th Century, cover 28 replaced A SCOTIISH LlDLESS TAPPIT HEN MEASllRE with 9tin . (2Scm.) hi gh baluster body and scroll handle, circa 1800 6tin. (l6.Scm.) high 32 29 A GEORGE " TANK ARD with cylindrical body on A RARE SCOTIISH POT-BELLIED MEASURE with scroll moulded base, the scrolled handle with shaped handle on splayed foot, late 17th Century thumbpiece to the domed cover Stin. (13.Scm.) high 7in . (17 .Scm .) hi gh 9 I. I I i THURSDA Y 30 APRIL 19S1 [34] 33 36 A SWISS STITZE with tapering cylindrical body A FINE CIRCULAR PLATE by John Raymond, and scroll handle to the shaped thumbpiece and London, with trip1e-reeded rim, late 17th/ early flat cover, 19th Century 18th Century 6+in. (l7cm.) high 9tin. (24cm.) diam. Sold together with a certificate of authenticity from H oward H. Cotterell 37 A COMPOSITE SET OF THREE ENGLISH BALUSTER AN IRISH GEORGE III RECTANGULAR INKSTAND with MEASURES with D-shaped handles and bud thumb­ hinged double-flap top enclosing an inkwell and I pieces to the flat circular covers , early pounce-pot on one sid e and a recess for pens on I. ISth Century the other, on hour-glass shaped feet ! ' la rgest Sin. (20cm.) high (3) 6tin. (17cm:) · wide 38 A NORMANDY FLAGON, the ba lus ter body chased 35 with a male portrait medallion a nd a coat-of-arms, A LIDLESS TAN KARD of quart capacity by Peter with D-shaped handle and double-acorn thumb­ Llewellyn, Bristol, the cylindrical body with pi ece to the heart-shaped cover engraved with D-shaped handle, mid-1 9th Century fl eur-de-lys 6in. (1 5cm.) high Ilin. (2Scm.) high 10 THURSDAY 30 APRIL 1981 [39] [40] THE PROPERTY OF A LADY 39 A FRENCH ROSEWATER DISH after a design by Francois Briot, with moulded rim cast in relief with lion-masks, male and female figures, swagged drapery and scrolls, the raised centre with a later boss cast with figures on a terrace within a band of putto masks and strapwork , Montbeliard, early 16th Century, the rim damaged 18in. (46cm.) diam. Francois Briot (circa 1550-1616), born at Damblain in Lorraine but, as a Huguenot, was forced to flee to M ontbeliard in 1579. He was engraver to the Montbeliard mint and is renowned for his 'Temperantia Dish'; cf. an example sold in these Rooms, 13 May 1976, lot 53 Cf. Hanns Ulrich Haedeke, Zinn, 1973, pI. 135, which illustrates an example in the Museum flir Kunsthandwerk, Dresden . THE PROPERTY OF A GENTLEMAN 40 A GERMAN ROSEWATER DISH in the manner of Caspar Enderlein, with moulded rim cast in relief with figures and animals within landscapes divided by masks framed by cartouches. the later central boss cast with a cartouche within a band of figures and strapwork and a further band of figures in gardens divided by lion-masks, Nuremberg, early 16th Century. damaged 18in. (46cm.) diam. Caspar Enderlein (1560-1633), the leading Nuremberg pewterer; born and trained in Basle, he settl ed in Nuremberg in 1583 Cf. Hanns Ulrich Haedeke, Zinn, 1973, pI. 137, which illustrates an example in the Museum flir Kunsthandwerk, Dresden 11 THURSDA Y 30 APRIL 1981 [43J [44J [451 THE PROPERTY OF A GENTLEMAN 45 A FINE BROAD-RIMMED CHARGER, touch R.M., 41 probably Richard Mason, London, late 17th Century AN OVAL MEAT-DISH with a recess at one end, 18in. (46cm.) diam. ISth Century 20in. (5Icm.) wide 46 42 AN IRISH GEORGE 1II RECTANGULAR INK-STAND with hinged double-flap top enclosing a pounce-pot and A PLAIN CIRCULAR BOWL, ISth Century inkwell on one side and a recess for pens on the 9tin. (24cm.) diam. other, on hour-glass shaped feet Sin. (20cm.) wide 43 47 A FINE CIRCULAR CHARGER by Christopher Baldwin, Wigan, with triple-reeded rim, late 17th/early A PLAIN OVAL DISH, inscribed C.T., ISth Century ISth Century IStin.
Load more

Recommended publications
  • Ancient Carved Ambers in the J. Paul Getty Museum
    Ancient Carved Ambers in the J. Paul Getty Museum Ancient Carved Ambers in the J. Paul Getty Museum Faya Causey With technical analysis by Jeff Maish, Herant Khanjian, and Michael R. Schilling THE J. PAUL GETTY MUSEUM, LOS ANGELES This catalogue was first published in 2012 at http: Library of Congress Cataloging-in-Publication Data //museumcatalogues.getty.edu/amber. The present online version Names: Causey, Faya, author. | Maish, Jeffrey, contributor. | was migrated in 2019 to https://www.getty.edu/publications Khanjian, Herant, contributor. | Schilling, Michael (Michael Roy), /ambers; it features zoomable high-resolution photography; free contributor. | J. Paul Getty Museum, issuing body. PDF, EPUB, and MOBI downloads; and JPG downloads of the Title: Ancient carved ambers in the J. Paul Getty Museum / Faya catalogue images. Causey ; with technical analysis by Jeff Maish, Herant Khanjian, and Michael Schilling. © 2012, 2019 J. Paul Getty Trust Description: Los Angeles : The J. Paul Getty Museum, [2019] | Includes bibliographical references. | Summary: “This catalogue provides a general introduction to amber in the ancient world followed by detailed catalogue entries for fifty-six Etruscan, Except where otherwise noted, this work is licensed under a Greek, and Italic carved ambers from the J. Paul Getty Museum. Creative Commons Attribution 4.0 International License. To view a The volume concludes with technical notes about scientific copy of this license, visit http://creativecommons.org/licenses/by/4 investigations of these objects and Baltic amber”—Provided by .0/. Figures 3, 9–17, 22–24, 28, 32, 33, 36, 38, 40, 51, and 54 are publisher. reproduced with the permission of the rights holders Identifiers: LCCN 2019016671 (print) | LCCN 2019981057 (ebook) | acknowledged in captions and are expressly excluded from the CC ISBN 9781606066348 (paperback) | ISBN 9781606066355 (epub) BY license covering the rest of this publication.
    [Show full text]
  • Catalogue 101 To
    Lots 101 - 110 Lot #101: FRANCO-FLEMISH BAROQUE WALNUT OPEN ARMCHAIR The rectangular back flanked by s-scroll on vase supports, the seat on turned and block legs; 41 in. tall. Estimate: $ 500.00 - $ 800.00 Lot #102: LOUIS XVI ORMOLU FIGURAL MANTLE CLOCK Signed Kinable au Palais Royal, No. 131; the drum case surmounted by Eros, the case with love trophies and classical relief scenes, toupie feet; 18 1/2 x 15 in. Estimate: $ 2000.00 - $ 4000.00 Lot #103: ITALIAN WALNUT AND PARQUETRY TABLE The serpentine shaped top above a plain frieze raised on angular cabriole legs; 28 1/2 x 36 x 19 3/4 in. Estimate: $ 200.00 - $ 400.00 Lot #104: EMPIRE GILT-METAL-MOUNTED MAHOGANY AND PARCEL GILT BERGERE The serpentine crest with vinework above flowerhead mount, the down- swept reeded arms above carved feathers, applied rosettes and splayed legs; 37 1/2 in. tall. Estimate: $ 800.00 - $ 1200.00 Lot #105: FRANCO-FLEMISH-STYLE UPHOLSTERED WALNUT SETTEE Rectangular outline, the seat on turned and block legs joined by box stretchers; 32 1/2 in. x 7 ft. 5 in. Estimate: $ 500.00 - $ 700.00 Lot #106: NEOCLASSICAL-STYLE CHINOISERIE LACQUER TWO-PART CABINET The shaped upper part enclosed by a pair of floral-painted doors, flanked by fluted corners, the outset lower part with faux marble top above two drawers and two bird-decorated doors, the sides with pagoda and garden views, tapered legs, early 20th C.; 6 ft. 9 in. x 4 ft. 7 1/2 in. x 22 in. Estimate: $ 1500.00 - $ 2500.00 Lot #107: SWISS CYLINDER MUSIC BOX Contained in a rosewood and marquetry case; 9 1/4 x 33 x 13 in.
    [Show full text]
  • Sculpture Galleries Object List
    NATIONAL GALLERY OF ART New West Building Sculpture Galleries Checklist *measurements are given in centimeters with inches in parentheses. G1A: Lost-Wax Bronze Casting Display 2002.58.1 Coubertin Factory after Auguste Rodin Lost-Wax Casting Display: plaster model (first of ten steps), 1990 plaster .295 x .170 x .140 (11 5/8 x 6 11/16 x 5 1/2); length of entire display: 3.962 (156) Gift of the Iris and B. Gerald Cantor Collection 2002.58.2 Coubertin Factory after Auguste Rodin Lost-Wax Casting Display: mold, front half (second of ten steps), 1990 wax, plaster, cement and bronze .370 x .315 x .180 (14 9/16 x 12 3/8 x 7 1/16); length of entire display: 3.962 (156) Gift of the Iris and B. Gerald Cantor Collection 2002.58.3 Coubertin Factory after Auguste Rodin Lost-Wax Casting Display: clay model (third of ten steps), 1990 wax, plaster, cement and bronze .370 x .315 x .290 (14 9/16 x 12 3/8 x 11 7/16); length of entire display: 3.962 (156) Gift of the Iris and B. Gerald Cantor Collection 2002.58.4 Coubertin Factory after Auguste Rodin Lost-Wax Casting Display: clay model reduced by thickness of final bronze (fourth of ten steps), 1990 wax, plaster, cement and bronze .370 x .315 x .230 (14 9/16 x 12 3/8 x 9 1/16); length of entire display: 3.962 (156) Gift of the Iris and B. Gerald Cantor Collection 2002.58.5 Coubertin Factory after Auguste Rodin Lost-Wax Casting Display: wax model (fifth of ten steps), 1990 wax, plaster, cement and bronze .370 x .315 x .290 (14 9/16 x 12 3/8 x 11 7/16); length of entire display: 3.962 (156) Gift of the Iris and B.
    [Show full text]
  • Fast Fills for Big Gaps Author: Rachel C
    Article: Fast Fills for Big Gaps Author: Rachel C. Sabino Source: Objects Specialty Group Postprints, Volume Twenty-Four, 2017 Pages: 454–471 Editors: Emily Hamilton and Kari Dodson, with Tony Sigel Program Chair ISSN (print version) 2169-379X ISSN (online version) 2169-1290 © 2019 by American Institute for Conservation of Historic and Artistic Works 727 15th Street NW, Suite 500, Washington, DC 20005 (202) 452-9545 www.culturalheritage.org Objects Specialty Group Postprints is published annually by the Objects Specialty Group (OSG) of the American Institute for Conservation (AIC). It is a conference proceedings volume consisting of papers presented in the OSG sessions at AIC Annual Meetings. Under a licensing agreement, individual authors retain copyright to their work and extend publications rights to the American Institute for Conservation. Unless otherwise noted, images are provided courtesy of the author, who has obtained permission to publish them here. This article is published in the Objects Specialty Group Postprints, Volume Twenty-Four, 2017. It has been edited for clarity and content. The article was peer-reviewed by content area specialists and was revised based on this anonymous review. Responsibility for the methods and materials described herein, however, rests solely with the author(s), whose article should not be considered an official statement of the OSG or the AIC. OSG2017-Sabino_tip_layout.indd 1 12/3/19 5:46 AM FAST FILLS FOR BIG GAPS RACHEL C. SABINO The best method for creating a very deep fill in semi-translucent stones such as marble is to gradually build up successive layers of material(s) to achieve a satisfactory match in both color and density.
    [Show full text]
  • Lorenzo Lotto on Vice and Virtue Victor Hurtado University of Texas at El Paso, [email protected]
    Pathways: A Journal of Humanistic and Social Inquiry Volume 1 Issue 1 Pathways: A Journal of Humanistic and Social Article 3 Inquiry 2-15-2019 Ritratto di un uomo con simboli: Lorenzo Lotto on Vice and Virtue Victor Hurtado University of Texas at El Paso, [email protected] This paper is posted at ScholarlyCommons. https://repository.upenn.edu/pathways_journal/vol1/iss1/3 For more information, please contact [email protected]. Ritratto di un uomo con simboli: Lorenzo Lotto on Vice and Virtue Abstract The ra t of Lorenzo de Tomasso Lotto (1480-1557) has until recently gained critical attention. Lotto, born in Venice to Tomasso Lotto, lived and traveled throughout Italy. The Portrait of Man with Allegorical Symbols on display at the El Paso Museum of Art is one of Lotto’s most elusive paintings. A man of about thirty years of age is portrayed on a neutral background and divides a set of six allegorical symbols in axially. He gestures toward a set of three symbols hanging from a festoon of laurel leaves: an armillary sphere, intertwined palm branches, and a full-blown bladder. A number of scholars have attempted to identify Lotto’s Ritratto as a self- portrait, a portrait of Marcello Framberti, or an Italian alchemist. These interpretations, however, are not supported by the available evidence. Confining the sitter to a particular identity limits interpretive possibilities and ignores historical and cultural contexts. Thus, this piece examines the portrait as a whole, situating it within its historical, cultural, and artistic contexts, and proposes that Lotto’s Ritratto alludes to a meaning that is philosophical, open-ended, and universal rather than specific nda particular.
    [Show full text]
  • GLOSSARY Terms You Might Use in the Galleries
    GLOSSARY Terms You Might Use in the Galleries Sources for the following terms: Art Through the Ages (Harcourt, 12th ed.), From Abacus to Zeus (Pearson-Prentice Hall, 7th ed.), and Dictionary of Art Terms (Thames and Hudson, 2nd ed.) abacus (abʹ a·kus) In architecture, a block-shaped member of a column capital. In arithmetic, a board with lines and spaces used to count abstract In painting and sculpture, that which is non-representational; natural forms are given designs that have little visual reference to any object or form depicted acanthus (uh·kanʹ thus) A prickly plant of the Mediterranean region with large, deeply cleft, and scalloped leaves; used as decorations on capitals, moldings, friezes, etc. acrylic A painting medium which dries quickly, creates a water-resistant surface, and is non- fading and non-yellowing. Additives are used to create various effects. action painting A painting method in which the artist uses a brush, putty knife, stick, tube, or can to apply (brush, squeeze, drip, throw) paint on to a surface. Sometimes called “gestural painting” aesthetics Pertaining to the beautiful and to the associations of character, creation, perception, and evaluation of art alabastron (al·uh·basʹ tron; pl. alabastra, al·uh·basʹ tra) A small pear-shaped bottle of glass or pottery with a narrow neck and flaring mouth used to hold perfumes and oils altarpiece A painted or sculptured panel or shrine placed behind and above an altar amphora (amʹ fo·ra; pl. amphorae, amʹ fo·ri) An egg-shaped, two-handled pottery jar used for storage, mainly of liquids; sometimes without a foot ampulla (am·pulʹ la; pl.
    [Show full text]
  • P U G L I1 S E , J O Se P H Anthony. STYLISTIC PHASES O F Q U a T T R O C E N T O MAIOLICA DECORATION. the Ohio State U N Iv
    M ic GO—6400 ftxarf ly <-y;r oc c-i v«..-J PUGLI1SE, Joseph Anthony. STYLISTIC PHASES OF QUATTROCENTO MAIOLICA DECORATION. The Ohio State University, Ph.D., 1060 Fine A rts. University Microfilms, Inc., Ann Arbor, Michiaan STTLISTIC PHASES OF QUATTROCENTO UAIOLICA DECORATION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By JOSEPH ANTHONY PUGLIESE, B.F.I., U.i. The Ohio State University I960 Approved by 6m i Department of Fine and Applied Arts PREFACE Studies of Italian maiolica decoration have been primarily concerned with the distinctive Renaissance styles which appear after 1500. The decorative styles of quattrocento maiolica have not been adequately studied, especially with regard to the development and the chronology of styles and techniques. An examination of the stylistic development in maiolica decoration between U 4.OO and 1500 reveals a consistent, although complex pattern of progress, which prepares for and develops into the High Renaissance styles of the cinquecento. This stylistic development is not a simple organic growth, but rather a compound movement composed of a number of distinct stylistic changes, or phases. Throughout these phases we can distinguish a steady continuum of technical progress which allows an increasing freedom in, and coamand of, the ceramic medium. Maiolica wares are first produced in Italy during the trecento, and the earliest stylistic developments are found in the decorated wares produced in the environs of Florence, the foremost center of quattrocento art. The developments studied in this essay culminate with the emergence of the High Renaissance mode in maio­ lica decoration which appears in the decorative styles of Faenza during the last quarter of the fifteenth century.
    [Show full text]
  • Putti As Moralizers in Four Prints by Master HL Megan L. Erickson A
    From the Mouths of Babes: Putti as Moralizers in Four Prints by Master H.L. Megan L. Erickson A thesis submitted in partial fulfilment of requirements for the degree of Masters of Art University of Washington 2014 Committee: Stuart Lingo Estelle Lingo Ivan Drpic Program Authorized to Offer Degree: Art History ©Copyright 2014 Megan L. Erickson 1 Table of Contents INTRODUCTION ……………………………………………………………………………… 1 CHAPTER ONE. The World of Master H.L. …………………………………………………... 4 CHAPTER TWO. Why Putti…………………………………………………………………… 15 CHAPTER THREE. Love’s Folly……………………………………………………………… 22 Eros Balancing on a Ball 22 Eros on a Snail 33 CHAPTER FOUR. The Folly of Carnival……………………………………………………… 39 Two Putti Eating Peas 39 Three Putti with Instruments of the Passion 46 The Importance of Carnival 54 CONCLUSION. The Necessity of the Mundus Inversus……………......................................... 60 APPENDIX ………………………………………………………………………………….… 64 LIST OF IMAGES……………………………………………………………………………… 65 IMAGES………………………………………………………………………………………... 67 Bibliography 90 2 Introduction The German Renaissance wood sculptor and engraver known as Master H.L. left behind only a small body of printed works from his career in the early sixteenth century, numbering some twenty-four engravings and seven woodcuts. Unfortunately, this modest oeuvre has so far received only the most cursory analysis from art historians, perhaps because of its scant size, or because a number of its prints might be dismissed as mere illustrations of traditional religious subjects, primarily scenes from the lives of Jesus and the saints. Four of his prints, however, which are the subject of this thesis, are not so easily relegated, and display his ability to work with previously established visual motifs while manipulating them idiosyncratically for his own purposes.
    [Show full text]
  • A Relief by Benedetto Da Rovezzano in the National Gallery of Art in Washington*
    Alison Luchs / A Relief by Benedetto da Rovezzano in Washington 363 Alison Luchs: A RELIEF BY BENEDETTO DA ROVEZZANO IN THE NATIONAL GALLERY OF ART IN WASHINGTON* In commemoration of the yooth anniversary of the artist’s birth The National Gallery of Art’s marble high relief fragment of two putti with a plaque and a fruit festoon (Figs. i, 2) has borne the label “Florentine School, c. 1500’’ since its acquisition with the Widener Col­ lection in 1942. 1 This designation looks very close to the mark, for the work appears to testify to the peculiar sculptural gifts of one of Michelangelo ’s less celebrated contemporaries, Benedetto da Rovez ­ zano. 2 Benedetto (1474 - c. 1554) has until recently had the misfortune to be most widely represented by the awkward St. John the Evangelist he carved for the apostle series for the Cathedral of Florence in 1512. Nevertheless, far as he was from the mainstream of progressive figure sculpture of his time, he has been recognized as an exceptionally fine decorative sculptor: “II est le dernier echo de la gräce florentine avant les tours de force de l’ecole de Michel-Ange. ”3 Each distinctive feature of the National Gallery’s marble relief appears also in works of Benedetto ’s, most of which are scattered, in fragmentary form, in and around Florence. The type of putto head (Fig. 2) with a high hairline broken by a curling tuft in the middle of a rounded forehead, thick raised locks of hair with incised lines, broad lower lip, wide-set eyes with incised pupils, and eyelids in fine little raised lines, can be seen on the Sernigi tabernacle in the church of S.
    [Show full text]
  • The Other Classical Body: Cupids As Mediators in Roman Visual Culture
    The Other Classical Body: Cupids as Mediators in Roman Visual Culture The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Mitchell, Elizabeth. 2018. The Other Classical Body: Cupids as Mediators in Roman Visual Culture. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:41121259 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA ! ! "#$!%&#$'!()*++,(*)!-%./0!(12,.+!*+!3$.,*&%'+!,4!5%3*4!6,+1*)!(1)&1'$! ! ! !"#$%%&'()($*+",'&%&+(&#" -." 7),8*-$&#!9,&(#$))"" (*" /0&":$2*'&3$4&!%;!&#$!<)*++,(+! " $+",)'($)1"2312$114&+("*2"(0&"'&53$'&4&+(%" 2*'"(0&"#&6'&&"*2" 7*8(*'"*2"90$1*%*,0." $+"(0&"%3-:&8("*2" <)*++,(*)!='(#*$%)%>/! " ;)'<)'#"=+$<&'%$(.">)4-'$#6&?"@)%%)803%&((%" =1>1+&!?@AB A"BCDE"F1$G)-&(0"@$(80&11" !11"'$60(%"'&%&'<&#H I3(0"J$&12&1#("" " " " " " F1$G)-&(0"@$(80&11" ! "#$!%&#$'!()*++,(*)!-%./0!! (12,.+!*+!3$.,*&%'+!,4!5%3*4!6,+1*)!(1)&1'$! " !"#$%&'$( ( /0&"4.'$)#"83,$#%"*2"I*4)+"<$%3)1"831(3'&"(.,$8)11.")((')8("*+&"*2"(K*" '&%,*+%&%L"&$(0&'"(0&.")'&"%&&+")%"'&,1$8)(&%"*2"(0&"6*#"*2"1*<&?"F'*%"*'"!4*'?"*'" (0&."2)#&"$+(*"(0&"-)8M6'*3+#")%"*'+)4&+()1"-*#$&%"%*"-)+)1"(0)("(0&.",'&813#&" )+."2*83%&#")((&+($*+")(")11H"/0$%"#$%%&'()($*+"*22&'%")"'&8*+%$#&')($*+"*2"(0&%&"
    [Show full text]
  • Catalogue 101 To
    Lots 101 - 110 Lot #101: GEORGE III BLACK-GROUND PAPIER-MÂCHÉ TRAY ON LATER STAND The oval galleried top with gilt Greek key, leaf and beaded bands and pierced with handles, centering a cameo of Venus and Cupid, now attached to stand; 19 1/2 x 28 1/2 x 22 in. Estimate: $ 400.00 - $ 600.00 Lot #102: GEORGE III MAHOGANY SLANT-FRONT DESK The flap opening to drawers, pigeonholes and central door with document slots, above four beaded drawers with brass handles, on bracket feet; 41 x 37 1/4 x 20 1/4 in. Estimate: $ 800.00 - $ 1200.00 Lot #103: REGENCY MAHOGANY FOUR-DIVISION CANTERBURY With dipped rails, turned corner supports, base drawer and tapered legs ending in thimble casters, stenciled, "Country of Origin England"; 21 x 19 1/4 x 13 1/2 in. Estimate: $ 800.00 - $ 1200.00 Lot #104: LATE REGENCY MAHOGANY AND ROSEWOOD-BANDED SOFA TABLE The cross banded top with two leaves and fitted with two false drawers and two real drawers, supported by a carved column and two carved scrolling supports on a platform base and raised on turned carved feet; 28 1/2 x 40 x 27 1/4 in. (with leaves down). Estimate: $ 2000.00 - $ 4000.00 Lot #105: REGENCY CARVED GILTWOOD CONVEX MIRROR The plate with ebonized reeded surround and ball-applied cavetto frame surmounted by a displayed eagle on rockwork and acanthus scrolls; 39 1/2 in., 24 1/2 in. diam. Estimate: $ 800.00 - $ 1200.00 Lot #106: PAIR OF REGENCY SATINWOOD-INLAID MAHOGANY GAMES TABLES Each swivel and folding top with satinwood and rosewood crossbanding, opening to unlined surface, raised on four ringed columns, rectangular platform and downswept legs ending in brass lion's paw casters; 28 1/2 x 39 x 19 in.
    [Show full text]
  • The Moresque at the Time of Francis I and Henry Viii
    STRIVING FOR THE INFINITE ? THE MORESQUE AT THE TIME OF FRANCIS I AND HENRY VIII by Astrid Bextermoller [Master of Philosophy Faculty of Arts University of Glasgow] Christie's Education London Master's Programme September 2000 © Astrid Bextermoller ProQuest Number: 13818872 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818872 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 GLASGOW UNIVERSITY .LIBRARY: - U5'5 ABSTRACT The Tales of the Alhambra by Washington Irving still capture the contemporary imagination. The arabesque with its cumulative rhythmic effect and the total coverage of the decorative field is a dominant feature of ornament in the Alhambra in Granada. As 'moresque' the stylized interlaced foliage pattern becomes part of European ornament up to the level of complete absorption. The introductory essay searches for the origins and the development of the arabesque and follows some major routes into the canon of European ornament. Also, some differences in meaning and function of Islamic and European ornament are explored. The court of Francis I and Henry VIII as important Renaissance artistic centres are taken as examples to show the dissemination of the moresque across Iurep§: The fourteen exhibits illustrate the application and the appropriation of the arabesque in various media and for various purposes.
    [Show full text]