Chief Justice Robert Heath of Brasted
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Hogarth in British North America
PRESENCE IN PRINT: WILLIAM HOGARTH IN BRITISH NORTH AMERICA by Colleen M. Terry A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History Summer 2014 © 2014 Colleen Terry All Rights Reserved UMI Number: 3642363 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 complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3642363 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 PRESENCE IN PRINT: WILLIAM HOGARTH IN BRITISH NORTH AMERICA by Colleen M. Terry Approved: ___________________________________________________________ Lawrence Nees, Ph.D. Chair of the Department of Art History Approved: ___________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts & Sciences Approved: ___________________________________________________________ James G. Richards, Ph.D. Vice Provost for Graduate and Professional Education I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ___________________________________________________________ Bernard L. Herman, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. -
"This Court Doth Keep All England in Quiet": Star Chamber and Public Expression in Prerevolutionary England, 1625–1641 Nathaniel A
Clemson University TigerPrints All Theses Theses 8-2018 "This Court Doth Keep All England in Quiet": Star Chamber and Public Expression in Prerevolutionary England, 1625–1641 Nathaniel A. Earle Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation Earle, Nathaniel A., ""This Court Doth Keep All England in Quiet": Star Chamber and Public Expression in Prerevolutionary England, 1625–1641" (2018). All Theses. 2950. https://tigerprints.clemson.edu/all_theses/2950 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. "THIS COURT DOTH KEEP ALL ENGLAND IN QUIET" STAR CHAMBER AND PUBLIC EXPRESSION IN PREREVOLUTIONARY ENGLAND 1625–1641 A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts History by Nathaniel A. Earle August 2018 Accepted by: Dr. Caroline Dunn, Committee Chair Dr. Alan Grubb Dr. Lee Morrissey ABSTRACT The abrupt legislative destruction of the Court of Star Chamber in the summer of 1641 is generally understood as a reaction against the perceived abuses of prerogative government during the decade of Charles I’s personal rule. The conception of the court as an ‘extra-legal’ tribunal (or as a legitimate court that had exceeded its jurisdictional mandate) emerges from the constitutional debate about the limits of executive authority that played out over in Parliament, in the press, in the pulpit, in the courts, and on the battlefields of seventeenth-century England. -
Issues) and Begin with the Summer Issue
AN ILLUSTRATED QUARTERLY BLAKE SALES, BLAKE RESEARCH: THE ANNUAL CHECKLISTS VOLUME 34 NUMBER 4 SPRING 2001 £%Uae AN ILLUSTRATED QUARTERLY VOLUME 34 NUMBER 4 SPRING 2001 CONTENTS Articles Newsletter Blake in the Marketplace, 2000 Met Exhibition Through June, Blake Society Lectures, by Robert N. Essick 100 The Erdman Papers 159 William Blake and His Circle: A Checklist of Publications and Discoveries in 2000 By G. E. Bentley, Jr., with the Assistance of Keiko Aoyama for Japanese Publications 129 ADVISORY BOARD G. E. Bentley, Jr., University of Toronto, retired Nelson Hilton, University of Georgia Martin Butlin, London Anne K. Mellor, University of California, Los Angeles Detlef W. Dbrrbecker, University of Trier Joseph Viscomi, University of North Carolina at Chapel Hill Robert N. Essick, University of California, Riverside David Worrall, St. Mary's College Angela Esterhammer, University of Western Ontario CONTRIBUTORS SUBSCRIPTIONS are $60 for institutions, $30 for individuals. All subscriptions are by the volume (1 year, 4 issues) and begin with the summer issue. Subscription payments re• G. E. BENTLEY, JR. has just completed The Stranger from ceived after the summer issue will be applied to the 4 issues Paradise in the Belly of the Beast: A Biography of William of the current volume. Foreign addresses (except Canada Blake. and Mexico) require a $10 per volume postal surcharge for surface, and $25 per volume surcharge for air mail delivery. ROBERT N. ESSICK is Professor of English at the University U.S. currency or international money order necessary. Make of California, Riverside. checks payable to Blake/An Illustrated Quarterly. Address all subscription orders and related communications to Sarah Jones, Blake, Department of English, University of Roches• ter, Rochester, NY 14627. -
Catalogue of the Splendid Collection of Pictures
CATALOGUE OP THE SPLENDID COLLECTION OF PICTURES BELONGING TO PRINCE LUCIEN BUONAPARTE; WHICH WILL BE EXHIBITED FOR SALE BY PRIVATE CONTRACT, ON MONDAY THE SIXTH DAY OF FEBRUARY, 1815, AND FOLLOWING DAYS, AT THE NEW GALLERY, (MR. BUCHANAN’S) No. 60, PALL-MALL. ADJOINING THE BRITISH GALLERY". % Admittance One Shilling.— Descriptive Catalogue Eighteen-pence, .In England, where there is no National Gallery for the reception of the chefs-d’oeuvre of the Great Mas¬ ters of the various schools, where the amateur or the student might at all times have an opportunity of improving his taste, or forming his. knowledge on works of art, every thing must naturally be considered as desirable, which can in any degree tend to afford facility for such study, or acquirements. The numerous applications which have been made to view the Collection of Pictures belonging to Prince •Lucien Buonaparte have induced those under whose direction it has been placed, to open the New Gallery, in Pall-Mall, to the Public, in the manner usually adopted in this country : they have also resolved to allow the Collection itself to he separated, and sold, in the same manner as the celebrated Collection of the Duke of Orleans; being convinced that Collectors will feel more satisfied in having an opportunity afforded them of gratifying their wishes individually, by a selection of such pictures as may suit the taste of each purchaser. 2 This Collection has been formed from many of the principal Cabinets on the Continent, during a period of the last fifteen years; and not only has the greatest attention been paid to a selection of agreeable subjects of the different masters, but also to the quality and state of preservation of the pictures themselves. -
The Life, Studies, and Works of Benjamin West, Esq., by John Galt, in Extra-Illustrated Form 3239 Finding Aid Prepared by Cary Majewicz
The Life, Studies, and Works of Benjamin West, Esq., by John Galt, in extra-illustrated form 3239 Finding aid prepared by Cary Majewicz. Last updated on November 09, 2018. First edition Historical Society of Pennsylvania , 2010 The Life, Studies, and Works of Benjamin West, Esq., by John Galt, in extra-illustrated form Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 5 Inventory of original art and large-scale engravings in Collection 3239......................................................6 Administrative Information......................................................................................................................... 11 Related Materials......................................................................................................................................... 12 Controlled Access Headings........................................................................................................................12 Bibliography.................................................................................................................................................13 - Page 2 - -
Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN
Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN Tel: 020 7836 1979 Fax: 020 7379 6695 E-mail: [email protected] www.grosvenorprints.com Dealers in Antique Prints & Books Prints from the Collection of the Hon. Christopher Lennox-Boyd Arts 3801 [Little Fatima.] [Painted by Frederick, Lord Leighton.] Gerald 2566 Robinson Crusoe Reading the Bible to Robinson. London Published December 15th 1898 by his Man Friday. "During the long timer Arthur Lucas the Proprietor, 31 New Bond Street, W. Mezzotint, proof signed by the engraver, ltd to 275. that Friday had now been with me, and 310 x 490mm. £420 that he began to speak to me, and 'Little Fatima' has an added interest because of its understand me. I was not wanting to lay a Orientalism. Leighton first showed an Oriental subject, foundation of religious knowledge in his a `Reminiscence of Algiers' at the Society of British mind _ He listened with great attention." Artists in 1858. Ten years later, in 1868, he made a Painted by Alexr. Fraser. Engraved by Charles G. journey to Egypt and in the autumn of 1873 he worked Lewis. London, Published Octr. 15, 1836 by Henry in Damascus where he made many studies and where Graves & Co., Printsellers to the King, 6 Pall Mall. he probably gained the inspiration for the present work. vignette of a shipwreck in margin below image. Gerald Philip Robinson (printmaker; 1858 - Mixed-method, mezzotint with remarques showing the 1942)Mostly declared pirnts PSA. wreck of his ship. 640 x 515mm. Tears in bottom Printsellers:Vol.II: margins affecting the plate mark. -
The Lives of the Chief Justices of England
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com Cui.U.K. &3o 1 THE LIVES OK THE CHIEF JUSTICES ENGLAND. FROM THE NORMAN CONQUEST TILL THE DEATH OF LORD TENTERDEN. By JOHN LOKD CAMPBELL, LL.D. F.E.S.E.: AUTHOR OF 'THE LIVES OF THE LOKD CHANCELLORS OF ENGLANd.' THIRD EDITION. IN FOUR VOLUMES.— Vol. II. LONDON: JOHN MUEKAY, ALBEMAELE STEEET. 1874. The right of Translation is reserved. Uniform with the present Work. LIVES OF THE LOED CHANCELLOBS, AND Keepers op the Great Skal op England, from the Earliest Times till the Reign of George the Fourth. By John Lord Campbell, LL.D. Fourth Edition. 10 vols. Crown 8vo. 6s. ' each. " A work of sterling merit — one of very great labour, of richly diversified interest, and, we arc satisfied, of lasting value and estimation. We doubt If there be half-a-dozen living men who could produce a Biographical Series on such a scale, at all likely to command so much applause from the candid among the iearned as well as from the curious of the laity." — Quarterly Review. &ONdON: PRINTEd BT WILLIAM CLOWES ANd SONS, STAMFORd STREET ANd CHARING CROSS. CONTENTS OF THE SECOND VOLUME. CHAPTER XI.— continued. LIVES OF THE CHIEF JUSTICES FROM THE DISMISSAL OF SIR EDWARD COKE TILL THE ESTABLISHMENT OF THE COMMONWEALTH. Sir Nicholas Hyde, Page 1. His Reputation as a Lawyer, 1. His Con duct as Chief Justice of the King's Bench, 2. -
Women Sculptors and Their Male Assistants: a Criticised but Common Practice in France in the Long Nineteenth-Century
Laurence Riviale et Jean-François Luneau (dir.) L’Invention partagée © Presses Universitaires Blaise Pascal, 2019 ISBN (papier) – 978-2-84516-847-3 ISBN (pdf) – 978-2-84516-848-0 ISBN (ePub) – 978-2-84516-849-7 Women Sculptors and their Male Assistants: a Criticised but Common Practice in France in the long Nineteenth-Century Marjan Sterckx Maître de conférences en histoire de l’art / Associate professor in art history Université de Gand / Ghent University Abstract: The creation process of sculpture always has relied on the use of assistants. However, women sculptors often have faced a double standard. Despite simply following standard sculpting practices, they have commonly been reproached for not being the true authors of their works, as sceptics could hardly believe a woman, due to her slighter physique, could be a sculptor. The multitude of references to such rumours and comments in historic and more recent publications on women sculptors shows that it has been an international and persistent phenomenon. This article takes France, and particularly Paris, as a case study, covering the (very) long nineteenth century, with the aim of examining developments across different periods. The earliest French sculptresses – some worked as ‘amateurs’ because of their high social status while others struggled to make money – were attacked for their use of assistants. The Second Empire, with its many commissions for contemporary sculptors, saw a rise in ‘professional’ women sculptors from the middle classes. It then became more acceptable for women to employ assistants and openly communicate about it. The relatively easy access to praticiens in Paris actually seems to have helped sculptresses in nurturing professional careers alongside their male colleagues, while their training opportunities were still all but equal. -
The Invisible “Sculpteuse”: Sculptures by Women in the Nineteenth-Century Urban Public Space—London, Paris, Brussels
Marjan Sterckx The Invisible “Sculpteuse”: Sculptures by Women in the Nineteenth-century Urban Public Space—London, Paris, Brussels Nineteenth-Century Art Worldwide 7, no. 2 (Autumn 2008) Citation: Marjan Sterckx, “The Invisible ‘Sculpteuse’: Sculptures by Women in the Nineteenth- century Urban Public Space—London, Paris, Brussels,” Nineteenth-Century Art Worldwide 7, no. 2 (Autumn 2008), http://www.19thc-artworldwide.org/autumn08/90-the-invisible- sculpteuse-sculptures-by-women-in-the-nineteenth-century-urban-public-spacelondon-paris- brussels. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2008 Nineteenth-Century Art Worldwide Sterckx: Sculptures by Women in the Nineteenth-Century Urban Public Space–London, Paris, Brussels Nineteenth-Century Art Worldwide 7, no. 2 (Autumn 2008) The Invisible “Sculpteuse”: Sculptures by Women in the Nineteenth-century Urban Public Space—London, Paris, Brussels[1] by Marjan Sterckx Introduction The Dictionary of Employment Open to Women, published by the London Women’s Institute in 1898, identified the kinds of commissions that women artists opting for a career as sculptor might expect. They included light fittings, forks and spoons, racing cups, presentation plates, medals and jewelry, as well as “monumental work” and the stone decoration of domestic facades, which was said to be “nice work, but poorly paid,” and “difficult to obtain without -
On the Exhibition Policies for Raphael's Masterpieces
Renaissance 3/2015 - 1 /lessandra Galiz6i Kroegel “3a.e space #or the great Raphael9& :n the ;*hibition Policies #or Raphael1s 3asterpieces Fig. 1= >iew of the current installation of the 2istine 3adonna in the +emäldegalerie /lte 3eister ?resden @0erbert -oswan., ?resden, 2taatliche 8unstsammlungen ?resdenA. “Raphael, or Ingres, or Picasso are meant Raphael in German and Italian museums during to be meditated upon. !" In order to med- the nineteenth centur) and up to the #irst hal# o# itate on a painting, it is essential to present the t%entieth century.[2] ,his stud) %as inspired it in a #avorable location and %ithin a calm b) (laudia -rin. and /ndreas 0enning1s care#ul atmosphere.& reconstruction o# the various hangings o# the 'e (orbusier[1] 2istine 3adonna #rom 1455, %hen the altarpiece arrived in 2a*on) a#ter its removal #rom the In this essa) I %ill discuss the e*hibition policies church o# 2an 2isto in Piacenza, to the present that %ere developed #or a #e% altarpieces b) day in its current location in the Gem7ldegalerie /lessandra +ali66i 8roegel 3a.e space #or the great Raphael9 .unstte*te.de 3/2015 - 2 <ig. 2= /dol# von 3en6el, Plat6 #Br den groβen Raf#ael9, Raphael in ?resden 1D55/5E, +ouache and pastel on paper, 5F * F2 cm, +er- manisches Gationalmuseum Gurnberg, 'oan o# the cit) of Gurnberg, @3oni.a Runge, +ermanisches Gationalmuseum “3ake space #or the great Raphael9&= a #amous Gurnberg). gouache b) /dolph 3en6el bearing this title (1D55/1D5EA @#ig. 2A illustrates an anecdote %hich ma) have circulated at the court o# 2a*on) #rom /lte 3eister in ?resden, %here it is e*hibited as the middle o# the eighteenth century, and %hich the clima* o# the %estern %ing1s stunning en#i- became %ell-.no%n not onl) in +erman) but to lade o# Italian galleries @#ig. -
Anne Seymour Damer (1749-1828) Hannah Chalker
Anne Seymour Damer (1749-1828) Hannah Chalker Three Witches from Macbeth by Daniel Gardner (1775) Elizabeth Lamb, Georgiana Cavendish, Anne Damer Early Life Anne Seymour Damer was the only child of Henry Seymour Conway, a Field Marshal in the British army and Whig MP, and his wife Caroline, daughter of the fourth Duke of Argyll. Damer lived with her family in Kent at Park Place. Damer’s father’s secretary, David Hume, encouraged Damer to pursue a skill in the art of sculpture. She was exceptional at sculpting and was an honorary exhibitor at the Royal Academy. At this point in history it was rare for women to be sculptors. It is said that she was exceptionally skilled Portrait of Anne Damer at sculpting animals, according to Horace Walpole. Damer’s sculptures were of people who were fairly aristocratic, like herself. Sculptures Snuffbox given to Damer from Napoleon Princess Caroline of Elizabeth Lamb Wales Marriage Anne Seymour Conway married the Honorable John Damer on June 14, 1767. John Damer was considered a felon and a rake, but Anne’s father accepted his proposal due to Damer’s inheritance of his father’s income of 30,000 pounds a year. As it turns out Damer’s father did not make that large of an income, but rather 5,000 pounds a year. During their marriage, John Damer owed more than 70,000 pounds to various creditors, placing a strain on his and Anne’s marriage. Anne became appearing less and less with her husband, and while they never officially divorced, the couple was separated until Damer committed suicide due to his accumulating debts. -
John Boydell's Shakespeare Gallery and the Promotion of a National Aesthetic
JOHN BOYDELL'S SHAKESPEARE GALLERY AND THE PROMOTION OF A NATIONAL AESTHETIC ROSEMARIE DIAS TWO VOLUMES VOLUME I PHD THE UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2003 2 TABLE OF CONTENTS Page Volume I Abstract 3 List of Illustrations 4 Introduction 11 I Creating a Space for English Art 30 II Reynolds, Boydell and Northcote: Negotiating the Ideology 85 of the English Aesthetic. III "The Shakespeare of the Canvas": Fuseli and the 154 Construction of English Artistic Genius IV "Another Hogarth is Known": Robert Smirke's Seven Ages 203 of Man and the Construction of the English School V Pall Mall and Beyond: The Reception and Consumption of 244 Boydell's Shakespeare after 1793 290 Conclusion Bibliography 293 Volume II Illustrations 3 ABSTRACT This thesis offers a new analysis of John Boydell's Shakespeare Gallery, an exhibition venture operating in London between 1789 and 1805. It explores a number of trajectories embarked upon by Boydell and his artists in their collective attempt to promote an English aesthetic. It broadly argues that the Shakespeare Gallery offered an antidote to a variety of perceived problems which had emerged at the Royal Academy over the previous twenty years, defining itself against Academic theory and practice. Identifying and examining the cluster of spatial, ideological and aesthetic concerns which characterised the Shakespeare Gallery, my research suggests that the Gallery promoted a vision for a national art form which corresponded to contemporary senses of English cultural and political identity, and takes issue with current art-historical perceptions about the 'failure' of Boydell's scheme. The introduction maps out some of the existing scholarship in this area and exposes the gaps which art historians have previously left in our understanding of the Shakespeare Gallery.