Appendix Ii Bequests and Gifts of Paintings to Angela
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Shearer West Phd Thesis Vol 1
THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON (VOL. I) Shearer West A Thesis Submitted for the Degree of PhD at the University of St. Andrews 1986 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/2982 This item is protected by original copyright THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON Ph.D. Thesis St. Andrews University Shearer West VOLUME 1 TEXT In submitting this thesis to the University of St. Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the I work may be made and supplied to any bona fide library or research worker. ABSTRACT A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between ca745 and 1800 : painting, print and book illustration. -
Guide to the Correspondence Series Within The
GUIDE TO THE CORRESPONDENCE SERIES WITHIN THE CHARLES BABBAGE / NEVILLE BABBAGE ARCHIVES IN THE POWERHOUSE MUSEUM 97/186 97/229/1 Paul Wilson 2010 COLLECTED ARCHIVES SERIES DESCRIPTION Registration Number: 97/186/1-1 Creators: Babbage, Charles Babbage, Neville Series Title: Correspondence to Charles Babbage Date Range: 1826-1894 Physical Characteristics: Handwritten letters, envelopes, cards, invitation and document Description: Correspondence, letters (17), cards (6), envelopes (29), one invitation and one document, to Charles Babbage, Charles Babbage/Neville Babbage, England/Australia, 1826-1894 This series contains correspondence predominantly sent to Charles Babbage. The letters provide evidence of his interests and social connections. Babbage was a well known figure in London society. He was friends with many prominent people, such as Charles Dickens, Thomas Carlyle, Sir John Herschel and Charles Darwin. He held regular Saturday evening parties at his home in Manchester Square for many years, which were apparently attended by two or three hundred people and were said to be a meeting place for Europe's liberal intelligentsia. This series contains a letter from Joshua Field as well as correspondence from (Augusta) Ada King, Countess of Lovelace (Byron's daughter). Other correspondents include the Duchess Dowager of Somerset, the scientist Sir Charles Wheatstone, writer and statesman Edward Bulwer-Lytton, Admiral Edward Codrington, politician Henry Bougham, heiress and philanthropist Baroness Angela Georgina Burdett-Coutts, actor William McCready, scientific writer John Peter Gassoit and the civil engineer Isambar Kingdom Brunel. Many of the letters are invitations to social events. Arrangement: Based on order created by Neville Babbage Dimensions: Shelf Length 0.040 m Box Number: 1 COLLECTED ARCHIVES ITEM LIST Series Title: Item Number Item Title Box 97/186/1-1/1 Letter, Joshua Field to Charles Babbage, paper/ink/pencil, 14 1 November 1831 One page hand written letter in black ink from Joshua Field, Lambeth, London, England, to Charles Babbage. -
HOLLAND,, JACKSON RECORD Copyright 1959 by Pearl Davis Mccall
HOLLAND,, JACKSON RECORD Copyright 1959 by Pearl Davis McCall Published in Texas, United States of America DEDICATION To the Hollands and Jacksons of today, with the hope and prayer that they may live up to the best of their forbears. FOREWORD This is factual history of our Hollands and Jacksons since the American War for Independence. Records have been established by the General Services Ad ministration, the United States census rolls, county court house documents and historical sections of Texas libraries. Blank pages have been placed after each part of the book so that additional material may be entered. Hundreds of family members, scattered from the New England states to California, have sent in their data and urged that they be preserved in permanent form. Grateful acknowledgment is made to every relative and friend who supplied information and inspiration, and above all, deep appreciation is expressed toward our im mediate family whose encouragement and active assistance have enabled us to compile and publish this record. PEARL DAVIS McCALL Temple, Texas November, 1959 CONTENTS DIRECTORY • 16 PART I THOMAS HOLLAND, R. s. 17 Harrison P. Holland, Thomas Holland, Jr., James Holland, John Rickman Holland, William Holland, Robert Holland, Benjamin Holland, Sarah Rickman Holland. OUR FAMILY ALBUM 133 PART II JACKSON FAMILY RECORD 145 John Jackson and Eve Still Jackson. Henry Lyda Jackson, Alison Jackson, Andrew J. Jackson, Robert Jackson, John Jackson, Jr., Eva Isabel Jackson. PART III HOYLE-SWOFFORD HISTORY 247 William Swofford and Elizabeth Hoyle Swofford. John Hoyle Swofford and Eady Pruett Swofford. Benjamin Franklin Jackson and Eady Elvena Swof- ford Jackson. -
The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): an Exploration Into the Masonic and Occult Imagination of the Late Enlightenment
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2003 The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Terrance Gerard Galvin University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Architecture Commons, European History Commons, Social and Behavioral Sciences Commons, and the Theory and Criticism Commons Recommended Citation Galvin, Terrance Gerard, "The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment" (2003). Publicly Accessible Penn Dissertations. 996. https://repository.upenn.edu/edissertations/996 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/996 For more information, please contact [email protected]. The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Abstract In examining select works of English architects Joseph Michael Gandy and Sir John Soane, this dissertation is intended to bring to light several important parallels between architectural theory and freemasonry during the late Enlightenment. Both architects developed architectural theories regarding the universal origins of architecture in an attempt to establish order as well as transcend the emerging historicism of the early nineteenth century. There are strong parallels between Soane's use of architectural narrative and his discussion of architectural 'model' in relation to Gandy's understanding of 'trans-historical' architecture. The primary textual sources discussed in this thesis include Soane's Lectures on Architecture, delivered at the Royal Academy from 1809 to 1836, and Gandy's unpublished treatise entitled the Art, Philosophy, and Science of Architecture, circa 1826. -
Download the Annual Report And
SIR JOHN SOANE'S MUSEUM Registered Charity No. 313609 THE ANNUAL REPORT AND ACCOUNTS FOR THE YEAR 1 APRIL 2011 TO 31 MARCH 2012 HC 434 £14.75 SIR JOHN SOANE'S MUSEUM Registered Charity No. 313609 THE ANNUAL REPORT AND ACCOUNTS FOR THE YEAR 1 APRIL 2011 TO 31 MARCH 2012 PRESENTED TO PARLIAMENT PURSUANT TO ARTICLE 3(3) OF THE GOVERNMENT RESOURCES AND ACCOUNTS ACT 2000 (AUDIT OF PUBLIC BODIES) ORDER 2003 (SI 2003/1326) ORDERED BY THE HOUSE OF COMMONS TO BE PRINTED 12 JULY 2012 HC 434 LONDON: The Stationery Office £14.75 © Sir John Soane’s Museum (2012) The text of this document (this excludes, where present, the Royal Arms and all departmental and agency logos) may be reproduced free of charge in any format or medium providing that it is reproduced accurately and not in a misleading context The material must be acknowledged as Sir John Soane’s Museum copyright and the document title specified. Where third party material has been identified, permission from the respective copyright holder must be sought. Any enquiries regarding this publication should be sent to us at [email protected] This publication is also for download at www.official-documents.gov.uk. This document is also available from our website at www.soane.org ISBN: 9780102977394 Printed in the UK by The Stationery Office Limited on behalf of the Controller of Her Majesty’s Stationery Office ID: 2487689 07/12 Printed on paper containing 75% recycled fibre content minimum TRUSTEES OF SIR JOHN SOANE'S MUSEUM LIFE TRUSTEES Simon Swynfen Jervis, FSA (Chairman) Richard Griffiths Bridget -
A Proposal for the Creation of Comprehensive Archives
return to list of Publications and Lectures A PROPOSAL FOR THE CREATION OF COMPREHENSIVE ARCHIVES OF INFORMATION ON THE WORKING PROCEDURE OF INDIVIDUAL ARTISTS AND ON THE VISUAL APPEARANCE AND PHYSICAL CHARACTER OF THEIR ART A Trial Study: John Constable CHARLES S. RHYNE Senior Fellow, Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, D.C., 1983-84 Professor of Art History, Reed College Published by the author Washington, D.C. 1984 Portland, Oregon 1990 This study was first published by the author in 1984 under the title The History of Technique: John Constable, A Trial Study, in conjunction with a seminar at the National Gallery of Art, Washington, D.C. Copies were distributed to those attending the seminar. In 1990, the document was revised and published under its present title, again by the author, in spiral book form. Copies were distributed to Constable scholars and leading research libraries. Copies were also sold at cost to those requesting them. The 1990 version is here posted on the web with minor format changes, December 2005. CONTENTS page I. The Proposal Introduction 4 Sources of information 8 Availability of conservation records 10 II. A Trial Study: John Constable Introduction 13 Sources of information 14 I. Information from original paintings and drawings 14 II. Information from accessory objects 16 III. Information from contemporary written documents 18 IV. Interpretations in art historical and critical studies 19 V. Index 21 Appendix: Quotations from contemporary written documents 26 . I. THE PROPOSAL Introduction The purpose of this document is to propose the creation of comprehensive archives of information on the working procedure of individual artists and on the visual appearance and physical character of their art, and to explore the various types of information desirable in such an archive. -
British Taste in the Nineteenth Century ••
BRITISH TASTE IN THE NINETEENTH CENTURY •• WILLIAM MULREADY The Sailing Match (S l) BRITISH TASTE IN THE NINETEENTH CENTURY AUCKLAND CITY ART GALLERY • MAY 1962 Foreword This exhibition has been arranged for the 1962 Auckland Festival of Arts. We are particularlv grateful to all the owners of pictures who have been so generous with their loans. p. A. TOMORY Director Introduction This exhibition sets out to indicate the general taste of the nineteenth century in Britain. As only New Zealand collections have been used there are certain inevitable gaps, but the main aim, to choose paintings which would reflect both the public and private patronage of the time, has been reasonably accomplished. The period covered is from 1820 to 1880 and although each decade may not be represented it is possible to recognise the effect on the one hand of increasing middle class patronage and on the other the various attempts like the Pre-Raphaelite move ment to halt the decline to sentimental triviality. The period is virtually a history of the Royal Academy, which until 1824, when the National Gallery was opened, provided one of the few public exhibitions of paintings. Its influence, therefore, even late in the century, on the public taste was considerable, and artistic success could onlv be assured by the Academy. It was, however, the rise of the middle class which dictated, more and more as the century progressed, the type of art produced by the artists. Middle class connoisseur- ship was directed almost entirely towards contemporary painting from which it de manded no more than anecdote, moral, sentimental or humorous, and landscapes or seascapes which proclaimed ' forever England.' Ruskin, somewhat apologetically (On the Present State of Modern Art 1867), detected two major characteristics — Compassionateness — which he observed had the tendency of '. -
Exceptional Examples of the Masters of Etching and Engraving : the Print Collection of the Late J. Harsen Purdy, of New York
EXCEPTIONAL EXAMPLES OF THE MASTERS OF ETCHINa AND ENGRAVING THE PRINT COLLECTION OF THE LATE J. HARSEN PURDY, of new york city TO BE SOLD AT UNRESTRICTED PUBLIC SALE ON TUESDAY AND WEDNESDAY EVENINGS APRIL 10th and 11th, 1917 UNDER THE MANAGEMENT OF THE AMERICAN ART ASSOCIATION AMERICAN ART GALLERIES MADISON SQUARE SOUTH NEW YORK CITY smithsoniaM INSTITUTION 3i< 7' THE AMERICAN ART ASSOCIATION DESIGNS ITS CATALOGUES AND DIRECTS ALL DETAILS OF ILLUSTRATION TEXT AND TYPOGRAPHY ON PUBLIC EXHIBITION AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK ENTRANCE, 6 EAST 23rd STREET BEGINNING THURSDAY, APRIL 5th, 1917 MASTERPIECES OF ENGRAVERS AND ETCHERS THE PRINT COLLECTION OF THE LATE J. HARSEN PURDY, of new york city TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY ORDER OF ALBERT W. PROSS, ESQ., AND THE NEW YORK TRUST COMPANY, AS EXECUTORS ON TUESDAY AND WEDNESDAY EVENINGS APRIL 10th and 11th, 1917 AT 8:00 O'CLOCK IN THE EVENINGS AT THE AMERICAN ART GALLERIES ALBRECHT DURER, ENGRAVING Knight, Death and the Devil [No. 69] EXCEPTIONAL EXAMPLES OF THE MASTERS OF ETCHING AND ENGRAVING THE PRINT COLLECTION OF THE LATE J. HARSEN PURDY, of new york city TO BE sold at unrestricted PUBLIC SALE BY ORDER OF ALBERT W. PROSS, ESQ., AND THE NEW YORK TRUST COMPANY, AS EXECUTORS ON TUESDAY AND WEDNESDAY, APRIL 10th AND 11th AT 8:00 O'CLOCK IN THE EVENINGS THE SALE TO BE CONDUCTED BY MR. THOMAS E. KIRBY AND HIS ASSISTANTS, OF THE AMERICAN ART ASSOCIATION, Managers NEW YORK CITY 1917 ——— ^37 INTRODUCTORY NOTICE REGARDING THE PRINT- COLLECTION OF THE LATE MR. -
Annual Report 2005
NATIONAL GALLERY BOARD OF TRUSTEES (as of 30 September 2005) Victoria P. Sant John C. Fontaine Chairman Chair Earl A. Powell III Frederick W. Beinecke Robert F. Erburu Heidi L. Berry John C. Fontaine W. Russell G. Byers, Jr. Sharon P. Rockefeller Melvin S. Cohen John Wilmerding Edwin L. Cox Robert W. Duemling James T. Dyke Victoria P. Sant Barney A. Ebsworth Chairman Mark D. Ein John W. Snow Gregory W. Fazakerley Secretary of the Treasury Doris Fisher Robert F. Erburu Victoria P. Sant Robert F. Erburu Aaron I. Fleischman Chairman President John C. Fontaine Juliet C. Folger Sharon P. Rockefeller John Freidenrich John Wilmerding Marina K. French Morton Funger Lenore Greenberg Robert F. Erburu Rose Ellen Meyerhoff Greene Chairman Richard C. Hedreen John W. Snow Eric H. Holder, Jr. Secretary of the Treasury Victoria P. Sant Robert J. Hurst Alberto Ibarguen John C. Fontaine Betsy K. Karel Sharon P. Rockefeller Linda H. Kaufman John Wilmerding James V. Kimsey Mark J. Kington Robert L. Kirk Ruth Carter Stevenson Leonard A. Lauder Alexander M. Laughlin Alexander M. Laughlin Robert H. Smith LaSalle D. Leffall Julian Ganz, Jr. Joyce Menschel David O. Maxwell Harvey S. Shipley Miller Diane A. Nixon John Wilmerding John G. Roberts, Jr. John G. Pappajohn Chief Justice of the Victoria P. Sant United States President Sally Engelhard Pingree Earl A. Powell III Diana Prince Director Mitchell P. Rales Alan Shestack Catherine B. Reynolds Deputy Director David M. Rubenstein Elizabeth Cropper RogerW. Sant Dean, Center for Advanced Study in the Visual Arts B. Francis Saul II Darrell R. Willson Thomas A. -
John Platt (1842-1902), a Late Victorian Extra-Illustrator, and His Collection
J. M. W. Turner and his World: John Platt (1842-1902), a Late Victorian Extra-illustrator, and his Collection Felicity Myrone 1. Introduction In August 2007 the British Library Press Office was able to announce the ‘discovery’ of a ‘missing Constable sketch’.1 This had come to light by chance during cataloguing a few months earlier in an extra-illustrated copy of George Walter Thornbury’s The Life of J. M. W. Turner: Founded on letters and papers furnished by his friends and fellow academicians (London: Hurst and Blackett, 1862). The Constable is just one of over 1,600 additions to Thornbury’s text, collected and inserted by a businessman and justice of the peace from Warrington, John Platt (1842-1902). This essay will briefly examine the collection, its collector and his library. Extra-illustration was a popular activity from the mid-eighteenth to the early twentieth century. It involves the embellishing of an existing text with complementary illustrations and documents.2 Thornbury’s biography of Turner is an excellent choice for extra- illustration, as a large number of Turner’s predecessors and contemporaries are mentioned in the text, as well as places Turner visited and painted. Thornbury’s text also relies on quoting long passages from letters by Turner as well as the writings, letters and reminiscences of his friends and acquaintances or their descendants, and Platt collected manuscript material to match. Most accounts of extra-illustration or ‘grangerization’, as it was often known in the past, have concentrated on the extra-illustrator’s use of portraits and topographical images. -
Drawing After the Antique at the British Museum
Drawing after the Antique at the British Museum Supplementary Materials: Biographies of Students Admitted to Draw in the Townley Gallery, British Museum, with Facsimiles of the Gallery Register Pages (1809 – 1817) Essay by Martin Myrone Contents Facsimile TranscriptionBOE#JPHSBQIJFT • Page 1 • Page 2 • Page 3 • Page 4 • Page 5 • Page 6 • Page 7 Sources and Abbreviations • Manuscript Sources • Abbreviations for Online Resources • Further Online Resources • Abbreviations for Printed Sources • Further Printed Sources 1 of 120 Jan. 14 Mr Ralph Irvine, no.8 Gt. Howland St. [recommended by] Mr Planta/ 6 months This is probably intended for the Scottish landscape painter Hugh Irvine (1782– 1829), who exhibited from 8 Howland Street in 1809. “This young gentleman, at an early period of life, manifested a strong inclination for the study of art, and for several years his application has been unremitting. For some time he was a pupil of Mr Reinagle of London, whose merit as an artist is well known; and he has long been a close student in landscape afer Nature” (Thom, History of Aberdeen, 1: 198). He was the third son of Alexander Irvine, 18th laird of Drum, Aberdeenshire (1754–1844), and his wife Jean (Forbes; d.1786). His uncle was the artist and art dealer James Irvine (1757–1831). Alexander Irvine had four sons and a daughter; Alexander (b.1777), Charles (b.1780), Hugh, Francis, and daughter Christian. There is no record of a Ralph Irvine among the Irvines of Drum (Wimberley, Short Account), nor was there a Royal Academy student or exhibiting or listed artist of this name, so this was surely a clerical error or misunderstanding. -
Chronological Exhibition of Mezzotints Fkom
CH R ONOLOGI CAL E X H I B I T I O N O F M E Z Z O ‘ T I N T S FKOM ‘v o ysg S I E‘ GE‘ N ‘ T O QR/I ‘R NET EX HIB IT ED A T T HE ' GR OLIER CLUB X T H E G R E A T E X E C U T I O N E R CH R O NOLOGI CAL EX H I B I T I ON O F M E Z Z O T I N T S FR OM v o w S I EQ E’N T O B‘ A KN ET EX HIB IT ED A T T HE Q R OLIER CLUB NEW YOR K A NNUA L MEET I NG 1918 t 5 1 . 1 78: R E FE R E NCE S AND AB B R E VIAT IONS Appended are the various names and abbre v iations employed, and the w o rks to w hi ch they refer . In this connection it is a pleasure to refer to h . t at remarkable work by J C . Smith on which he labored with loving care for thirty years . It is the standard work on British mezzotint portraiture, and though monographs cata loguing the works of individual artists, s ubs e quently published, may sometimes give an item of information which was not accessible to Smith or escaped his notice,his work is monu mental and stands supreme . C . S . British Mezzotint Portraits described B .