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Royal Collection Season on the BBC All images can be downloaded from www.bbcpictures.co.uk BBC One, The Coronation Her Majesty The Queen with St Edward’s Crown Her Majesty The Queen and Alastair Bruce The Coronation Spoon The Sovereign’s Sceptre St Edward’s Crown The Imperial State Crown Her Majesty The Queen Riding in the Gold State Coach Her Majesty The Queen with her Maids of Honour and the Archbishop of Canterbury during the after her Coronation. Credit: ITV Archive Coronation. Credit: ITV Archive BBC Four Art, Passion & Power: The Story of the Royal Collection Episode One The Bearers of Trophies Charles I with and Bullion, detail from M. de St Antoine by The Triumphs of Caesar by Sir Anthony van Dyck, Andrea Mantegna, 1633 c.1484-92 Andrew Graham-Dixon comes face to face with Charles I by Sir Anthony van Dyck, 1635-before June 1636 Hubert Le Sueur’s portrait bust of Charles I Cicely Heron by Hans Holbein the Younger, 1526-7 Andrew Graham-Dixon in the Picture Gallery at Buckingham Palace Andrew Graham-Dixon in the Picture Gallery Andrew Graham-Dixon in the Picture Gallery at Buckingham Palace at Buckingham Palace BBC Four Art, Passion & Power: The Story of the Royal Collection Episode Two Andrea Odoni by Lorenzo Lotto, 1527 The Bacino di San Marco on Ascension Day by Canaletto, c.1733-4 Frances Stuart, Charles II by Duchess of Richmond by John Michael Wright, Sir Peter Lely, 1662 c.1771-6 The foetus in the womb by Leonardo da Vinci, c.1511 Andrew Graham-Dixon in Venice on the trail of Canaletto Andrew Graham-Dixon in Venice on the trail of Canaletto BBC Four Art, Passion & Power: The Story of the Royal Collection Episode Three Roll top desk attributed to Jean- George IV when Henri Riesener, Prince of Wales, by c.1775-80 George Stubbs, 1791 Queen Victoria by Franz Xaver Winterhalter, 1842 Florinda by Franz Xaver Winterhalter, 1852 George IV by Sir Thomas Lawrence, 1791 Andrew Graham-Dixon in the Royal Pavilion, Brighton Andrew Graham-Dixon in the Royal Pavilion, Brighton BBC Four Art, Passion & Power: The Story of the Royal Collection Episode Four Peacock Barge Inkstand, 1870-76. The Mosaic Egg by Presented to the Fabergé, 1914 future Edward VII by the Maharaja of Benares HM Queen Elizabeth II, Dorothy Wilding, 15 April 1952 Andrew Graham-Dixon and HRH The Prince of Wales at St James’s Palace with the portrait series The Last of the Tide. Andrew Graham-Dixon and HRH The Prince of Wales Andrew Graham-Dixon and HRH The Prince of Wales at St James’s Palace with the portrait series at St James’s Palace with the portrait series The Last of the Tide The Last of the Tide Andrew Graham-Dixon at Buckingham Palace .

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THE POWER of BEAUTY in RESTORATION ENGLAND Dr
THE POWER OF BEAUTY IN RESTORATION ENGLAND Dr. Laurence Shafe [email protected] THE WINDSOR BEAUTIES www.shafe.uk • It is 1660, the English Civil War is over and the experiment with the Commonwealth has left the country disorientated. When Charles II was invited back to England as King he brought new French styles and sexual conduct with him. In particular, he introduced the French idea of the publically accepted mistress. Beautiful women who could catch the King’s eye and become his mistress found that this brought great wealth, titles and power. Some historians think their power has been exaggerated but everyone agrees they could influence appointments at Court and at least proposition the King for political change. • The new freedoms introduced by the Reformation Court spread through society. Women could appear on stage for the first time, write books and Margaret Cavendish was the first British scientist. However, it was a totally male dominated society and so these heroic women had to fight against established norms and laws. Notes • The Restoration followed a turbulent twenty years that included three English Civil Wars (1642-46, 1648-9 and 1649-51), the execution of Charles I in 1649, the Commonwealth of England (1649-53) and the Protectorate (1653-59) under Oliver Cromwell’s (1599-1658) personal rule. • Following the Restoration of the Stuarts, a small number of court mistresses and beauties are renowned for their influence over Charles II and his courtiers. They were immortalised by Sir Peter Lely as the ‘Windsor Beauties’. Today, I will talk about Charles II and his mistresses, Peter Lely and those portraits as well as another set of portraits known as the ‘Hampton Court Beauties’ which were painted by Godfrey Kneller (1646-1723) during the reign of William III and Mary II.
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Lord Henry Howard, Later 6Th Duke of Norfolk (1628 – 1684)
THE WEISS GALLERY www.weissgallery.com 59 JERMYN STREET [email protected] LONDON, SW1Y 6LX +44(0)207 409 0035 John Michael Wright (1617 – 1694) Lord Henry Howard, later 6th Duke of Norfolk (1628 – 1684) Oil on canvas: 52 ¾ × 41 ½ in. (133.9 × 105.4 cm.) Painted c.1660 Provenance By descent to Reginald J. Richard Arundel (1931 – 2016), 10th Baron Talbot of Malahide, Wardour Castle; by whom sold, Christie’s London, 8 June 1995, lot 2; with The Weiss Gallery, 1995; Private collection, USA, until 2019. Literature E. Waterhouse, Painting in Britain 1530 – 1790, London 1953, p.72, plate 66b. G. Wilson, ‘Greenwich Armour in the Portraits of John Michael Wright’, The Connoisseur, Feb. 1975, pp.111–114 (illus.). D. Howarth, ‘Questing and Flexible. John Michael Wright: The King’s Painter.’ Country Life, 9 September 1982, p.773 (illus.4). The Weiss Gallery, Tudor and Stuart Portraits 1530 – 1660, 1995, no.25. Exhibited Edinburgh, Scottish National Portrait Gallery, John Michael Wright – The King’s Painter, 16 July – 19 September 1982, exh. cat. pp.42 & 70, no.15 (illus.). This portrait by Wright is such a compelling amalgam of forceful assurance and sympathetic sensitivity, that is easy to see why that doyen of British art historians, Sir Ellis Waterhouse, described it in these terms: ‘The pattern is original and the whole conception of the portrait has a quality of nobility to which Lely never attained.’1 Painted around 1660, it is the prime original of which several other studio replicas are recorded,2 and it is one of a number of portraits of sitters in similar ceremonial 1 Ellis Waterhouse, Painting in Britain 1530 to 1790, 4th integrated edition, 1978, p.108.
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History of Britain from the Restoration to 1783
History of Britain from the Restoration to 1783 HIS 334J (39245) & EUS 346 (36243) Fall Semester 2016 Charles II of England in Coronation Robes Pulling Down the Statue of George III at Bowling John Michael Wright, c. 1661-1662 Green in Lower Manhattan William Walcutt, 1857 JGB 2.218 Tuesday & Thursday, 12:30 – 2:00 PM Instructor James M. Vaughn [email protected] Office: Garrison 3.218 (ph. 512-232-8268) Office Hours: Thursday, 2:30 – 4:30 PM, and by appointment Teaching Assistant Andrew Wilkins [email protected] Office: The Cactus Cafe in the Texas Union building Office Hours: Tuesday, 2:00 – 4:00 PM, and by appointment Course Description This lecture course surveys the history of England and, after the union with Scotland in 1707, Great Britain from the English Revolution and the restoration of the Stuart monarchy (c. 1640-1660) to the War of American Independence (c. 1775-1783). The kingdom underwent a remarkable transformation during this period, with a powerful monarchy, a persecuting state church, a traditional society, and an agrarian economy giving way to parliamentary rule, religious toleration and pluralism, a dynamic civil society, and a commercial and manufacturing-based economy on the eve of industrialization. How and why did this transformation take place? 1 Over the course of the same period, Great Britain emerged as a leading European and world power with a vast commercial and territorial empire stretching across four continents. How and why did this island kingdom off the northwestern coast of Europe, geopolitically insignificant for much of the sixteenth and seventeenth centuries, become a Great Power and acquire a global empire in the eighteenth century? How did it do so while remaining a free and open society? This course explores these questions as well as others.
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A Guide to the Pictures at Powis Castle Dr Peter Moore a Guide to the Pictures at Powis Castle by Dr Peter Moore
A Guide to the Pictures at Powis Castle Dr Peter Moore A Guide to the Pictures at Powis Castle by Dr Peter Moore Contents A Guide to the Pictures at Powis Castle 3 The Pictures 4 The Smoking Room 4 The State Dining Room 5 The Library 10 The Oak Drawing Room 13 The Gateway 18 The Long Gallery 20 The Walcot Bedroom 24 The Gallery Bedroom 26 The Duke’s Room 26 The Lower Tower Bedroom 28 The Blue Drawing Room 30 The Exit Passage 37 The Clive Museum 38 The Staircase 38 The Ballroom 41 Acknowledgements 48 2 Above Thomas Gainsborough RA, c.1763 Edward Clive, 1st Earl of Powis III as a Boy See page 13 3 Introduction Occupying a grand situation, high up on One of the most notable features of a rocky prominence, Powis Castle began the collection is the impressive run of life as a 13th-century fortress for the family portraits, which account for nearly Welsh prince, Gruffudd ap Gwenwynwyn. three-quarters of the paintings on display. However, its present incarnation dates From the earliest, depicting William from the 1530s, when Edward Grey, Lord Herbert and his wife Eleanor in 1595, Powis, took possession of the site and to the most recent, showing Christian began a major rebuilding programme. Herbert in 1977, these images not only The castle he created soon became help us to explore and understand regarded as the most imposing noble very intimate personal stories, but also residence in North and Central Wales. speak eloquently of changing tastes in In 1578, the castle was leased to Sir fashion and material culture over an Edward Herbert, the second son of extraordinarily long timespan.
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From the Commonwealth to the Georgian Period, 1650-1730
A STROLL THROUGH TATE BRITAIN This two-hour talk is part of a series of twenty talks on the works of art displayed in Tate Britain, London, in June 2017. Unless otherwise mentioned all works of art are at Tate Britain. References and Copyright • The talk is given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • Our sponsored charities are Save the Children and Cancer UK. • Unless otherwise mentioned all works of art are at Tate Britain and the Tate’s online notes, display captions, articles and other information are used. • Each page has a section called ‘References’ that gives a link or links to sources of information. • Wikipedia, the Oxford Dictionary of National Biography, Khan Academy and the Art Story are used as additional sources of information. • The information from Wikipedia is under an Attribution-Share Alike Creative Commons License. • Other books and articles are used and referenced. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 A STROLL THROUGH TATE BRITAIN • The History of the Tate • From Absolute Monarch to Civil War, 1540-1650 • From Commonwealth to the Georgians, 1650-1730 • The Georgians, 1730-1780 • Revolutionary Times, 1780-1810 • Regency to Victorian, 1810-1840 • William Blake • J. M. W. Turner • John Constable • The Pre-Raphaelites, 1840-1860 West galleries are 1540, 1650, 1730, 1760, 1780, 1810, 1840, 1890, 1900, 1910 East galleries are 1930, 1940, 1950, 1960, 1970, 1980, 1990, 2000 Turner Wing includes Turner, Constable, Blake and Pre-Raphaelite drawings Agenda 1.
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Lowell Libson Limited British Art
LOWELL LI BSON LTD 2 0 12 • LOWELL LIBSON LIMITED BRITISH ART 3 Clifford Street · London w1s 2lf +44 (0)20 7734 8686 · [email protected] www.lowell-libson.com LL 2012 text for Alta.indd 1 01/12/2011 13:05 LOWELL LIBSON LTD 2012 LL 2012 text for Alta.indd 2 01/12/2011 13:05 LL 2012 text for Alta.indd 3 01/12/2011 13:05 INDEX OF ARTISTS LOWELL LIBSON LTD Richard Parkes Bonington 96–101 Robert Carpenter 64 3 Clifford Street · London w1s 2lf John Constable 86–95 Telephone: +44 (0)20 7734 8686 Fax: +44 (0)20 7734 9997 David Cox 112–117 Email: [email protected] Richard Earlom 58 Website: www.lowell-libson.com Henry Edridge 73 The gallery is open by appointment, Monday to Friday James Jefferys 56 The entrance is in Old Burlington Street Thomas Gainsborough 18–31 Daniel Gardner 42 In 2012 our exhibition schedule is: Hubert Gravelot 12 Master Drawings New York Valentine Green 60 January 21–28 William Holman Hunt 118 George Lambert 16 TEFAF Maastricht Thomas Lawrence 76–79 March 16–25 John Linnell 102 Master Drawings London Thomas Malton 70 June 27 – July 5 Master of the Giants 56 John Hamilton Mortimer 54 Matthew William Peters 50 George Romney 32–41 Michael Angelo Rooker 68 George Stubbs 52 Peltro William Tomkins 44 Francis Towne 62 William Turner of Oxford 104–111 George Augustus Wallis 80 Cover: a sheet of 18th-century Italian paste paper (collection: Lowell Libson) Richard Westall 48, 84 John Michael Wright 8 Frontispiece: detail from Sir John Morshead George Romney (see pages 38–41) Joseph Wright of Derby 58–61 LL 2012 text for Alta.indd 4 01/12/2011 13:05 LL 2012 text for Alta.indd 5 01/12/2011 13:05 We are delighted to be able to publish some of the acquisitions – paintings, drawings, watercolours, prints and sculpture – which we have made over the last year.
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Diploma Lecture Series 2012 Absolutism to Enlightenment
Diploma Lecture Series 2012 Absolutism to enlightenment: European art and culture 1665-1765 Charles II and the restoration Lorraine Kypiotis 15 / 16 February 2012 Lecture summary: The Restoration had an exhilarating bravado characterised by a lavish and flamboyant court. It saw the return of the theatre, a flourishing of the arts and the founding of the Royal Society in a court that was the glamorous and often scandalous centre of a London that would rise from the flames like a phoenix. The return of Charles II to the throne in 1660 marked a moment of political and cultural change almost as dramatic as that brought about by his father’s execution 11 years earlier. After the repressions of the interregnum and the uncertainties and poverty of the exiled court, there was an appetite for exuberance, indulgence and transgression – an appetite that the king came to symbolize. After the puritanical sobriety of Cromwell’s parliament, England once again flourished in the arts and sciences. Charles, and his court patronised a number of scientists, architects, poets and dramatists whose influences were felt far beyond the reign of the “Merry Monarch”. Most importantly in the field of the fine arts, Charles was responsible for the recovery of many of the great paintings in the British Royal Collection that had been sold by the Commonwealth after his father’s execution; for the acquisition of a number of fine works by the great artists of the Baroque; and in his patronage of portraitists such as Sir Peter Lely. Charles and the artists he patronised were responsible for the enduring images of a monarchy restored.
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Not Exceed 7,500 Upwards and Should Shou~ Anginal Research
f Id ll ~ +t Rl 4~Al New Publication FURNITURE AT TEMPLE NEWSAM HOUSE AND LOTHERTON HALL, YORKSHIRE by Christopher Gilbert The defmitive catalogue of 662 items from the collections of Leeds City Art Galleries, 522 pages with 682 illustrations, 14 in colour, in two volumes. Published jointly by the National Art-Collections Fund and the Leeds Art Collections Fund, 1978. X48 the two volumes, including postage. Cheques or money orders payable to the NACF Leeds Furniture Catalogue; post to Percy Lund, Humphries 8t Co. Ltd., The Manningham Press, Drummond Road, Bradford BD8 8DH. SHELDON MEMORIAL TRUST ESSA Y PRIZE ,4 pnze of E50is offered for the best unpublished essay on history, literature or the arts in connectr'on uvth the City of York. The essay should not exceed 7,500 upwards and should shou~ anginal research. The Trust uill arrange publr'cation of the prize essay. Completed essays must be submitted by 3I March l979. ComPetitors should notify their intended toPicsin advance to the Secretary of the Trust, Mr. /. P. West-Taylor, The University of York, Heslington, York, YOI 5DD THF. LEEDS ART COLLECTIONS FUND Pres~dent The Rt. Hon. the Earl of Halifax; Vrce President The Rt. Hon. the Earl of Harewootl, t.t.,n.; Trustees C. S. Reddihough, George Black, r R t: s, W. T. Oliver, M rs.; Cornrnittee Mrs. S. Bidgood, S. H. Burton, Mrs. R. Copeland, Mrs. S. Gilchrist, J. M. McCloy, Councillor Dr. J. R. Sherwin, Dr. M. Wainman; Hon. Treasurer Martin Arnold, a a; Him. Secretary Robert Rowe; Hon. Membership Secretary W.
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Great Hall Paintings from the Duke Collection Portrait of Raphael Franco Thomas Gainsborough (English, 1727-1788); London, 1780; Oil on canvas Purchased by James B. Duke in 1910, and originally displayed at the Duke New York home. Portrait of Mountjoy Blount, Earl of Newport and George, Lord Goring Anthony Van Dyck (Flemish, 1599-1641); London, ca. 1638; Oil on canvas This is one of two paintings by Van Dyck—the court painter to Charles I — purchased by Doris Duke for Rough Point in 1963. Portrait of a Young Woman Ferdinand Bol (Dutch, 1616-1680); Amsterdam, ca. 1640; Oil on canvas Purchased by Doris Duke at auction in New York in 1971. The Finding of Moses Artist unknown; Genoese School, 17th century; Oil on canvas Purchased by James B. Duke, year unknown. Gentleman in a Red Coat Sir Henry Raeburn (Scottish, 1756-1823); Scotland, c.1800; Oil on canvas Purchased by James B. Duke for his New York home. Portrait of Lord Peter Burrell, Lord Gwydyr Thomas Gainsborough (English, 1727-1788); England, 1787; Oil on canvas Purchased by James B. Duke from Duveen Brothers in 1923 for the Duke New York home. Doris Duke moved the painting to Rough Point after 1970. Great Hall Paintings from the Duke Collection Triptych, Legends of the Saints Artist unknown; Germany, 16th century; Oil on board From left to right: Saints Peter and Paul surrounded by a crowd of Roman soldiers; Saint Julian the Hospitaler with a Carthusian Monk; Peter and Simon Magus before the Emperor Nero in Rome, looking up at a sorcerer and two devils.
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A Catalogue of British Old Master Paintings in the Collection of the Louisiana State University Museum Of
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2009 A catalogue of British old master paintings in the collection of the Louisiana State University Museum of Art Quincy Lee Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Lee, Quincy, "A catalogue of British old master paintings in the collection of the Louisiana State University Museum of Art" (2009). LSU Master's Theses. 3470. https://digitalcommons.lsu.edu/gradschool_theses/3470 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. A CATALOGUE OF BRITISH OLD MASTER PAINTINGS IN THE COLLECTION OF THE LOUISIANA STATE UNIVERSITY MUSEUM OF ART A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Quincy Lee B.A., Southeastern Louisiana University, 2006 May 2009 Dedicated to Shane and Siobhan ii ACKNOWLEDGMENTS I would like to acknowledge my committee members, Darius Spieth, Mark Zucker, and Justin Walsh, for their willingness to help me with this thesis and their constructive criticisms. I would especially like to thank H. P. Bacot for the idea for the paper, much of the information within, and guidance throughout and Frances Huber, Assistant Director for Collections Management at the Louisiana State University Museum of Art for all of the help she gave me in allowing access to the paintings and the accession folders.
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Press Release
PRESS RELEASE 22 November 2018 Old Master paintings and spectacular silver furniture go on display in the first ever exhibition in Scotland dedicated to Charles II’s art collection Highlights of the magnificent art collection assembled by Charles II following the restoration of the monarchy in 1660 will go on display in a new exhibition opening at The Queen’s Gallery, Palace of Holyroodhouse tomorrow (Friday, 23 November). Exploring the rich world of Charles II’s court and the role of the arts in the re-establishment of the Stuart monarchy, Charles II: Art & Power includes more than 100 works of art from the Royal Collection, the majority of which are on display in Scotland for the first time. On 29 May 1660, his 30th birthday, Charles II made his triumphant return to London, ending more than a decade of Republican rule following the execution of his father Charles I in 1649. Over the 25 years that followed, the court of Charles II became the centre for the patronage of leading artists and the collecting of great works of art, which served to decorate the royal apartments, glorify the restored monarchy and reinforce the position of Charles II as the rightful King. One of the first acts of Charles’s reign was the recovery of his father’s art collection, much of which had been sold off by the Commonwealth government. In May 1660 Parliament commanded that all persons holding goods formerly belonging to Charles I were to return them with immediate effect. Among the works recovered were Orazio Gentileschi’s A Sybil, c.1635–38, and Domenico Fetti’s David with the Head of Goliath, c.1620.
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Anne Slideshow Family 2018 in Printable Form
05/08/2019 Charles II studio of John Michael Catherine of Braganza Dirk Stoop NPG Wright NPG James II unknown artist c 1690 NPG James II Sir Godfrey Kneller NPG James when Duke of York as Mars 1672-3 James II 1685 artist unknown by Henri Gascar, Queen’s House Greenwich 1 05/08/2019 James when Duke of York c. 1665 by James dressed as Roman general c. 1686 by Sir Peter Lely, Royal Collection Grinling Gibbons now in Trafalgar Square Edward Hyde Earl of Clarendon by William Dobson James and Anne as Duke and Duchess of York c. 1665 by Sir Peter Lely, National Portrait Gallery Edward Hyde Lord Chancellor by Sir Peter Lely Anne Hyde, Duchess of York 1662 by Sir Peter Lely, Hampton Court Palace 2 05/08/2019 Anne Hyde, Duchess of York c. Anne Hyde, Duchess of York c. 1661 by 1670 by Sir Peter Lely, National Sir Peter Lely, Scottish National Gallery Portrait Gallery at Lyme Park Anne aged 4 with a great tit by Lely The Duke and Duchess of York 1668-70 by Sir Peter Lely with their two daughters Mary and Anne added by Benedetto Gennari II c. 1680, Royal Collection Anne aged four unknown artist at French Court with Duchess of James, Duke of Cambridge by John Orleans Michael Wright 1666-7 3 05/08/2019 James Duke of Cambridge second son of James, Duke of Cambridge by James II c 1667 by John Michael Wright William Wissing c. 1667 Isabella Stuart by Sir Peter Lely c. 1678 Mary of Modena by William Wissing 1687 SNPG Mary of Modena by William Mary of Modena by Sir Peter Lely Wissing c.
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