DOCSLIB.ORG

Old Master Paintings

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Old Master Paintings OLD MASTER PAINTINGS Wednesday 5 July 2017 For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. BONHAMS OLD MASTERS DEPARTMENT Andrew McKenzie Caroline Oliphant Lisa Greaves Director, Head of Department, Group Head of Pictures Department Director London London and Head of Sale London – – – Poppy Harvey-Jones Archie Parker Brian Koetser Junior Specialist Consultant Consultant London London London – – – Bun Boisseau Mark Fisher Madalina Lazen Administrator, Director, European Paintings, Senior Specialist, European Paintings London Los Angeles New York Bonhams 1793 Limited Bonhams International Board Bonhams UK Ltd Directors – – – Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Gordon McFarlan, Andrew McKenzie, Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Harvey Cammell Deputy Chairman, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Antony Bennett, Matthew Bradbury, Charlie O’Brien, Giles Peppiatt, India Phillips, Matthew Girling CEO, Lucinda Bredin, Simon Cottle, Andrew Currie, Peter Rees, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Patrick Meade Group Vice Chairman, Jean Ghika, Charles Graham-Campbell, Veronique Scorer, Robert Smith, James Stratton, +44 (0) 20 7393 3905 fax Jon Baddeley, Rupert Banner, Geoffrey Davies, Matthew Haley, Richard Harvey, Robin Hereford, Ralph Taylor, Charlie Thomas, David Williams, Jonathan Fairhurst, Asaph Hyman, James Knight, David Johnson, Charles Lanning, Miranda Leslie, Michael Wynell-Mayow, Suzannah Yip. Caroline Oliphant, Shahin Virani, Edward Wilkinson, Leslie Wright. OLD MASTER PAINTINGS Wednesday 5 July 2017, at 2pm 101 New Bond Street, London VIEWING BIDS ENQUIRIES CUSTOMER SERVICES Saturday 1 July, 12pm – 5pm +44 (0) 20 7447 7447 Specialists Monday to Friday Sunday 2 July, 11am – 5pm +44 (0) 20 7447 7401 fax Andrew McKenzie 08.30 to 18.00 Monday 3 July, 9am - 4.30pm To bid via the internet please visit +44 (0) 20 7468 8261 +44 (0) 20 7447 7447 Tuesday 4 July, 9am – 4.30pm www.bonhams.com [email protected] Wednesday 5 July, 9am-12pm Please see back of catalogue Bidding by telephone will only Caroline Oliphant for important notice to bidders SALE NUMBER be accepted on lots with a lower +44 (0) 20 7468 8271 estimate in excess of £1,000. [email protected] ILLUSTRATIONS 24055 Front cover: Lot 89 Please note that bids should be Lisa Greaves CATALOGUE Back cover: Lot 48 (detail) submitted no later than 4pm on +44 (0) 20 7468 8325 Inside front cover: Lot 87 (detail) £25.00 the day prior to the sale. New [email protected] Inside back cover: Lot 45 (detail) bidders must also provide proof of identity when submitting bids. Poppy Harvey-Jones Failure to do this may result in +44 (0) 20 7468 8308 IMPORTANT INFORMATION your bid not being processed. [email protected] The United States Government has banned Bun Boisseau the import of ivory into the Live online bidding is USA. Lots containing ivory are available for this sale +44 (0) 20 7468 8307 [email protected] indicated by the symbol Ф Please email [email protected] printed beside the lot number with ‘live bidding’ in the subject Consultants in this catalogue. line 48 hours before the auction Brian Koetser to register for this service. Archie Parker Bonhams 1793 Limited Bonhams International Board Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Gordon McFarlan, Andrew McKenzie, Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Harvey Cammell Deputy Chairman, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Antony Bennett, Matthew Bradbury, Charlie O’Brien, Giles Peppiatt, India Phillips, Matthew Girling CEO, Lucinda Bredin, Simon Cottle, Andrew Currie, Peter Rees, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Patrick Meade Group Vice Chairman, Jean Ghika, Charles Graham-Campbell, Veronique Scorer, Robert Smith, James Stratton, +44 (0) 20 7393 3905 fax Jon Baddeley, Rupert Banner, Geoffrey Davies, Matthew Haley, Richard Harvey, Robin Hereford, Ralph Taylor, Charlie Thomas, David Williams, Jonathan Fairhurst, Asaph Hyman, James Knight, David Johnson, Charles Lanning, Miranda Leslie, Michael Wynell-Mayow, Suzannah Yip. Caroline Oliphant, Shahin Virani, Edward Wilkinson, Leslie Wright. SALE etral iddlese cto ospital ark oal INFORMATION cto Cadogan Tate oroatio oad W e d s P a te a o r r n R k A v e R e s A o 40 a y h a ark l C oal iester e R o tatio a 0 d 0 cto 0 North 4 eeter A Acton d Station a o R a i r o t c i V West Acton or ae Station BIDS COLLECTION STORAGE AND HANDLING VAT +44 (0) 20 7447 7447 Sold lots marked TP will be available CHARGES ON SOLD LOTS Will be applied at the current +44 (0) 20 7447 7401 fax for collection from Cadogan Tate RETURNED TO CADOGAN TATE rate on all above charges To bid via the internet please visit from 12pm Friday 7 July 2017 and www.bonhams.com then every working day between Storage The following symbol is 9am-4.30pm. Collections are by Storage will be free of charge used to denote that VAT PAYMENTS appointment only & a booking email for the first 14 calendar days is due on the hammer price Buyers or phone call are required in advance from & including the sale date and buyer’s premium +44 (0) 20 7447 7447 to ensure lots are ready at time of Wednesday 5 July 2017 +44 (0) 20 7447 7401 fax collection. † VAT 20% on hammer price Charges will apply from 9am and buyer’s premium Sellers Photographic id will be required at Wednesday 19 July 2017. Payment of sale proceeds time of collection & if a third party is * VAT on imported items at +44 (0) 20 7447 7447 collecting written authorisation from Pictures and small objects: a preferential rate of 5% on +44 (0) 20 7447 7401 fax the successful buyer is required in £2.85 per day + VAT hammer price and the advance. Furniture, large pictures prevailing rate on buyer’s premium VALUATIONS, and large objects: TAXATION & HERITAGE Photographic id of the third party will £5.70 per day+ VAT Y These lots are subject to +44 (0) 20 7468 8340 requested at the time of collection. (Note: Charges apply every day CITES regulations, please +44 (0) 20 7468 5860 fax To arrange a collection time including weekends and Public read the information in the [email protected] please send a booking email to: Holidays) back of the catalogue. [email protected] or CATALOGUE SUBSCRIPTIONS telephone call to +44 (0)800 988 Handling IMPORTANT NOTICE To obtain any Bonhams 6100 to ensure lots are ready at After the first 14 calendar days A surcharge of 2% is applicable catalogue or to take out time of collection. following the sale the following when using MasterCard & Visa an annual subscription: handling charges apply per Lot: credit cards and overseas debit Subscriptions Department All other sold lots will remain in Pictures and Large objects: cards. +44 (0) 1666 502200 the Collections room at Bonhams £21.00+ VAT +44 (0) 1666 505107 fax New Bond Street until 5.30pm Large pictures £42.00+ VAT Payment [email protected] Wednesday 19 July 2017. All charges due to Cadogan Lots not collected by this time will Loss and Damage Tate may be paid to them in SHIPPING be transferred to Cadogan Tate & Extended Liability cover for the value advance or at the time of collection For information and estimates will be available for collection from of the Hammer Price will be charged from their warehouse. Payment on domestic and international 12pm Thursday 20 July 2017. at 0.6% but will not exceed the total may be made by cash, cheque shipping as well as export Transfer & storage charges will apply. value of all other transfer and with banker’s card, credit, or debit licenses please contact Alban storage charges. card (Please note: Amex is not Shipping on +44 (0) 1582 493 099 accepted). [email protected] Information on charges BUYERS COLLECTION & due is available by email at STORAGE AFTER SALE [email protected] LOTS MARKED TP or telephone on All sold lots marked TP will be +44 (0) 800 988 6100 removed to Cadogan Tate, 241 Acton Lane, London, NW10 7NP Payment in Advance from 12pm Thursday 6 July (Telephone to ascertain amount due) 2017. by: cash, cheque with banker’s card, credit or debit card. Payment at time of collection by: cash, cheque with banker’s card, credit or debit card. 1 CIRCLE OF ROBERT PEAKE (CIRCA 1551-1626 LONDON) Portrait of Henry Prince of Wales, bust-length, in a hat with an ostrich feather and wearing the blue ribbon of the Order of the Garter oil on panel 58.6 x 44.8cm (23 1/16 x 17 5/8in). £7,000 - 10,000 €8,100 - 12,000 US$9,100 - 13,000 Our knowledge of Henry’s image today is largely derived from the of these and perhaps the most widely known: the Hunting Group of portraiture of Robert Peake the Elder and Isaac Oliver (circa 1565- circa 1604 which is now in the Metropolitan Museum of Art, New York. 1617) and their respective workshops. Peake, who was Henry’s The original portrait shows Prince Henry together with his friend John, personal painter, painted three primary full-length portraits between Lord Harington of Exon, standing above a slain stag with his sword circa 1604 and 1610, on which nearly all contemporary portraits were drawn. It is from this work that the present portrait is derived.
Load more

Recommended publications
  • New, Old, & Unexpected Ii Robert Simon Fine
    NEW, OLD, & UNEXPECTED II ROBERT SIMON FINE ART NEW, OLD, & UNEXPECTED II CATALOGUE BY Dominic Ferrante and Robert B. Simon ROBERT SIMON FINE ART Front cover: CONTENTS Gaspar Antoine de Bois-Clair, Double Portrait of King Frederik IV and Queen Louise of Mecklenburg-Güstrow of Denmark, oil on wood strips, laid on panel, 15 ½ x 12 ¾ inches (39.4 x 32.4 cm) Back cover: William Cave Thomas,The Argument, pencil and watercolor on paper, 23 ½ x 18 ½ inches (59.6 x 47 cm) INTRODUCTION 6 High-resolution digital photographs and WORKS 8 condition reports of the works included in this catalogue are available upon request. INSTALLATION 52 All prices are accurate as of October 2020 and are inclusive of the costs of packing, shipping, and ENTRIES 62 insurance to domestic destinations. ENDNOTES 120 © 2020 Robert Simon Fine Art, Inc. Photography by Glenn Castellano ROBERT SIMON FINE ART 22 EAST 80TH STREET · NEW YORK · NY · 10075 TEL: 212·288·9712 FAX: 212·202·4786 BY APPOINTMENT AT: SATIS HOUSE 53 TOWER HILL ROAD EAST · TUXEDO PARK · NY · 10987 TEL: 845·351·2339 FAX: 845·351·4332 ROBERT B. SIMON DOMINIC FERRANTE JR. [email protected] [email protected] INTRODUCTION The second edition ofNew, Old, & Unexpected expands each category. The newest of the “New” is a 2020 work by the New York artist Brendan H. Johnston—a trompe l’oeil triptych that wittily explores issues of material, craft, and illusion. The oldest of the “Old” is a predella by Miguel Alcañiz, the Valencian painter who was a key figure in the transmission of trecento Tuscan style into Spain.
    [Show full text]
  • Art from the Ancient Mediterranean and Europe Before 1850 Gallery 15
    Art from the Ancient Mediterranean and Europe before 1850 Gallery 15 QUESTIONS? Contact us at [email protected] ACKLAND ART MUSEUM The University of North Carolina at Chapel Hill 101 S. Columbia Street Chapel Hill, NC 27514 Phone: 919-966-5736 MUSEUM HOURS Wed - Sat 10 a.m. - 5 p.m. Sun 1 - 5 p.m. Closed Mondays & Tuesdays. Closed July 4th, Thanksgiving, Christmas Eve, Christmas Day, & New Year’s Day. 1 Domenichino Italian, 1581 – 1641 Landscape with Fishermen, Hunters, and Washerwomen, c. 1604 oil on canvas Ackland Fund, 66.18.1 About the Art • Italian art criticism of this period describes the concept of “variety,” in which paintings include multiple kinds of everything. Here we see people of all ages, nude and clothed, performing varied activities in numerous poses, all in a setting that includes different bodies of water, types of architecture, land forms, and animals. • Wealthy Roman patrons liked landscapes like this one, combining natural and human-made elements in an orderly structure. Rather than emphasizing the vast distance between foreground and horizon with a sweeping view, Domenichino placed boundaries between the foreground (the shoreline), middle ground (architecture), and distance. Viewers can then experience the scene’s depth in a more measured way. • For many years, scholars thought this was a copy of a painting by Domenichino, but recently it has been argued that it is an original. The argument is based on careful comparison of many of the picture’s stylistic characteristics, and on the presence of so many figures in complex poses. At this point in Domenichino’s career he wanted more commissions for narrative scenes and knew he needed to demonstrate his skill in depicting human action.
    [Show full text]
  • Shakespeare First Folio Sells for $8.4M – the Oldest Undergraduate by Alex Capon College for Women in the Western US, Founded in 1852
    To print, your print settings should be ‘fit to page size’ or ‘fit to printable area’ or similar. Problems? See our guide: https://atg.news/2zaGmwp ISSUE 2464 | antiquestradegazette.com | 24 October 2020 | UK £4.99 | USA $7.95 | Europe €5.50 koopman rare art antiques trade KOOPMAN (see Client Templates for issue versions) THE ART M ARKET WEEKLY [email protected] +44 (0)20 7242 7624 www.koopman.art Shakespeare first folio sells for $8.4m – the oldest undergraduate by Alex Capon college for women in the western US, founded in 1852. The First An ‘original and complete’ Folio had come to the US in 1961 copy of William Shakespeare’s when it was sold by London First Folio of plays set an dealership Bernard Quaritch to auction record in the the real estate investor Allan Exceptional sale at Christie’s Bluestein. New York. Estimated at $4m-6m, the Fifth copy for US dealer copy drew competition on Loewentheil, whose 19th October 14 from three phone Century Rare Book and bidders. After six minutes it was Photograph Shop in Brooklyn, knocked down to US book New York, bid £1.5m for another dealer Stephan Loewentheil at First Folio at Sotheby’s in 2010, $8.4m (£6.46m), a sum that surpassed the previous auction Continued on page 4 high of $6.16m/£3.73m (including premium) for a First Right: the copy of Folio sold in the same saleroom Shakespeare’s First Folio in October 2001. that sold for a record $8.4m It was consigned by Mills (£6.46m) at Christie’s New College in Oakland, California York on October 14.
    [Show full text]
  • Download 2014 Exhibition Catalog
    201BIENNIAL4 department of art faculty exhibition martin museum of art • baylor university January 21–March 7, 2014 Reception for the Faculty thursday, january 23 5:30-7:00 pm Forward & Acknowledgements The 2014 Baylor Art Faculty Exhibition begins a new tradition in the Department of Art. It is the first biennial exhibition and is accompanied by this beautiful, inaugural catalog. The Baylor art faculty are practicing professionals active in their respective fields of specialization. The research activity of the art historians involves worldwide travel and results in published scholarly articles and books. They will be participating in this display of talents by presenting twenty-minute lectures on topics of their choosing on Tuesday, February 25, beginning at 2:00 pm in lecture hall 149. The studio faculty exhibit internationally, nationally, regionally, and locally. They belong to professional societies and organizations. Their works regularly appear in peer-reviewed juried exhibitions, solo exhibitions at museums, galleries, and art centers, as well as in national and international publications. Collectively, this active professional activity adds vitality to the educational mission of the Department and the University. Known for their excellence in the undergraduate classroom and studio, their individual creative and scholarly pursuits are evoked and recorded in this exhibition, catalog, and lecture series. I wish to extend thanks to Virginia Green, Associate Professor of Art, for the design of this catalog, Dr. Karen Pope, Senior Lecturer in Art History, for the editing, Karin Gilliam, Director, Martin Museum of Art and her staff, Adair McGregor, Jennifer Spry, Margaret Hallinan, and Daniel Kleypas. Thanks also for the support from the Virginia Webb Estate Endowment, the Ted and Sue Getterman Endowed Fund, and to the Martin Museum Art Angels.
    [Show full text]
  • Evolution and Ambition in the Career of Jan Lievens (1607-1674)
    ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality.
    [Show full text]
  • Storia Pittorica Della Italia Dell'abate Luigi Lanzi
    STORIA PITTORICA DELLA ITALIA DELL’ABATE LUIGI LANZI ANTIQUARIO DELLA R. CORTE DI TOSCANA TOMO SECONDO PARTE SECONDA OVE SI DESCRIVONO ALTRE SCUOLE DELLA ITALIA SUPERIORE , LA BOLOGNESE , LA FERRARESE , E QUELLE DI GENOVA E DEL PIEMONTE BASSANO A SPESE REMONDINI IN VENEZIA 1795 - 1796 [1] DELLA STORIA PITTORICA DELLA ITALIA SUPERIORE LIBRO TERZO SCUOLA BOLOGNESE Abbiam osservato nel decorso di questa opera che la gloria del dipingere, non altrimenti che quella delle lettere e delle armi, è ita di luogo in luogo; e ovunque si è ferma ha perfezionata qualche parte della pittura meno intesa da' precedenti artefici o meno curata. Quando il secolo sestodecimo eclinava all'occaso non vi era oggimai in natura o genere di bellezza, o aspetto di essa, che non fosse stato da qualche professor grande vagheggiato e ritratto; talché il dipintore, voless'egli o non volesse, mentre era imitatore della natura, dovea esserlo a un tempo de' miglior maestri, e il trovar nuovi stili dovea essere un temperare in questo o in quell'altro modo gli antichi. Adunque la sola via della imitazione era aperta per distinguersi all'umano ingegno; non sembrando poter disegnar figure più maestrevolmente di un Bonarruoti o di un Vinci, o di aggraziarle meglio di Raffaello, o di colorirle più al vivo di Tiziano, o di muo[2]verle più spiritosamente che il Tintoretto, o di ornarle più riccamente che Paolo, o di presentarle all'occhio in qualunque distanza e prospetto con più arte, con più rotondità, con più incantatrice forza di quel che già facesse il Coreggio. Questa via della imitazione batteva allora ogni Scuola; ma veramente con poco metodo.
    [Show full text]
  • HNA April 11 Cover-Final.Indd
    historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 28, No. 1 April 2011 Jacob Cats (1741-1799), Summer Landscape, pen and brown ink and wash, 270-359 mm. Hamburger Kunsthalle. Photo: Christoph Irrgang Exhibited in “Bruegel, Rembrandt & Co. Niederländische Zeichnungen 1450-1850”, June 17 – September 11, 2011, on the occasion of the publication of Annemarie Stefes, Niederländische Zeichnungen 1450-1850, Kupferstichkabinett der Hamburger Kunsthalle (see under New Titles) HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President - Stephanie Dickey (2009–2013) Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny (2009–2013) Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Board Members Contents Dagmar Eichberger (2008–2012) HNA News ............................................................................1 Wayne Franits (2009–2013) Matt Kavaler (2008–2012) Personalia ............................................................................... 2 Henry Luttikhuizen (2009 and 2010–2014) Exhibitions
    [Show full text]
  • Rare Finds from Private Collections to Highlight Christie’S Old Master Paintings Sale in New York
    For Immediate Release 14 January 2009 Contact: Erin McAndrew [email protected] 212.636.2680 RARE FINDS FROM PRIVATE COLLECTIONS TO HIGHLIGHT CHRISTIE’S OLD MASTER PAINTINGS SALE IN NEW YORK Important Old Master Paintings and Sculpture January 28, 2009 New York – Christie’s is pleased to announce details of its upcoming Important Old Master Paintings and Sculpture sale on January 28, 2009. The sale of over 200 items brings together a remarkable selection of artwork from the leading masters of European art, including a number of rare, privately- sourced, and historically significant items not seen on the market for decades. Highlights of the sale include an altarpiece study by Barocci, landscapes by Turner and Constable, Italian Renaissance tondi from the studio of Botticelli and the anonymous Master of Memphis, portraits by Girodet and Van Dyck, still lifes by Chardin and van Veerendael, and an excellent selection of bronze and wooden sculpture. Old Masters Week at Christie’s New York begins Monday, January 26, with a 6 p.m. lecture on J.M.W. Turner entitled, "Continuing Revolution: A Life in Watercolor" by Andrew Wilton, Former Curator of the Turner Collection, Tate Britain. On Tuesday, January 27 the sales begin with Part I of The Scholar’s Eye: Property from the Julius Held Collection. Important Old Master Paintings and Sculpture on January 28 is followed by Old Master and 19th Century Drawings on Thursday, January 29, and Part II of The Scholar’s Eye on Friday, January 30. Barocci’s Head of Saint John the Evangelist A thrilling recent discovery from a private collection, Head of Saint John the Evangelist is a full-scale study in oil on paper by the 16th century Italian painter Federico Barocci.
    [Show full text]
  • Julius S. Held Papers, Ca
    http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt.
    [Show full text]
  • Full Texts Book
    2. PEARSON JOURNAL INTERNATIONAL CONFERENCE ON SOCIAL SCIENCES & HUMANITIES June 28-29, 2021 Izmir – TURKEY FULL TEXTS BOOK Editor Assoc. Prof. Dr. Filiz KALYON ISBN - 978-1-955094-08-5 2. PEARSON JOURNAL INTERNATIONAL CONFERENCE ON SOCIAL SCIENCES & HUMANITIES June 28-29, 2021 Izmir – TURKEY FULL TEXTS BOOK Published by Liberty Publications -2021© LIBERTY ACADEMIC is a part of LIBERTY PUBLISHER OF BOOKS Head officeNew York, USA +1 (314) 597-037280 Maiden Lane, 21st Floor /8Water Street Corridor New York, NY 10038 www.libertyacademicbooks.com [email protected] Release date: 21.07.2021 ISBN – 978-1-955094-08-5 2. Pearson Journal International Conference on Social Sciences & Humanities | Izmir, TURKEY CONGRESS'S IDENTIFICATION CONGRESS NAME 2. Pearson Journal International Conference on Social Sciences & Humanities DATE AND PLACE June 28-29, 2021 Izmir, TURKEY ORGANIZING COMMITTEE Dr. Terane NAGIYEVA Dr. Mehmet Emin KALGI Dr. Alice HERMANIS Dr. Hasan ÇİFTÇİ Dr. Damezhan SADYKOVA Dr. Yunus Emre TANSÜ COORDINATOR Zhanuzak ALIMGEREY NUMBER OF ACCEPTED PAPERS 31 NUMBER OF REJECTED PAPERS 11 EVALUATION PROCESS All applications have undergone a double-blind peer review process CONGRESS LANGUAGES Turkish and all dialects, English, Russian PRESENTATION Oral presentation Full Texts Book June 28-29, 2021 2. Pearson Journal International Conference on Social Sciences & Humanities | Izmir, TURKEY PHOTO GALLERY Full Texts Book June 28-29, 2021 2. Pearson Journal International Conference on Social Sciences & Humanities | Izmir, TURKEY Full Texts Book June 28-29, 2021 2. Pearson Journal International Conference on Social Sciences & Humanities | Izmir, TURKEY Full Texts Book June 28-29, 2021 2. Pearson Journal International Conference on Social Sciences & Humanities | Izmir, TURKEY SCIENTIFIC COMMITTEE Prof.
    [Show full text]
  • 2017 Annual Report 2017 NATIONAL GALLERY of IRELAND
    National Gallery of Ireland Gallery of National Annual Report 2017 Annual Report 2017 Annual Report nationalgallery.ie Annual Report 2017 Annual Report 2017 NATIONAL GALLERY OF IRELAND 02 ANNUAL REPORT 2017 Our mission is to care for, interpret, develop and showcase art in a way that makes the National Gallery of Ireland an exciting place to encounter art. We aim to provide an outstanding experience that inspires an interest in and an appreciation of art for all. We are dedicated to bringing people and their art together. 03 NATIONAL GALLERY OF IRELAND 04 ANNUAL REPORT 2017 Contents Introducion 06 Chair’s Foreword 06 Director’s Review 10 Year at a Glance 2017 14 Development & Fundraising 20 Friends of the National Gallery of Ireland 26 The Reopening 15 June 2017 34 Collections & Research 51 Acquisition Highlights 52 Exhibitions & Publications 66 Conservation & Photography 84 Library & Archives 90 Public Engagement 97 Education 100 Visitor Experience 108 Digital Engagement 112 Press & Communications 118 Corporate Services 123 IT Department 126 HR Department 128 Retail 130 Events 132 Images & Licensing Department 134 Operations Department 138 Board of Governors & Guardians 140 Financial Statements 143 Appendices 185 Appendix 01 \ Acquisitions 2017 186 Appendix 02 \ Loans 2017 196 Appendix 03 \ Conservation 2017 199 05 NATIONAL GALLERY OF IRELAND Chair’s Foreword The Gallery took a major step forward with the reopening, on 15 June 2017, of the refurbished historic wings. The permanent collection was presented in a new chronological display, following extensive conservation work and logistical efforts to prepare all aspects of the Gallery and its collections for the reopening.
    [Show full text]
  • The Entombment, Peter Paul Rubens
    J. Paul Getty Museum Education Department Who's Afraid of Contemporary Art? Information and Questions for Teaching The Entombment, Peter Paul Rubens The Entombment Peter Paul Rubens Flemish, about 1612 Oil on canvas 51 5/8 x 51 1/4 in. 93.PA.9 Questions for Teaching Look at each character in this painting. Pay particular attention to the pose of the bodies, the facial expressions, and hand gestures. How does the body language of each figure communicate emotion and contribute to the narrative of the story? What do the background details tell you about the story? (In this case, the background details help to locate the story: the rock walls behind the figures, and the stone slab that supports Christ’s corpse show the event is taking place inside Christ’s tomb. Rubens crops the image closely, forcing the viewer to really focus on the emotion of the characters and the violence done to the body of Christ.) What characteristics of this 17th-century painting are similar to contemporary artist Bill Viola’s video installation Emergence (see images of the work in this curriculum’s Image Bank)? What characteristics of the two artworks are different? Peter Paul Rubens made this painting for an altarpiece inside a Catholic chapel. It was intended to serve as a meditational device—to focus the viewer’s attention on the suffering of Christ and inspire devotion. Pretend that you are not familiar with the religious story depicted in the painting. What kinds of emotional responses do you have to this work of art? What visual elements of the painting make you feel this way? Which artwork do you think conveys emotions better, Bill Viola’s Emergence or Peter Paul Rubens’s The Entombment? How does the medium of the artwork—painting or video—affect your opinion? Background Information In this painting, Peter Paul Rubens depicted the moment after his Crucifixion, when Christ is placed into the tomb before his Resurrection.
    [Show full text]