DOCSLIB.ORG

Contextualising the Art Collections of Longford Castle During the Long Eighteenth Century

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Contextualising the Art Collections of Longford Castle During the Long Eighteenth Century ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Acquisition, patronage and display : contextualising the art collections of Longford Castle during the long eighteenth century https://eprints.bbk.ac.uk/id/eprint/40230/ Version: Public Version Citation: Smith, Amelia Lucy Rose (2017) Acquisition, patronage and display : contextualising the art collections of Longford Castle during the long eighteenth century. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email 1 Acquisition, Patronage and Display: Contextualising the Art Collections of Longford Castle during the Long Eighteenth Century Volume 2: Illustrations Amelia Lucy Rose Smith Thesis submitted for the degree of PhD History of Art Birkbeck, University of London 2 List of Illustrations Fig. 1 Michael Dahl, Sir Jacob Bouverie, 1st Viscount Folkestone (1689- 1761), 1724-5, 124.46 x 99.06 cm, oil on canvas, Longford Castle Fig. 2 Attributed to Thomas Hudson, William Bouverie, 1st Earl of Radnor (1725-1776), c.1765, 76.2 x 63.5 cm, oil on canvas, Longford Castle Fig. 3 John Hoppner, Jacob Pleydell-Bouverie, 2nd Earl of Radnor (1750- 1828), c.1790-1800s, 149.86 x 119.38 cm, oil on canvas, Salisbury Guildhall Fig. 4 Follower of Cornelis Johnson, Laurens des Bouverie (1536(?)- 1610), probably seventeenth century, 22.86 x 18.46 cm, oil on canvas, Longford Castle Fig. 5 Michael Dahl, Sir Edward des Bouverie (1688-1736), 1724, 124.46 x 99.06 cm, oil on canvas, Longford Castle Fig. 6 Circle of Thomas Gibson, Sir Mark Stuart Pleydell (1693-1768), eighteenth century, 73.66 x 60.96 cm, oil on canvas, Longford Castle Fig. 7 Bouverie family arms: a double-headed eagle, from reproduction in N. Penny, with the assistance of S. Avery- Quash, A Guide to Longford Castle, 2012, back cover Fig. 8 Unknown artist, Jacob, 2nd Earl of Radnor (1750-1828) holding a medallion of King Alfred, 1767, 13.02 x 11.11 cm, pencil, location unknown Fig. 9 John Thorpe, ‘Partial Exterior Elevation’, Primary Series, c.1600, dimensions unknown, ink over pencil, Sir John Soane’s Museum Library, SM_vol101/156, from reproduction in J. Summerson, ‘The Book of Architecture of John Thorpe in Sir John Soane’s Museum, with biographical and analytical studies’ in The Walpole Society, Vol. XL, Glasgow: Walpole Society, 1966, Plate 72A, T156 Fig. 10 John Thorpe, ‘Partial Elevation of the Exterior of the Hall 3 Block’, Primary Series, c.1600, 26.67 x 29.85 cm, ink over scorer with additions and shading in pencil, Sir John Soane’s Museum Library, SM_vol101/158, from reproduction in J. Summerson, ‘The Book of Architecture of John Thorpe in Sir John Soane’s Museum, with biographical and analytical studies’ in The Walpole Society, Vol. XL, Glasgow: Walpole Society, 1966, Plate 73A T158 Fig. 11 John Thorpe, ‘Plan’, Primary Series, c.1600, dimensions unknown, scale 2 inches = 25 feet, ink over pencil with pale yellow wash for timber, Sir John Soane’s Museum Library, SM_vol101/155, from reproduction in J. Summerson, ‘The Book of Architecture of John Thorpe in Sir John Soane’s Museum, with biographical and analytical studies’ in The Walpole Society, Vol. XL, Glasgow: Walpole Society, 1966, Plate 72B T155 Fig. 12 Detail from Tobias Miller after T. Milton, ‘Plans of two Floors of Longford Castle, the Seat of the Earl of Radnor’, 1766, whole plate 25 x 37 cm, engraving, in Woolfe and Gandon Architects, Vitruvius Britannicus, or the British Architect; containing Plans, Elevations and Sections; of the Regular Buildings both Public and Private in Great Britain, comprised in one hundred folio plates, engrav’d by the best hands; taken from the buildings, or original designs, 5 Vols., 1771, Vol. V, Plate 94 Fig. 13 Detail from Tobias Miller after T. Milton, ‘Plans of two Floors of Longford Castle, the Seat of the Earl of Radnor’, 1766, whole plate 25 x 37 cm, engraving, in Woolfe and Gandon Architects, Vitruvius Britannicus, or the British Architect; containing Plans, Elevations and Sections; of the Regular Buildings both Public and Private in Great Britain, comprised in one hundred folio plates, engrav’d by the best hands; taken from the buildings, or original designs, 5 Vols., 1771, Vol. V, Plate 94 Fig. 14 George Vertue, Coleshill in the County of Berks The Seat of Sr Mark Stuart Pleydell Bart Built by Inigo Jones, in the Year 1650. The N. E. Front, 1735, 32 x 45 cm, engraving, Wiltshire and Swindon 4 History Centre (hereafter WSHC) 1946/3/3/1PC Fig. 15 James Wyatt, Architectural Model of Longford Castle, 1797, 114.3 cm, medium unknown, Longford Castle Fig. 16 Daniel Alexander, Plan of the Principal Floor of Longford Castle, 1801, 60.5 x 47 cm, pen and ink on paper, WSHC 1946/3/2E/8 Fig. 17 Unknown artist, Elevation of the complete round of one of the Circular Towers supposing it open’d out into a flat surface, early nineteenth century, 104.5 x 71.5 cm, pen, ink and coloured wash on paper, WSHC 1946/3/2E/14 Fig. 18 Daniel Alexander, Plan of the First Floor of Longford Castle, 1802, 58.5 x 45 cm, pen and ink on paper, WSHC 1946/3/2E/11 Fig. 19 Detail from Daniel Alexander, Plan of the First Floor of Longford Castle, 1802, whole image 58.5 x 45cm, pen and ink on paper, WSHC 1946/3/2E/11 Fig. 20 Detail from Daniel Alexander, Plan of the First Floor of Longford Castle, 1802, whole image 58.5 x 45cm, pen and ink on paper, WSHC 1946/3/2E/11 Fig. 21 Robert Thacker, The Southside of Longford House with the Flower Garden & Fountaine, modern copy from late seventeenth- century engraving, 31 x 20 cm, engraving, WSHC 1946/3/2C/4PC Fig. 22 Robert Thacker, A View about Longford Stewpond nearer the close- Arbour Walk, by the River-side, modern copy from late seventeenth-century engraving, 32 x 20.5 cm, engraving, WSHC 1946/3/2C/4PC Fig. 23 Robert Thacker, A View of Longford House att an Angle, modern copy from late seventeenth-century engraving, 32 x 19 cm, engraving, WSHC 1946/3/2C/4PC Fig. 24 Unknown artist (possibly William, 1st Earl of Radnor), Longford Castle & its grounds as it was between the years 1760 & 1770, 1760- 1770, 22.3 x 20 cm, ink, WSHC 1946/3/2G/2 Fig. 25 Curvature of the walls in the Round Parlour, late sixteenth century with interior decoration c.1730-1740, Longford Castle 5 Fig. 26 Unknown artist, chimneypiece in the Round Parlour, sixteenth century, Longford Castle Fig. 27 Detail of the gilded and painted panelling in the Round Parlour, panelling c.1591 with gilding c.1737-8, Longford Castle Fig. 28 Attributed to Benjamin Goodison, Pier Table, c.1730, 208.28 x 86.36 x 92.71 cm, white enamelled pine surmounted by a slab of verde antico marble, Longford Castle Fig. 29 Detail from work attributed to Benjamin Goodison, Pier Table, c.1730, 208.28 x 86.36 x 92.71 cm, white enamelled pine surmounted by a slab of verde antico marble, Longford Castle Fig. 30 Unknown artist (possibly Henry Cheere or John Michael Rysbrack), chimneypiece in the Long Parlour, eighteenth century, Longford Castle Fig. 31 Attributed to Benjamin Goodison, Pedestal, eighteenth century with bases and decoration c.1830, 27.94 x 165.1 cm, Japanned and grained, Longford Castle Fig. 32 Unknown artist, Mirror, c.1740-1750, 172.72 x 127 cm, giltwood, Longford Castle Fig. 33 View of the Picture Gallery, late sixteenth century with eighteenth-century interior decoration, Longford Castle Fig. 34 Attributed to Benjamin Goodison, Day Bed, early eighteenth century with silk damask reupholstered c.1980, 274.32 x 91.44 cm, parcel-gilt mahogany with silk damask upholstery, Longford Castle Fig. 35 Attributed to Benjamin Goodison, Long Stool, early eighteenth century with silk damask reupholstered c.1980, 160.02 x 83.82 cm, parcel-gilt mahogany with silk damask upholstery, Longford Castle Fig. 36 Arrangement of paintings in the Picture Gallery, Longford Castle Fig. 37 Arrangement of paintings in the Gallery, Harewood House Fig. 38 Picture Gallery, Temple Newsam House Fig. 39 Attributed to William Vile, Japanese Rectangular Lacquer Toilet- 6 Box upon Giltwood Stand, eighteenth century, 38.1 x 91.44 x 25.4 cm, lacquer, Longford Castle Fig. 40 Unknown artist, Chinese Export Black Lacquer Games/Writing Cabinet, late eighteenth century, 85.09 x 175.26 cm, lacquer, Longford Castle Fig. 41 Thomas Rucker, Renaissance Chair of the Holy Roman Emperor Rudolph II, c.1574, 143.51 x 69.85 cm, iron, Longford Castle Fig. 42 Green velvet wall hangings in Green Velvet Drawing Room, eighteenth century, Longford Castle Fig. 43 Attributed to Giles Grendey, Chair, eighteenth century, dimensions unknown, parcel-gilt mahogany with velvet upholstery, Longford Castle Fig. 44 In the style of Thomas Chippendale Junior, Wall Appliqués, eighteenth century, 165.1 x 35.56 cm, giltwood, Longford Castle Fig. 45 Unknown artist, Sketch of Wall Appliqués in the ‘Circular Drawing Room’, late eighteenth century, 33.8 x 20.7 cm, pencil and ink on paper, WSHC 1946/3/2E/1 Fig. 46 Peter Van den Hecke after David Teniers the Younger, Preparing the Inn Dinner, early eighteenth century, 243.84 x 337.82 cm, Brussels tapestry in wool and silk, Longford Castle Fig. 47 Unknown artist, Rectangular Cedarwood Bijouterie Cabinet, eighteenth century with sixteenth-century metalwork on a seventeenth-century giltwood stand, cabinet 45.72 x 38.1 cm, stand 58.42 x 87.63 cm, cedarwood, metalwork and giltwood, Longford Castle Fig.
Load more

Recommended publications
  • The Avarice and Ambition of William Benson’, the Georgian Group Journal, Vol
    Anna Eavis, ‘The avarice and ambition of William Benson’, The Georgian Group Journal, Vol. XII, 2002, pp. 8–37 TEXT © THE AUTHORS 2002 THE AVARICE AND AMBITION OF WILLIAM BENSON ANNA EAVIS n his own lifetime William Benson’s moment of probably motivated by his desire to build a neo- Ifame came in January , as the subject of an Palladian parliament house. anonymous pamphlet: That Benson had any direct impact on the spread of neo-Palladian ideas other than his patronage of I do therefore with much contrition bewail my making Campbell through the Board of Works is, however, of contracts with deceitfulness of heart … my pride, unlikely. Howard Colvin’s comprehensive and my arrogance, my avarice and my ambition have been my downfall .. excoriating account of Benson’s surveyorship shows only too clearly that his pre-occupations were To us, however, he is also famous for building a financial and self-motivated, rather than aesthetic. precociously neo-Palladian house in , as well He did not publish on architecture, neo-Palladian or as infamous for his corrupt, incompetent and otherwise and, with the exception of Wilbury, consequently brief tenure as Surveyor-General of the appears to have left no significant buildings, either in King’s Works, which ended in his dismissal for a private or official capacity. This absence of a context deception of King and Government. Wilbury, whose for Wilbury makes the house even more startling; it elevation was claimed to be both Jonesian and appears to spring from nowhere and, as far as designed by Benson, and whose plan was based on Benson’s architectural output is concerned, to lead that of the Villa Poiana, is notable for apparently nowhere.
    [Show full text]
  • Furniture for Grown and Court by DR GEOFFREY BEARD Chairman of the Furniture History Society
    Furniture for Grown and Court by DR GEOFFREY BEARD Chairman of the Furniture History Society In spite of the sharp division ready survival of furniture can be between the late Tudor and appreciated. Jacobean periods - Queen Elizabeth died in 1603 - it was The important items of furniture at inevitable that the early years of Knole were acquired by the 6th James Ps reign should have been Earl of Dorset, Lord Chamberlain overcast by an aura of aggressive of the Household to William III, heroics, all done in the name of the but the presence of some earlier Queen. Within the domestic pieces allows us to note here a sphere, however, there was a significant category of furniture, growing awareness of the kind of ‘Canopies, Couches and Chairs of settings furniture needed. The State*. Vitruvian ideals of harmony, symmetry, decor and suitability of From whatever source it came the rooms for ‘office, entertainment or upholstered furniture at Knole pleasure* were to be lauded years provides adequate testimony both later in Sir Henry Wotton’s to the use of rich fabrics, and as an Elements of Architecture (1624), but announcement of rank. There are patrons were already eager at the five ‘chairs of state’ intended to be turn of the 17th Century to set under a canopy for important understand foreign ideas. The persons - the Mytens portrait of fortunes of the nation were James I at Knole shows him in nevertheless still linked to ministers such a chair - made between 1 Armchair, circa 1610-20 upholstered in of the late reign, particularly Sir about 1610 and 1625.
    [Show full text]
  • Painted Hall
    PAINTED HALL Please leave for others to enjoy Used to welcome and impress guests, this was the largest and grandest room built by the 1st Duke. Ask the guide to tell you more about the painted stories. Use the mirrors to help you see. First impressions count. When guests are welcomed to Chatsworth, this is one of the first rooms they see. HOUSE PLAN - Ground Floor William, 1st Duke of Devonshire built the Painted Hall between 1689 and 1694, the only original feature is the painted decoration on the walls and ceiling. Whilst still Earl of Devonshire he chose to flatter the monarch by decorating the hall with scenes from the life of Julius Caesar, he was elevated to Duke in the year the room was completed. A house has been standing here since the 1550s. It was built for Bess of Hardwick and Sir William Cavendish. Together they established the Cavendish family line from which the earls and dukes of Devonshire are descended. Bess persuaded Cavendish to buy the Chatsworth Estate in 1549. Something to Share... The inscription above the fire was placed by the 6th Duke on completion of his renovation of this room in 1840. There is a translation underneath. Family Timeline 4th Earl & 1st Duke Bess of Hardwick 2nd Earl of Devonshire 3rd Duke 5th Duke 7th Duke 9th Duke 11th Duke 12th Duke 1520–1608 1590–1628 1641–1707 1698–1755 1748–1811 1808–1891 1868–1938 1920–2004 Peregrine [Stoker] 1st Earl of Devonshire 3rd Earl 2nd Duke 4th Duke 6th Duke 8th Duke 10th Duke Devonshire 1552–1626 1617–1684 1673–1729 1720–1764 1790–1858 1833–1908 1895–1950 b.1944 PAINTED HALL continued..
    [Show full text]
  • Furniture-Making in London C. 1700-1870: Craft, Design, Business and Labour
    Furniture-making in London c. 1700-1870: craft, design, business and labour. Kirkham, Patricia Anne The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author For additional information about this publication click this link. http://qmro.qmul.ac.uk/jspui/handle/123456789/1472 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] I FURNITURE-IIAKING IN LONDON c. 1700-1870: CRAFT, DESIGN, BUSINESS AND LABOUR submitted for the degree of Ph. 0. Patricia Anne Kirkham jJestfield College ,------' / R 2 ABSTRACT This thesis is a study of furniture-making in London in the years between about 1700 and 1870. The aims of the thesis are outlined in the introduction, which also explains why the years 1700-1870 were chosen. The special character of furniture-making in London, particularly its geographical location and the division between the and 'dishonourable' sectors of the trade, is discussed in the introduction. In Section A, the first two chapters cover the various crafts involved in furniture-making, the demarcations between them and the division of labour within them while Chapter 3 examines the craft training and the decline of the apprenticeship system. Section 0 deals with business organisation. Chapter 4 considers the ways in which the various crafts were brought together in firms and Chapter 5 examines the numbers employed and stock held therein.
    [Show full text]
  • Footprints of the Lion
    footprints of the lion Newton died, covered with honours, in 1727 and was buried grandly in Westminster Abbey. He had become President of the Royal Society in 1703 and was knighted in 1705. As Master of the Mint from 1699, he was a wealthy and successful servant of the state. Yet, as Newton’s heirs inves- tigated the books and manuscripts that remained after his death, it became increasingly apparent that the outward face of genius was quite different from the private life of an alchemist and heretic who had, for much of his life, deliberately avoided publicity of any kind. Newton’s books were sold and few of his papers were deemed worthy of publica- tion. His heirs and their descendants guarded the rest of them closely. The transfer of the Portsmouth papers to Cambridge University in 1872 opened up the possibility of studying Newton’s scientific development, as it was then conceived. In 1936, the ‘personal’ papers that had been returned to the family were sold at auction in order to meet death duties and other family expenses. The economist, John Maynard Keynes, bought many of them and subsequently formed the view that Newton was ‘the last of the magicians’. The study of the traces that Newton had left in the pages of his manuscripts began in earnest after 1945. It contin- ues today around the world. With the University Library’s acquisition of the Macclesfield Collection, letters and papers that were preserved by friends and disciples of Newton have been reunited for the first time since their creation with others that were kept by his family.
    [Show full text]
  • Katharine Esdaile Papers: Finding Aid
    http://oac.cdlib.org/findaid/ark:/13030/c8x63sn4 No online items Katharine Esdaile Papers: Finding Aid Finding aid prepared by John Houlton, Marilyn Olsen, Catherine Wehrey, and Diann Benti. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © November 2016 The Huntington Library. All rights reserved. Katharine Esdaile Papers: Finding mssEsdaile 1 Aid Overview of the Collection Title: Katharine Esdaile Papers Dates (inclusive): 1845-1961 Bulk dates: 1900-1950 Collection Number: mssEsdaile Collector: Esdaile, Katharine Ada, 1881-1950 Extent: 101 boxes Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2203 Email: [email protected] URL: http://www.huntington.org Abstract: This collection contains the papers of English art historian Katharine Ada Esdaile (1881-1950). Much of the collection relates to her research of British monumental sculpture. Notably the collection includes more than 600 chiefly pre-World War II visitor booklets and pamphlets produced locally by British churches and approximately 3500 photographs taken or collected by Esdaile of sculpture, often funerary monuments in English churches. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities. The responsibility for identifying the copyright holder, if there is one, and obtaining necessary permissions rests with the researcher.
    [Show full text]
  • Sculpture Trail
    SCULPTURE TRAIL There is hardly a church in Northamptonshire that does not have good memorials. From medieval times onwards the county was dominated by landed estates whose owners commissioned tombs of often outstanding quality. These have been the subject of sculpture tours led by James Miller over the last decade and copies of his extensive notes are available by emailing [email protected] Below you will find fourteen churches, divided between north and south, which contain the very best memorials and sculpture from medieval times to the twentieth century. NORTHERN PART OF THE COUNTY APETHORPE DEENE EAST CARLTON The vast monument to Sir Anthony Mildmay St Peters, Deene was rebuilt by Thomas The south transept is in effect the memorial (d.1617) dominates the south chapel. It is Henry Wyatt, 1668 - 9 in part as a memorial chapel to the Palmer family. There are over attributed to the royal sculptor Maximilian to the 7th Earl of Cardigan of Charge of the 18 memorials here on the walls and more Colt. He was responsible for the extravagant Light Brigade fame by his wife. In doing so beneath your feet. They date from the 17th tomb of Elizabeth l in Westminster Abbey. the south chapel became a mausoleum to to the 20th century. From a distance the Mildmay tomb looks both him and his Brudenell ancestors. The like a great four poster bed with draperies centre piece is the Cardigan tomb which was The principle tomb is to Sir Geoffrey and falling from a central dome with lantern conceived and made by Sir Joseph Boehm.
    [Show full text]
  • LADIES-IN-WAITING: Art, Sex and Politics at the Early Georgian Court
    LADIES-IN-WAITING: Art, Sex and Politics at the early Georgian Court By Eric Jonathan Weichel A thesis submitted to the Department of Art in conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (April 2013) Copyright © Eric Jonathan Weichel, 2013. i Abstract This thesis discusses the cultural contributions – artistic patronage, art theory, art satire - of four Ladies-in-Waiting employed at the early eighteenth-century century British court: Mary, Countess Cowper; Charlotte Clayton, Baroness Sundon; Henrietta Howard, Countess of Suffolk; and Mary Hervey, Baroness Hervey of Ickworth. Through a close reading of archival manuscripts, published correspondences and art historical treatises, I explore the cultural milieu, historical legacy and historiographic reception of these individuals. I argue that their writing reveals fresh insight on the switch from Baroque to Rococo modes of portraiture in Britain, as it does critical attitudes to sex, religion and politics among aristocratic women. Through the use of satire, these courtiers comment on extramarital affairs, rape, homosexuality and divorce among their peer group. They also show an interest in issues of feminist education, literature, political and religious patronage, and contemporary news events, which they reference through allusions to painting, architecture, sculpture, engravings, ceramics, textiles and book illustrations. Many of the artists patronized by the court in this period were foreign-born, peripatetic, and stylistically unusual. Partly due to the transnational nature of these artist’s careers, and partly due to the reluctance of later historians to admit the extent of foreign socio-cultural influence, biased judgements about the quality of these émigré painters’ work continue to predominate in art historical scholarship.
    [Show full text]
  • Newsletter 213 February 2019
    The Furniture History Society Newsletter 213 February 2019 In this issue: A Contemporary Commission: The Schiele Chair | Society News | A Tribute | Research | Future Society Events | Occasional and Overseas Visits | Other Notices | Book Review | Reports on the Society’s Events | Publications | Grants A Contemporary Commission: The Schiele Chair he Schiele Chair , made by Dublin-based The brief to Rod (b. 1950 ) and Alison Wales T craftsman Colin Harris (b. 1972 ), is one (b. 1952 ) was to create this piece of of the most recent additions to the furniture to echo the existing Renaissance Goodison gift of contemporary British cassoni in the Fitzwilliam’s collection. The crafts to the Fitzwilliam Museum, resulting fumed and limed oak chest with University of Cambridge. 1 stainless steel inlay is partly painted red It is one of several pieces of furniture in and blue, inspired by the saturated colours the collection commissioned from leading of the museum’s Italian Renaissance British designers/makers. Collectively, religious painting, especially the these pieces demonstrate the quality of traditional red dress and blue mantle of work undertaken by these makers over the the Virgin Mary. Rod and Alison Wales last thirty years, an achievement that has share a history with Colin Harris (the not received the attention of many maker of The Schiele Chair ) in that all three commentators or furniture historians. The studied/worked at Parnham College, museum hopes to be a centre for studies in founded by John Makepeace. 6 the field, encouraging the interest of Makepeace opened Parnham College visitors and the involvement of makers. (originally, The School for Craftsmen in It is the latest in a series of furniture Wood) on 19 September 1977 , in what had commissions.
    [Show full text]
  • Fine English Furniture and Works Of
    Bonhams 101 New Bond Street London FINE ENGLISH FURNITURE W1S 1SR AND WORKS OF ART Including The Collection of an Architect: +44 (0) 20 7447 7447 +44 (0) 20 7447 7400 fax The Old Rectory, Kent Wednesday 12 March 2014 FINE ENGLISH FURNITURE Ӏ New Bond Street, London Ӏ Wednesday 12 March 2014 21708 International Auctioneers and Valuers – bonhams.com Fine engliSH Furniture and worKS oF ART Including The Collection of an Architect: The Old Rectory, Kent Wednesday 12 March 2014 Part I The Collection of an Architect: The old Rectory at 10.00 Part II Fine English Furniture and Works of Art at 14.00 Viewing bidS enquirieS CuStomer SerViCeS Sunday 9 March 11.00 to 15.00 +44 (0) 20 7447 7448 [email protected] Monday to Friday 8.30 to 6.00 Monday 10 March 9.00 to 16.30 +44 (0) 20 7447 4401 fax +44 (0) 20 7447 7448 Tuesday 11 March 9.00 to 16.30 To bid via the internet please Furniture & Works of Art Wednesday 12 March 9.00 to 12.00 visit bonhams.com Guy Savill Please see page 2 for bidder (excluding Part I) +44 (0) 8700 273 604 information including after-sale Please note that bids should be [email protected] collection and shipment Sale number submitted no later than 4pm on the day prior to the sale. New Sally Stratton illuStrationS 21708 bidders must also provide proof +44 (0) 8700 273 603 Front cover: The Old Rectory of identity when submitting bids. [email protected] Catalogue Failure to do this may result in Back cover: Lot 231 £30.00 your bid not being processed.
    [Show full text]
  • Nicholas Rowe's Writing of Woman As Feminist Hero Henry Herbert Sennett Rj
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Nicholas Rowe's writing of woman as feminist hero Henry Herbert Sennett rJ . Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Theatre and Performance Studies Commons Recommended Citation Sennett, Henry Herbert Jr., "Nicholas Rowe's writing of woman as feminist hero" (2002). LSU Doctoral Dissertations. 3761. https://digitalcommons.lsu.edu/gradschool_dissertations/3761 This Dissertation 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. NICHOLAS ROWE’S WRITING OF WOMAN AS FEMINIST HERO A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Theatre by Henry Herbert Sennett, Jr. B.S.E., Arkansas State University, 1968 M.A., University of Memphis, 1971 M.Div. Southern Baptist Theological Seminary, 1978 D.Min., Midwestern Baptist Theological Seminary, 1988 M.F.A., Florida Atlantic University, 1989 August, 2002 ©Copyright, 2002 Henry Herbert Sennett, Jr. All rights reserved ii To Beverly, Cristie and Alan iii ACKNOWLEDGMENTS Many people have shaped my life in so many ways, but this dissertation is the culmination of the help of many people. First, I wish to thank my major professor and mentor, Jennifer Jones, Assistant Professor of Theatre at Louisiana State University.
    [Show full text]
  • Frances Harris, ‘“The Best Workmen of All Sorts” the Building of Wimbledon House, 1730–1742’, the Georgian Group Jounal, Vol
    Frances Harris, ‘“The Best Workmen of All Sorts” The Building of Wimbledon House, 1730–1742’, The Georgian Group Jounal, Vol. II, 1992, pp. 87–90 TEXT © THE AUTHORS 1992 “THE BEST WORKMEN OF ALL SORTS” THE BUILDING OF WIMBLEDON HOUSE, 1730-1742 Frances Harris f the first Duchess of Marlborough had not been a woman of inexhaustible energy with a lifelong passion for building, her decision, taken at the age of 7 0 and with four houses Ialready at her disposal, to construct a new Palladian mansion on her surburban estate at Wimbledon would have been a curious one.1 But in spite of her age she had kept very much abreast of architectural fashion. Lord Burlington had already given her advice on her largest and most recent projects at Blenheim, and in the autumn of 1726 she became acquainted with Lord Herbert as well. When she declared that the latter’s assistance would be very useful to her at Blenheim and elsewhere, she was probably already beginning to look ahead to her new project at Wimbledon.2 She had acquired this estate in 1723, after its confiscation from Sir Theodore Janssen, one of the directors of the South Sea Company. He had demolished the Tudor mansion on the site, and the South Sea crisis had come upon him before he had time to build another in its place; but the great terrace, with its wide views over the Surrey downs, remained as an inviting site for a new house. Sarah wanted to build for her own convenience (Wimbledon was within an hour’s drive of London, closer than her favourite lodge at Windsor), but chiefly in the long term as a fitting endowment for her principal heirs.
    [Show full text]