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Rhodes Memorial the Immense and Brooding Spirit Still Shall Quicken and Control
FREE Please support our advertisers who make this free guide possible PLEASE TIP Cape Town EMPOWERMENT VENDORS GATEWAYGUIDES Rhodes Memorial The immense and brooding spirit still shall quicken and control. Living he was the land, and dead, his soul shall be her soul! Muizenberg Rhodes Memorial Rudyard Kipling 1 False Bay To advertise here contact Hayley Burger: 021 487 1200 • [email protected] Earl Grey, the Colonial Secretary, Rhodes did not ‘miss the bus’ as Neville Chamberlain said; he started 100 YEAR proposed a massive statue of a company, ‘The Gold Fields of South Africa Ltd’. His next move was to Cape Point ANNIVERSARY a human figure on the summit turn over all properties and interests to shareholders to run the business, 2012 of Signal Hill, overlooking Cape and in return, Rhodes and his partner, Charles Rudd, would receive Town, that would rival the statue a ‘founders share’ which was two-fifteenths of the profits. This of Christ in Rio de Janeiro and the worked out to up to 400,000 pounds a year. The shareholders, Statue of Liberty in New York. The after a number of years, resented this arrangement - as a idea was met with horror and was result, Rhodes became a ordinary shareholder with a total squashed immediately. The figure of 1,300,000 pounds worth of shares. He also invested in was to be of Cecil John Rhodes, other profitable mining companies on the Rand. In 1890, a man of no royalty, neither hero the first disaster hit the gold industry. As the mines 2 nor saviour; so, who was this became deeper, they hit a layer of rock containing To advertise here contact Hayley Burger: man and what did he do that a pyrites which retarded the then recovery process. -
The Cultural and Ideological Significance of Representations of Boudica During the Reigns of Elizabeth I and James I
EXETER UNIVERSITY AND UNIVERSITÉ D’ORLÉANS The Cultural and Ideological Significance Of Representations of Boudica During the reigns of Elizabeth I and James I. Submitted by Samantha FRENEE-HUTCHINS to the universities of Exeter and Orléans as a thesis for the degree of Doctor of Philosophy in English, June 2009. This thesis is available for library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgment. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ..................................... (signature) 2 Abstract in English: This study follows the trail of Boudica from her rediscovery in Classical texts by the humanist scholars of the fifteenth century to her didactic and nationalist representations by Italian, English, Welsh and Scottish historians such as Polydore Virgil, Hector Boece, Humphrey Llwyd, Raphael Holinshed, John Stow, William Camden, John Speed and Edmund Bolton. In the literary domain her story was appropriated under Elizabeth I and James I by poets and playwrights who included James Aske, Edmund Spenser, Ben Jonson, William Shakespeare, A. Gent and John Fletcher. As a political, religious and military figure in the middle of the first century AD this Celtic and regional queen of Norfolk is placed at the beginning of British history. In a gesture of revenge and despair she had united a great number of British tribes and opposed the Roman Empire in a tragic effort to obtain liberty for her family and her people. -
Cromwelliana 2012
CROMWELLIANA 2012 Series III No 1 Editor: Dr Maxine Forshaw CONTENTS Editor’s Note 2 Cromwell Day 2011: Oliver Cromwell – A Scottish Perspective 3 By Dr Laura A M Stewart Farmer Oliver? The Cultivation of Cromwell’s Image During 18 the Protectorate By Dr Patrick Little Oliver Cromwell and the Underground Opposition to Bishop 32 Wren of Ely By Dr Andrew Barclay From Civilian to Soldier: Recalling Cromwell in Cambridge, 44 1642 By Dr Sue L Sadler ‘Dear Robin’: The Correspondence of Oliver Cromwell and 61 Robert Hammond By Dr Miranda Malins Mrs S C Lomas: Cromwellian Editor 79 By Dr David L Smith Cromwellian Britain XXIV : Frome, Somerset 95 By Jane A Mills Book Reviews 104 By Dr Patrick Little and Prof Ivan Roots Bibliography of Books 110 By Dr Patrick Little Bibliography of Journals 111 By Prof Peter Gaunt ISBN 0-905729-24-2 EDITOR’S NOTE 2011 was the 360th anniversary of the Battle of Worcester and was marked by Laura Stewart’s address to the Association on Cromwell Day with her paper on ‘Oliver Cromwell: a Scottish Perspective’. ‘Risen from Obscurity – Cromwell’s Early Life’ was the subject of the study day in Huntingdon in October 2011 and three papers connected with the day are included here. Reflecting this subject, the cover illustration is the picture ‘Cromwell on his Farm’ by Ford Madox Brown (1821–1893), painted in 1874, and reproduced here courtesy of National Museums Liverpool. The painting can be found in the Lady Lever Art Gallery in Port Sunlight Village, Wirral, Cheshire. In this edition of Cromwelliana, it should be noted that the bibliography of journal articles covers the period spring 2009 to spring 2012, addressing gaps in the past couple of years. -
The Bookplate Society's Members Auction 73 to Take Place on 4
The Bookplate Society’s Members Auction 73 To take place on 4 October 2014 Please post bids to Peter McGowan, Nethergreen House, 9 The Green, Ruddington, Notts NG11 6DY Or email: [email protected] The absolute deadline is Tuesday, 24 September 2014 because Peter will be travelling, so send in bids early (late bids will not be received in time). Ensure you include your current address and contact details. If you are bidding by email, please make sure you have received his confirmation of receipt. Successful bidders living outside the UK will be asked to pay for their lots before despatch. If two bids of the same amount are received for a lot, then the bid received first will take precedence, so early bidding is desirable. All lots now carry reserves, either at a default value of 75% of the estimate or at an undisclosed figure set by the seller. No bid will be accepted below the reserve. Take into account that some of our estimated prices appear rather too modest, and may be well overbid. NB: See the members’ page of our website for images of this material. £ 1 Arm with supporters for 3 Earls: Earl of Kinoull, Chip for Thomas Hay 9th Earl, 1710-1787, succ 10 1758, F14196; Philip Earl of Stanhope, succ as 2nd earl 1720-21, d.1786, Jac; Earl of Mansfield KT (Murray). (3) 2 2 plates for Dukes: Henry Charles, succ as 13th Duke 1842, died 1856, seal arm, F15481; anon for 11 Duke of Northumberland, badge in a garter with coronet, E. -
Graves of Artists and Architects Buried There
Graves of architects and artists in the Chiswick Churchyard and Old Burial Ground A noteworthy feature of the burial ground associated with St Nicholas, Chiswick, is the remarkable number of graves of artists and architects buried there. This article records the graves of an important eighteenth-century architect and garden designer, a respected bricklayer and site manager, two well-regarded Victorian sculptors, and no fewer than six painters and printmakers. In comparison, I know of only one literary figure who was buried there: the maverick Italian poet and patriot, Ugo Foscolo (1778–1827). But perhaps he does not count, since his bones were exhumed in 1871 and returned to Italy for re-burial in Sta Croce, Florence. The churchyard harbours the tomb of only one theatrical figure, Charles Holland (1733–1769), but – as far as I am aware – of not one single composer. Two possible reasons for this bias in favour of the visual arts may be connected with two leading figures in the British eighteenth-century art world who were associated with St Nicholas, Chiswick. Lord Burlington (1694–1753) and William Hogarth (1697–1764) were close contemporaries, although they seldom if ever saw eye to eye. Lord Burlington was the architect of his ground- breaking Chiswick Villa, and he was also a celebrated aesthete and connoisseur. During highly profitable visits to Italy in the second decade, he amassed an important collection of Italian Renaissance and Baroque paintings. Chiswick Villa was designed in part specifically to display this collection, which enhanced Burlington’s status in the British art scene. His semi-permanent residence at Chiswick in the last 20 or so years of his life, and the inheritance of his estate by the Dukes of Devonshire from 1764, perhaps attracted other artists to the area, seeking aristocratic and royal patronage. -
John Webb Singer and His Wife Sarah, Taken in the 1890S
The Story of J.W. Singer & Sons, Frome John Webb Singer and his wife Sarah, taken in the 1890s Made in Frome rom the humble beginnings of a simple request for a to Frome Museum. There are over 3,000 surviving glass pair of brass candlesticks in 1848, the J.W. Singer & Sons plate negatives and photographs, the earliest of which are F foundry at Waterloo went on to produce some of the collodion negatives dating from the 1860s when Singer most iconic statues around the British Isles and across the moved into his purpose-built foundry at Waterloo. globe, employing at its height a workforce of seven hundred. Through skill and ingenuity, John Webb Singer amassed The archive is evidence that Singer’s were also leaders in knowledge and made use of every opportunity to train their use of photography and, whilst not documented, we himself and his workforce. He was the perfect example of have to assume that this was due to John Webb Singer’s paternalistic Victorian industry and enterprise, and although knowledge and desire to harness this relatively new heavily influenced by his many trips to Europe, he was made technology. Whether it was ecclesiastical, domestic or and shaped in Frome. In turn, Singer shaped, embellished statuary, an example of every piece of work would be and enriched Frome. photographed before it departed the foundry, usually against a movable white backdrop. It is not always the The story we are able to tell here was so nearly lost to object being photographed that is of most interest to us history but for the quick thinking of Singer’s employee now, but the asides at the edge of the frame showing details Steve Francis. -
The Career Choices of the Victorian Sculptor
The Career Choices of the Victorian Sculptor: Establishing an economic model for the careers of Edward Onslow Ford and Henry Hope- Pinker through their works Department of History of Art University of Leiden Alexandra Nevill 1st reader Professor Jan Teeuwisse S1758829 2nd reader Professor CJ Zijlmans [email protected] Masters in Design and Decorative Arts 11 November 2016 (18,611 words) 1 The career choices of Victorian sculptors: Edward Onslow Ford and Henry Hope-Pinker Abstract ........................................................................................................................................................................... 3 List of Illustrations ...................................................................................................................................................... 4 Introduction................................................................................................................................................................... 6 Chapter 1 Networking: it pays to stay in touch. ......................................................................................... 12 Apprenticeships and the early years: ......................................................................................................... 13 The Royal Academy and the Mass Media: ................................................................................................. 17 The Art Workers Guild: friends and influence: ...................................................................................... -
Victoria Albert &Art & Love Public and Private Aspects of a Royal Sculpture Collection
Victoria Albert &Art & Love Public and private aspects of a royal sculpture collection Philip Ward-Jackson Essays from a study day held at the National Gallery, London on 5 and 6 June 2010 Edited by Susanna Avery-Quash Design by Tom Keates at Mick Keates Design Published by Royal Collection Trust / © HM Queen Elizabeth II 2012. Royal Collection Enterprises Limited St James’s Palace, London SW1A 1JR www.royalcollection.org ISBN 978 1905686 75 9 First published online 23/04/2012 This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for non-commercial, educational purposes only. Please properly attribute the material to its respective authors. For any other uses please contact Royal Collection Enterprises Limited. www.royalcollection.org.uk Victoria Albert &Art & Love Public and private aspects of a royal sculpture collection Philip Ward-Jackson The mid-nineteenth century saw sculpture spectacularly brought out of the closet by an educated and cosmopolitan elite for the public’s improvement – and, incidentally, also of course for its entertainment. From the 1850s it began to be hard for private collectors to keep up with the displays available at international exhibitions. This was something that came about partly through the agency of Prince Albert, and after the closure of the Great Exhibition by far the largest collection of sculpture ever seen in this country was assembled at Sydenham by the Crystal Palace Company, admittedly consisting mostly of plaster casts.1 The burning down of the Sydenham Crystal Palace in 1936 and the dispersal of several important early Victorian sculpture collections have left Victoria and Albert’s collection of contemporary sculpture to enjoy unchallenged pre-eminence. -
Sculpture Victorious: Art in an Age of Invention, 1837–1901
Roberto C. Ferrari exhibition review of Sculpture Victorious: Art in an Age of Invention, 1837–1901 Nineteenth-Century Art Worldwide 14, no. 1 (Spring 2015) Citation: Roberto C. Ferrari, exhibition review of “Sculpture Victorious: Art in an Age of Invention, 1837–1901,” Nineteenth-Century Art Worldwide 14, no. 1 (Spring 2015), http:// www.19thc-artworldwide.org/spring15/ferrari-reviews-sculpture-victorious-art-in-an-age-of- invention. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Ferrari: Sculpture Victorious: Art in an Age of Invention, 1837–1901 Nineteenth-Century Art Worldwide 14, no. 1 (Spring 2015) Sculpture Victorious: Art in an Age of Invention, 1837–1901 Yale Center for British Art, New Haven, Connecticut September 11 – November 30, 2014 Catalogue: Sculpture Victorious: Art in an Age of Invention, 1837–1901 Edited by Martina Droth, Jason Edwards, and Michael Hatt New Haven: Yale University Press, 2014. 448 pp.; 303 color illustrations; biographies, bibliography, index. $80.00 ISBN: 978-0-300-20803-0 For modernists, the phrase “Victorian sculpture” likely conjures images of decaying monuments with historicized figures, or sentimental statuettes bordering on domestic kitsch. Art history has not helped this perception, as exemplified by the words of H. W. Janson, writing about sculpture produced in England during the reign of Victoria: “There can be no doubt that the -
2006 Issue 2
2006 Issue Number 2 SHTAV NEWS Journal of The Association of Small Historic Towns and Villages of the UK ASHTAV VISITS FROME Frome is the most important of the five major Mendip towns and it possesses such a heritage of houses, chapels, nooks and bartons that despite several attacks of ‘regeneritis’ from the 19th century onwards, much of its ancient character and charm still remains. It has over 350 listed buildings - more than any other town in Somerset - many of which represent publish flourishes from Frome's cloth, agricultural and market traders putting their money “up-front” from the 1600s onwards. This gorgeous, if dilapidated, stock has benefited from a very active civic society and a local preservation trust that have rescued a number of “buildings at risk” and ensured that lovely streetscapes and ancient mills have not been swept aside in a gaderene rush for modernisation. ASHTAV members were fortunate to be guided around Frome by Brian Gill a former engineer and designer, whose family has lived in Frome and district for many generations. A glorious door in Church House opposite Frome’s Parish Church was made by Brian’s grandfather and embellished by him with local iron studs. Frome believes that its town was established as an Abbey site by St Alban in 685 AD, making this market town 1321 years old, although little dating from Saxon times now remains. Frome was built to nestle in the foothills of the Mendips; such low hills were ideal for raising sheep, once the monks had cleared trees from Selwood Forest. -
The Gentleman's Library Sale
Montpelier Street, London I 30 January 2019 Montpelier Street, The Gentleman’s Library Sale Library The Gentleman’s The Gentleman’s Library Sale I Montpelier Street, London I 30 January 2019 25163 The Gentleman’s Library Sale Montpelier Street, London | Wednesday 30 January 2019 Part I: 10am Silver Pictures Collectors Part II: 2pm Tribal Arts Furniture, Works of Art, Clocks and Carpets BONHAMS ENQUIRIES PRESS ENQUIRIES IMPORTANT INFORMATION Montpelier Street Senior Sale Coordinator [email protected] In February 2014 the United Knightsbridge Laurel Kemp States Government announced London SW7 1HH +44 (0) 20 7393 3855 CUSTOMER SERVICES the intention to ban the import www.bonhams.com [email protected] Monday to Friday of any ivory into the USA. Lots 8.30am – 6pm containing ivory are indicated by VIEWING Carpets +44 (0) 20 7447 7447 the symbol Ф printed beside the Sunday 27 January Helena Gumley-Mason Lot number in this catalogue. 11am to 3pm +44 (0) 20 8963 2845 SALE NUMBER REGISTRATION Monday 28 January [email protected] 25163 9am to 4.30pm IMPORTANT NOTICE Tuesday 29 January Furniture Please note that all customers, CATALOGUE 9am to 4.30pm Thomas Moore irrespective of any previous activity £15 +44 (0) 20 8963 2816 with Bonhams, are required to BIDS [email protected] complete the Bidder Registration Please see page 2 for bidder Form in advance of the sale. The +44 (0) 20 7447 7447 information including after-sale European Sculpture & Works form can be found at the back of +44 (0) 20 7447 7401 fax collection and shipment To bid via the internet please visit of Art every catalogue and on our www.bonhams.com Michael Lake website at www.bonhams.com Please see back of catalogue and should be returned by email or +44 (0) 20 8963 2813 for important notice to bidders Please note that bids should [email protected] post to the specialist department be submitted no later than 24 or to the bids department at ILLUSTRATIONS hours before the sale. -
Iceni to Iconic: Literary, Political and Ideological Transformations of Boudica Through Time
Literator - Journal of Literary Criticism, Comparative Linguistics and Literary Studies ISSN: (Online) 2219-8237, (Print) 0258-2279 Page 1 of 12 Original Research Iceni to iconic: Literary, political and ideological transformations of Boudica through time Author: Boudica has captivated the imagination of generations of scholars, artists, writers and poets, 1 Margaret C. Steyn eventually becoming firmly entrenched in popular culture which has attempted to articulate Affiliation: England’s national identity through the dwelling on the heroic past and emphasising her 1Department of English position as a Muse. This article focuses on the use and manipulation of the image of Boudica Studies, College of Human to evoke the heritage of the ‘noble savage’ or as an example of ‘native barbarianism’ by Sciences, University of South successive regimes striving to establish a historical foundational past in an attempt to create a Africa, Pretoria, South Africa nationalist historiography. The representation of the image of Boudica through a detailed Corresponding author: historical analysis, starting from the earliest mention in Tacitus to more recent representations Margaret Steyn, of the icon, will illustrate how the dichotomy of interpretation has rendered her a chameleon: [email protected] sometimes a villain and sometimes a heroine. However, through all these incarnations, Boudica Dates: never truly loses her place as a nationalistic icon, symbol of victory and figurehead of resistance Received: 11 Jan. 2018 for the emergent British people. Accepted: 11 Oct. 2019 Published: 09 Dec. 2019 Keywords: Boudica; iconic representation; national identity; gender in antiquity; transformations of Boudica; Boudica in literature; British identity; popularisation of ancient icons; reception How to cite this article: Steyn, M.C., 2019, ‘Iceni to iconic: Literary, political and ideological transformations Introduction of Boudica through time’, In 60/61 CE1,2 on the eastern side of Roman Britain a series of events were set in motion that Literator 40(1), a1474.