The Wallace Collection Annual Report and Accounts 2005-2006
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The Connoisseur (Sir Gerald Ryan
1 TheConnoisseur An Illustrated Magazine For Collectors Edited by C. Reginald Grundy Vol. LIX. (JANUARY—APRIL. 1921) LONDON Published by the Proprietor, W. CLAUDE JOHNSON, at tiii., Editorial and Advertisement Okkices of The Connoisskuu, AT I, Duke Street, St. James's, S.W. i 192 1 MROSE AND SONS 1 DERIIY AND I.ONDO 8(i 1)656 NDEX ARTICLES AND NOTES A Beautiful Jacobean Hanging (Note) .Authors and Contributors—coiilinucd. "A Citv Banquet," by Fred Roc, K.I., R.B.C. Richardson, Mrs. Herbert. The Fashion Plates '(Note) of Horace Vernet (Art.) ... ... ... yy Adam and other Furniture (Note) ... Roberts, C. Clifton. Salopian China (Art.) ... 2.( Aitken, John E., Drawings by (Note) Roe. F. Gordon. The Life and Work of F. W. An Outpost of London, by Criticus (Note) Hayes, A.R.C.A., F.R.G.S. (Art.) 103 Angelica Kautfmann and Her .Art. by Lady Victoria Rusconi, Art. Jahn. The Tapestries of Mantua Manners (.\rt.) by Raphael (Art.) 77 Another New Gallery (Note) Williamson, Dr. G. C. Some Notes on the Portraits of Sir Pliilip Sidney (Art) ... Antique Business Extension (Note) 217 Antiques at Waring's (Note) Books Reviewed. Aquatints. Old (Note) A Bookseller's igo Authors and Contributor.s. Catalogue " A Catalogue of Etchings by Augustus John, Andrews, Cyril Bruyn. The Valencia Altar-piece 1901-1914." by Campbell Dodgson ... 5S (Art.) " A Dweller in Mcsnpntamia," by Donald Maxwell 1S7 Brochner, Georg. Old Danish Furniture (.Art.)... " A Hamll.".i. ..I Imlini Art," by E. B. Havell ... 188 Brockwell. Maurice W. Frans Hals Pictures at " Haarlem (Note) A Histiii\ <\ I \ri\,l,iy Things in England," by M. -
The Challenges of French Impressionism in Great Britain
Crossing the Channel: The Challenges of French Impressionism in Great Britain By Catherine Cheney Senior Honors Thesis Department of Art History University of North Carolina at Chapel Hill April 8, 2016 Approved: 1 Introduction: French Impressionism in England As Impressionism spread throughout Europe in the late nineteenth century, the movement took hold in the British art community and helped to change the fundamental ways in which people viewed and collected art. Impressionism made its debut in London in 1870 when Claude Monet, Camille Pissarro, and Paul Durand-Ruel sought safe haven in London during the Franco- Prussian war. The two artists created works of London landscapes done in the new Impressionist style. Paul Durand-Ruel, a commercial dealer, marketed the Impressionist works of these two artists and of the other Impressionist artists that he brought over from Paris. The movement was officially organized for the First Impressionist Exhibition in 1874 in Paris, but the initial introduction in London laid the groundwork for promoting this new style throughout the international art world. This thesis will explore, first, the cultural transformations of London that allowed for the introduction of Impressionism as a new style in England; second, the now- famous Thames series that Monet created in the 1890s and notable exhibitions held in London during the time; and finally, the impact Impressionism had on private collectors and adding Impressionist works to the national collections. With the exception of Edouard Manet, who met with success at the Salon in Paris over the years and did not exhibit with the Impressionists, the modern artists were not received well. -
Bulletin of A
Himi m Hijgffjf RLW& tr Archives 27411 Digitized by the Internet Archive in 2013 http://archive.org/details/bulletinofa32agri .••.-• BULLETIN of A. & T. COLLEGE Published by THE AGRICULTURAL AND TECHNICAL COLLEGE of NORTH CAROLINA Obedience to the Law is the Largest Liberty Issued Quarterly GREENSBORO, NORTH CAROLINA CALENDAR 1941-42 Entered as second-class matter, July 2d, 1909, at the Post- office at Greensboro, N. 0., under the act of July 16th, 1894. COLLEGE CALENDAR CALENDAR, 1941-1942 September 16—Entrance examinations. September 16—Freshmen and New students begin Registration Orientation. September 17—Freshman Orientation. September 18—Freshmen complete registration. September 19—Registration of former students. September 22—Classes begin. September 29—Last day for changes in schedule. December 17, 18, 19, 20—Fall term examinations. January 5, 1942—Registration Winter Quarter. January 6—Classes begin. January 12—Last day for changes in schedule. March 17, 18, 19, 20—Winter term examinations. March 23—Registration Spring Quarter. March 24—Classes begin. March 30—Last day for changes in schedule. May 27, 28, 29, 30—Spring term examinations. May 31—Baccalaureate sermon. June 1—Commencement. June 9—Registration for Summer Quarter. HOLIDAYS Thanksgiving Day and Friday following; Christmas holidays, December 21, 1941-January 1, 1942. SPECIAL DATS Dudley Day—November 2, 1941. Education Week. Religious Emphasis Week—December 10-14. Douglas' Birthday and Negro History Week— (Joint Observance) February 9-15. Arbor Day, March 15—Special program by School of Agriculture. National Negro Health Week, April 2-8. Morrill's Birthday, April 14r—Agriculture and Mechanic Arts societies have special programs. -
Zanussi, L'ultima Scommessa Visti in Libano E Somalia Loi E I Suoi Parà
18COM01A1806 18COM04A1806 FLOWPAGE ZALLCALL 11 21:26:01 06/17/97 ICOMMENTI l’Unità 17 Mercoledì 18 giugno 1997 INDUSTRIA UN’IMMAGINE DA... L’INTERVENTO Zanussi, Visti in Libano e Somalia l’ultima Loi e i suoi parà non erano scommessa una banda di violentatori LUIGI MARIUCCI MAURO MONTALI UTTI i sistemi maturi di rela- LI EPISODI di violenza av- mesiinSomaliaemièsempre zioni industriali si reggonosu venuti in Somalia sono parso (ma questo, ovviamente, tre pilastri: conflitto, con- semplicemente disgustosi. non conta molto) che i nostri sol- T trattazione, partecipazione. G Orrendo, non saprei quale dati tenessero un comportamen- In Italia invece il sistema è zoppo, altra parola usare, è lo stupro sulla to estremamente corretto. Co- poiché il tema della partecipazione ragazza. Spero che la magistratura munque, ero a Mogadiscio duran- è del tutto assente dalla scena delle vadafinoinfondocosìcomeilmini- te il periodo più «caldo» quando, relazioni industriali. Delle diverse stero della Difesa: quella gente ha cioè, furono uccisi, a freddo, i tre sperimentazioni succedutesi in ma- infangato l’esercito e il paese e me- soldati italiani durante un rastrel- teria non è restato pressoché nulla. rita, pertanto, se verranno appura- lamento d’armi nel tristemente Con buona pace dei rituali dibattiti te le responsabilità, una punizione famoso quartiere del Pastificio. in materia di attuazione dell’art. 46 esemplare. Che per una settimana fu perso. della Costituzione non si va infatti al Credo, però, che la brigata para- In quel periodo si consumò la rot- di là delle modeste pratiche di eser- cadutisti Folgore,nelsuocomples- tura con gli americani e con l’am- cizio dei diritti di informazione e so, sia una cosa ben diversa da miraglio Howe, il quale, essendo consultazione previsti dai contratti come è stata rappresentata in a capo della missione «Restore nazionali di categoria. -
Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell
Copyrights sought (Albert) Basil (Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell) Filson Young (Alexander) Forbes Hendry (Alexander) Frederick Whyte (Alfred Hubert) Roy Fedden (Alfred) Alistair Cooke (Alfred) Guy Garrod (Alfred) James Hawkey (Archibald) Berkeley Milne (Archibald) David Stirling (Archibald) Havergal Downes-Shaw (Arthur) Berriedale Keith (Arthur) Beverley Baxter (Arthur) Cecil Tyrrell Beck (Arthur) Clive Morrison-Bell (Arthur) Hugh (Elsdale) Molson (Arthur) Mervyn Stockwood (Arthur) Paul Boissier, Harrow Heraldry Committee & Harrow School (Arthur) Trevor Dawson (Arwyn) Lynn Ungoed-Thomas (Basil Arthur) John Peto (Basil) Kingsley Martin (Basil) Kingsley Martin (Basil) Kingsley Martin & New Statesman (Borlasse Elward) Wyndham Childs (Cecil Frederick) Nevil Macready (Cecil George) Graham Hayman (Charles Edward) Howard Vincent (Charles Henry) Collins Baker (Charles) Alexander Harris (Charles) Cyril Clarke (Charles) Edgar Wood (Charles) Edward Troup (Charles) Frederick (Howard) Gough (Charles) Michael Duff (Charles) Philip Fothergill (Charles) Philip Fothergill, Liberal National Organisation, N-E Warwickshire Liberal Association & Rt Hon Charles Albert McCurdy (Charles) Vernon (Oldfield) Bartlett (Charles) Vernon (Oldfield) Bartlett & World Review of Reviews (Claude) Nigel (Byam) Davies (Claude) Nigel (Byam) Davies (Colin) Mark Patrick (Crwfurd) Wilfrid Griffin Eady (Cyril) Berkeley Ormerod (Cyril) Desmond Keeling (Cyril) George Toogood (Cyril) Kenneth Bird (David) Euan Wallace (Davies) Evan Bedford (Denis Duncan) -
THE EARLIER WORK of TITIAN by CLAUDE
THE EARLIER WORK OF TITIAN By CLAUDE PHILLIPS Keeper of the Wallace Collection 1897 [Illustration: _Flora_] [Illustration: The Portfolio Artistic Monographs With many Illustrations] LIST OF ILLUSTRATIONS PLATES PAGE page 1 / 110 Flora. Uffizi Gallery, Florence ....................... Frontispiece Sacred and Profane Love. Borghese Gallery, Rome..................... 36 Virgin and Child, with Saints. Louvre............................... 54 Le Jeune Homme au Gant. Louvre...................................... 62 ILLUSTRATIONS PRINTED IN COLOUR Design for a Holy Family. Chatsworth................................ 86 Sketch for the Madonna di Casa Pesaro. Albertina.................... 96 ILLUSTRATIONS IN THE TEXT The Man of Sorrows. In the Scuola di S. Rocco, Venice............... 23 Virgin and Child, known as "La Zingarella." Imperial Gallery, Vienna 25 The Baptism of Christ. Gallery of the Capitol, Rome................. 29 page 2 / 110 The Three Ages. Bridgewater Gallery ................................ 35 Herodias with the Head of John the Baptist. Doria Gallery, Rome..... 39 Vanitas. Alte Pinakothek, Munich.................................... 41 St. Anthony of Padua causing a new-born Infant to speak. Fresco in the Scuola del Santo, Padua............................................. 43 "Noli me tangere." National Gallery................................. 45 St. Mark enthroned, with four Saints. S. Maria della Salute, Venice. 49 The Madonna with the Cherries. Imperial Gallery, Vienna............. 51 PAGE Madonna and Child, with St. John and -
Manoscritti E Autografi
GONNELLI CASA D’ASTE GONNELLI CASA D’ASTE Manoscritti e autografi 887. Foglio di Antifonario senese. Toscana: 1480 ca. Manoscritto pergamenaceo in-folio (mm 535x390). Testo in rosso e nero, con una grande e bella iniziale filigranata in rosso e blu, istoriata con due figure di musici. Ai piedi della lettera campeggia miniato lo stemma di Siena: uno scudo bipartito orizzontalmente, metà bianco e metà nero. € 3600 888. Liber Tertius Maleficiorum Florentie. Firenze: 1600 ca. Manoscritto cartaceo in-folio (mm 320x225). Carte [11], 334, [2]. Legatura coeva in pergamena restaurata e rimontata. Interessante manoscritto giuridico fiorentino. € 1600 314 LIBRI, MANOSCRITTI E AUTOGRAFI ~ FIRENZE 11-13 NOVEMBRE 2011 TUTTI I LOTTI SONO RIPRODOTTI IN PIÙ IMMAGINI NEL SITO WWW.GONNELLI.IT GONNELLI CASA D’ASTE GONNELLI CASA D’ASTE In bella legatura coeva alle armi 889. Conferma del titolo di Marchese alla famiglia Bertoldo. Firenze: 1613. Manoscritto pergamenaceo in-4° (mm 280x190). Carte [12] con testo inquadrato da duplice cornice in oro, firma autografa di CosimoII , di Niccolò dell’Antella e di Lorenzo Usimbardi a c. [11]. Bellissima legatura coeva in marocchino rosso alle armi della famiglia Bertoldo, dipinte al centro dei piatti entro elaborata bordura floreale in oro, legacci in seta perfettamente conservati, minimi difetti al dorso. € 2000 890. Testo di solmisazione e mutazione. Prima metà del XVII secolo. Manoscritto a inchiostro nero. Carte [49], scritte recto e verso. Note quadrate scritte su tetragrammi. Alla carta 2r timbro di famiglia nobiliare estinta. Carta proveniente da una cartiera piacentina che terminò la produzione nel 1667. Cartonatura coeva. Dimensioni: mm 415x300. Il manoscritto contiene: carta 1r: «Mano / di Don Guido / Aretino» e di seguito lo schema per praticare la solmisazione. -
And We Danced Episode 3 Credits
AND WE DANCED WildBear Entertainment, ABC TV and The Australian Ballet acknowledge the Traditional Owners of country throughout Australia and recognise their continuing connection to land, waters and culture. We pay our respects to their Elders past and present. EPISODE THREE Executive Producers Veronica Fury Alan Erson Michael Tear Development Producer Stephen Waller INTERVIEWEES Margot Anderson Dimity Azoury Peter F Bahen Lisa Bolte Adam Bull Ita Buttrose AC OBE Chengwu Guo David Hallberg Ella Havelka Steven Heathcote AM Marilyn Jones OBE Ako Kondoo David McAllister AC Graeme Murphy AO Stephen Page AO Lisa Pavane Colin Peasley OAM Marilyn Rowe AM OBE Amber Scott Hugh Sheridan Fiona Tonkin OAM Elizabeth Toohey Emma Watkins Michael Williams SPECIAL THANKS TO David McAllister AC David Hallberg Nicolette Fraillon AM 1 Artists of The Australian Ballet past and present Artists of Bangarra Dance Theatre past and present Orchestra Victoria Opera Australia Orchestra The Australian Ballet School Tony Iffland Janine Burdeu The Wiggles The Langham Hotel Melbourne Brett Ludeman, David Ward ARCHIVE SOURCES The Australian Ballet ABC Archives National Film and Sound Archive Associated Press Getty The Apiary The Wiggles International Arts Newspix Bolshoi Ballet American Ballet Theater FOOTAGE The Australian Ballet Year of Limitless Possibilities, 2020 Brand Film Artists of The Australian Ballet Valerie Tereshchenko, Robyn Hendricks, Dimity Azoury, Callum Linnane, Jake Mangakahia Choreography David McAllister AM Cinematography Brett Ludeman and Ryan Alexander Lloyd Produced by Robyn Fincham and Brett Ludeman Filmed on location at Mundi Mundi Station, via Silverton NSW The Living Desert Sculpture Park, Junction Mine, The Imperial Fine Accommodation, Broken Hill NSW. -
David Croal Thomson Papers, 1879-1931
http://oac.cdlib.org/findaid/ark:/13030/kt058031zf No online items Finding aid for the David Croal Thomson papers, 1879-1931 Finding aid prepared by Rose Lachman. Finding aid for the David Croal 910126 1 Thomson papers, 1879-1931 Descriptive Summary Title: David Croal Thomson papers Date (inclusive): 1879-1931 Number: 910126 Creator/Collector: Thomson, David Croal, 1855-1930 Physical Description: 4.75 linear feet(circa 3100 items) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: English art dealer and writer, Thomson (1855-1930) worked at or managed several major galleries in London and edited the Art Journal. The papers primarily contain professional and personal correspondence. Letters to and from leading artists and social figures trace artistic trends and tastes as well as Thomson's growing stature in London society. Personal correspondence consists largely of letters between members of Thomson's family. The collection includes a small number of clippings, itineraries, and ephemera. 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 David Croal Thomson was born in Edinburgh on October 24, 1855. He studied drawing and painting in Edinburgh, where he also apprenticed as a printseller and artist's colourman (1867), and went on to manage Hill's Picture Gallery and its art publications (1872-1880). He then went to Paris to continue his studies in art. In London, September 1880, he became the sub-editor of The Year's Art, assisting M. -
THE WALLACE COLLECTION Candlesticks, Etc ., Is Represented Here with a Com Ple Te Ne Ss and Brilliancy Hardly to Be Found in Any
THE NATI ONA L G A LL ERY BY J . E . CRAW FORD F LITCH “ The Na tiona l Ga lle ry ha s form ed the subj ect o f a book on ma occa si o s but ne v e r in ny n , hand ie r or m ore use fu l fo rm tha n his li le ol um e whi ch s hou ld t tt v , be of the grea te s t use and pl e a s ure to eve ryone int e reste d in a rt ’ a nd o na i n i u —Ma n ur t o s p ct res. TH E L OUVRE . E R R BY E . ICHA DS The author w ri tes a very inte r es t ing a ccount of the Pa lace of the Louvre a guid e far e xce lling in interes t a nd l ite rary q ua lity e - Scots those o rdina rily on sa l . ma n. Other volumes a re i n pr epa ra ti o n. LA MA R" UISE D E PO M PADO U R Bo uc/zer T H E W A L L A C E fl C O L L EC T IO N FRANK RUTTER. BA . Curatar of the Lceds City Art Gulm AUTHOR Ol" A I NTER AND M N O F ET TERS P A L , WHIS TLER : A BIOGRAPHY AND AN ESTIMATE ' ‘ E I fl . BOSTON S L N D MA L , MAY AR AND COMPANY P UBLIS HERS T H E W A L L A C E C O L L E C T IO N FRAN K UTTER B.A. -
The Looking-Glass World: Mirrors in Pre-Raphaelite Painting 1850-1915
THE LOOKING-GLASS WORLD Mirrors in Pre-Raphaelite Painting, 1850-1915 TWO VOLUMES VOLUME I Claire Elizabeth Yearwood Ph.D. University of York History of Art October 2014 Abstract This dissertation examines the role of mirrors in Pre-Raphaelite painting as a significant motif that ultimately contributes to the on-going discussion surrounding the problematic PRB label. With varying stylistic objectives that often appear contradictory, as well as the disbandment of the original Brotherhood a few short years after it formed, defining ‘Pre-Raphaelite’ as a style remains an intriguing puzzle. In spite of recurring frequently in the works of the Pre-Raphaelites, particularly in those by Dante Gabriel Rossetti and William Holman Hunt, the mirror has not been thoroughly investigated before. Instead, the use of the mirror is typically mentioned briefly within the larger structure of analysis and most often referred to as a quotation of Jan van Eyck’s Arnolfini Portrait (1434) or as a symbol of vanity without giving further thought to the connotations of the mirror as a distinguishing mark of the movement. I argue for an analysis of the mirror both within the context of iconographic exchange between the original leaders and their later associates and followers, and also that of nineteenth- century glass production. The Pre-Raphaelite use of the mirror establishes a complex iconography that effectively remytholgises an industrial object, conflates contradictory elements of past and present, spiritual and physical, and contributes to a specific artistic dialogue between the disparate strands of the movement that anchors the problematic PRB label within a context of iconographic exchange. -
Peter Carolin, Born 1936
PETER CAROLIN, BORN 1936 The fifth generation of a Scots South American family, Peter Carolin’s naval National Service included the Suez debacle of 1956. As an architect, he worked for John Voelcker of Team 10 and with Colin St John Wilson on the British Library. He edited both the Architect’s Journal, Magazine of the Year, 1985, and arq, which was awarded the learned journal equivalent, 2002. He was Professor and Head of the Department of Architecture at Cambridge, 1989- 2000, and chaired the Cambridge Futures project. Peter Carolin Architect, editor, academic Born 1936 Autobiographical life story Available online at www.livesretold.co.uk Contents 1. Introduction 2. The Irish and the Scots 3. A Rio Childhood 4. Prep School in Surrey 5. Radley and Holidays 6. The Navy and Suez 1956 7. Corpus and Cambridge 8. John Voelcker 9. The Bartlett 10. Sandy Wilson's Cambridge Practice 11. London and the British Library 12. Cambridge Design 13. The AJ 14. Cambridge yet again 15. Retirement 16. Sailing 17. Birgit and our children 18. Looking back 1. Introduction My father, a pipe smoker, was an unliterary man. And yet he loved books. He had an extraordinarily fine collection of antiquarian editions on Brazil. But I never saw him reading any of them and the only writing of his own that survives are his meticulous account books and a dry-as-dust book on how to set up a company in Brazil. We never tried to persuade him to write a memoir of his life – I think we knew that he wouldn’t have done so, for his Irishness was of a rather puritan kind and, despite an interesting life, he was not a man to talk about it or to see it in a wider perspective.