DOCSLIB.ORG

The Paul Mellon Centre for Studies in British Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Paul Mellon Centre for Studies in British Art The Paul Mellon Centre for Studies in British Art FRANK SIMPSON ARCHIVE (Ref FHS) This archive collection has not yet been catalogued and is divided into two sections: Section one is comprised of material which was left by Frank Simpson at the Paul Mellon Centre for Studies in British Art at the end of his employment. This includes research notes, correspondence, black and white photographs (some of which are annotated with details regarding artist, title and Knoedler’s stock number), published and unpublished material and has been preliminarily sorted. File titles and box numbers (where applicable) have been allocated by the Centre. Section two is comprised of material acquired from the Barber Institute of Fine Arts, the University of Birmingham, in April 2013. This material comprises correspondence, images, articles, research notes, photocopies of published and unpublished material. The material remains unsorted and in its original order. File titles given are those assigned by Simpson and box numbers have been allocated by the Centre. If you wish to consult any material from this collection, please specify the box number and file title (where applicable). Please note that it is only possible to request 10 files/items per retrieval. Access will be provided in accordance with the Data Protection Act, 1998. Full details relating to access to the Centre’s collections can be found here: http://www.paul-mellon-centre.ac.uk/150/ 1 Section One – material left at the Paul Mellon Centre for Studies in British Art Box number File or volume title Description of material Extent Covering Dates (if applicable). Sequence 1: Courtauld Institute of Art Bibliographies and Syllabuses. These were prepared by lecturers at the Courtauld Institute of Art and were probably collected by Simpson in his role in the library. They also include notes and supporting material for lectures written by lecturers, including Anthony Blunt, Nikolaus Pevsner, Herbert Read, Byam Shaw and Ellis Waterhouse. 1 -Bibliographies of the History of Art Volume 1 4 files 1934-1935 -Bibliographies of the History of Art Volume 2 1934-1935 -Bibliographies, Syllabuses and Notes (Part 1) 1932-1935 -Bibliographies, Syllabuses and Notes (Part 2) 1932-1936 Sequence 2: Correspondence of Charles Stewart Carstairs, Director of the London office of M. Knoedler and Company. This is comprised of letters written to Carstairs and his colleagues. It also includes some telegrams, newspaper and catalogue cuttings. 1 continued -1921-1922 9 files -1923-1924 -1925 -1926 -1927 (Part 1) Jan-Apr 1927 -1927 (Part 2) May-Jun 1927 -1927 (Part 3) Aug-Dec 1927 -1928 -1929-1931 Sequence 3: Correspondence and research of Letitia Simpson. Letitia Simpson was Simpson’s aunt and worked as Librarian at M. Knoedler and Company, London, from the 1920s until the late 1950s. This material is comprised of correspondence and research notes produced in relation to reproduction requests and general enquiries. 1 continued -1942-1946 2 files -1952-1957 Sequence 4: Knoedler’s Photographs. This material is comprised of black and white photographs of paintings that passed through M. Knoedler and Company. They are arranged alphabetically by artist and are annotated with artist name, title of the painting and Knoedler’s stock number. 2 -A – E 26 files [c.1910-1940] 2 3 -F – J 21 files 4 -J – P 24 files 5 -R – S 14 files 6 -S – W 22 files 7 -W - Z 11 files -Andrew Mellon, paintings of interest 1931 -Frans Xavier Winterhalter exhibition Sequence 5: General research. This material was compiled by Simpson on various subjects. 7 continued -Correspondence 1950-1955 1959-1982 -Research notes -Birmingham Art Gallery loan exhibitions -‘London Town’ television script -Soho Fair Exhibition Catalogue Sequence 6: Unsorted and miscellaneous material. Includes black and white photographs, images and published material 8 -loose material 9 -loose material Sequence 7: Large (outsize) black and white photographs of paintings that have passed through M. Knoedler and Company. Please note that this material requires conservation and may not be available for consultation. n/a 6 boxes Section Two – material acquired from the Barber Institute of Fine Arts Box number File or volume title Description of material Extent Covering Dates (if applicable). Sequence 1: Newspaper cuttings on a variety of art related subjects 1 -Untitled Volume I 1 volume 1902-1910 2 -Untitled Volume 2 1 volume 1909-1912 3 3 -Untitled 2 volumes 1925 -Untitled 1929 4 -Untitled 2 volumes -1929-1934 -Untitled -1930-1936 5 -Library Vol VI 3 volumes Jun 1920-Jun1921 -Untitled 1927 -Library Vol.4 1913-1916 6 -1937-1938 4 volumes 1937 -Private Collections 1926-1928 -Forgeries 1928-1931 -Prints of Rubens and Jordeans Artist Jordeans also spelt as Jordaens undated 7 -untitled 2 volumes 1906-1919 -Vol 3 1913-1915 8 -Library Vol 5 2 volumes 1917-1919 -untitled 1921-1923 9 -Untitled 2 volumes and 1 clutch 1922-1924 file -Untitled Volume of print cuttings by various undated artists -Untitled Press cutting bundles containing 1925-1935 Fowler of Concise Oxford Dictionary, Notes and Queries Journal Index to Vols 1925, British Family Histories and three misc letters. Sequence 2: Rolls 10 -Selby Hollis family tree 2 rolls undated -Untitled Copy of a catalogue of some marbles held at the Hyde – now Disney 4 collection Sequence 3: Knoedler Catalogues 11 -The Annunciation, by Gerard David 30 catalogues -A View on the Banks of the Maas, by Aelbert Cuyp -Landscape with a Horseman, by Aelbert Cuyp -Don Quixote and Sancho Panza, by Honore Daumier -Portrait of Lieut-Conlonel the Hon. Edmund Nugent, by Thomas Gainsborough, painted at Bath in 1764 -Portrait of Don Vicente Osorio, Count of Trastamara, by Francesco Goya -St Martin and the Beggar, by El Greco, painted between 1604-1614 -Portrait of Elizbeth, Countess de Hornes, by Frans Hal -Portrait of a Man, by Frans Hal -Portrait of a Man, by Hans Holbein the Younger -The Hamlet in the Wood, by Meindert Hobbema -A Landscape with a Broad Road and a Sportsman, by Meindert Hobbema -Landscape with Footbridge Over a Stream, by Meindert Hobbema -Lady with a Servant Girl, by Pieter de Hoogh -Portrait of Miss Emma Laura Whitbread, by John Hoppner -Miss Arabella Wilmot, by John Hoppner -Portrait of Capt. Charles Hope, by John Hoppner -The Braddyll Children, by John Hoppner -Miss Elizabeth Beresford, by John Hoppner -Portrait of a Young Girl Carrying a Casket of Fruit, by Ferdinand Bol -Rinaldo and Armida, by Anthony Van Dyck -Major-General Sir William Draper, by Thomas Gainsborough 5 -The Hon Mrs Austin of Kilspindie, by Sir Henry Raeburn -General James Drummond, by Sir Henry Raeburn -Portrait of Sir Andrew Agnew, 7th Bart of Lochnaw --Portrait of Miss Ellen Cochrane, by Sir Henry Raeburn -Portrait of a Young Man Holding a Short Sword, by Rembrandt -Portrait of the Artist, by Rembrandt -Portrait of Maurits Huygens, by Rembrandt -Portrait of a Young Lady with a Fan, by Rembrandt 12 -A Young Officer probably Francois Copal, by Rembrandt 31 catalogues Harmensz van Rijn -Portrait of a Gentleman Bearing a Red Doublet, by Petrus C Bristus -Hugh Hope, by Raeburn -General the Hon. Sir Charles Colville, by Sir Henry Raeburn -Virgin and Child Enthroned, with Six Saints, by Pesellino -Portrait of Master William Cavendish, by Sir Joshua Reynolds -Portrait of William, Viscount Pulteney, by Sir Joshua Reynolds -Portraits of Mrs Morris and child, by George Romney -Portrait of the Artist, by Cosimo Rosselli -Portrait of Helena Fourment, Second Wife of the Artist, by Sir Peter Paul Rubens -Portrait of Prince, after Cardinal, Gian Carlo Dei Medici, by Justus Susterman -Portrait of Lady Hamilton, by George Romney -Lady Prescott and her Children, by George Romney -Portrait of the Beautiful Emily Pott, by George Romney (two 6 copies) -Portrait of Lady Sullivan, by George Romney -Portrait of Lady Betty Compton, by Sir Joshua Reynolds -Portrait of Lady Elizabeth Somerset, by Joshua Reynolds -Portrait of Mary Isabella, Duchess of Rutland, by Sir Joshua Reynolds -Portrait of Doge Pietro Loredano, by Il Tintoretto -The Card Party, by Gerard Terburg -The Coronation of the Virgin, by Maestro -Paolo de Venezia and his son Giovanni L’Attente, by Jean Francois Millet -Portrait of a Man with an Arrow, by Hans Memling -Portrait of a Donor, a Knight of the Order of Calatrava, by Master Michael -Portrait of a Lady, by Bastino Mainardi da san Gimignano -‘Juno’ or the Listener, by Nicolaes Maes -Portrait of David of Burgundy, Bishop of Utrecht, by Mabuse -Portrait of Madame Grant afterward Princesse de Talleyrand, by Louise Elisabeth Vigee Le Brun -Portrait of Lady Julia Peel, by Sir Thomas Lawrence -Portraits of the Misses Anguish, by John Hoppner Sequence 4: Correspondence on Artists, from staff at Knoedler, including Carstairs. Also includes newspaper cuttings, photographs, publications, publications lists, sale catalogues, collection descriptions and notes on artists and individual works 13 -Abbott 1 Bundle (6 files); 1 file [1913-1961] -Arts Council of Great Britain -Alken -Apollo (empty file) -Auctioneers and auctions etc -Agnew-Aston -Ba-Bo [1925-1965] 14 -Bonnard 3 Bundles (12 files) [1917-1969] 7 -Baptiste -Burlington Magazine (empty file) -Br-Bu -Bronzino -Brabazon -Boudin -Boucher -Botticelli -Canaletto -J V D Capella[Cappelle] -Cezanne -Mr Charles Carstairs 15 -Christies 3 bundles (11 files) [1909-1959] -Cotes -Co-Cu Part II -Cranach -Crivelli -Crome -Cuyp -Untitled [Barraud] -Untitled [Beechey] -Untitled [Beckett] -RSV Barber Correspondence 16 -Christus Petrus 2 bundles (10
Load more

Recommended publications
  • Bernard Fleetwood-Walker (1893-1965) By
    The Social, Political and Economic Determinants of a Modern Portrait Artist: Bernard Fleetwood-Walker (1893-1965) by MARIE CONSIDINE A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham April 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT As the first major study of the portrait artist Bernard Fleetwood-Walker (1893- 1965), this thesis locates the artist in his social, political and economic context, arguing that his portraiture can be seen as an exemplar of modernity. The portraits are shown to be responses to modern life, revealed not in formally avant- garde depictions, but in the subject-matter. Industrial growth, the increasing population, expanding suburbs, and a renewed interest in the outdoor life and popular entertainment are reflected in Fleetwood-Walker’s artistic output. The role played by exhibition culture in the creation of the portraits is analysed: developing retail theory affected gallery design and exhibition layout and in turn impacted on the size, subject matter and style of Fleetwood-Walker’s portraits.
    [Show full text]
  • University of Cambridge
    Painting in Britain from Hogarth to Turner Mark Hallett Yale in London Summer 2014 1 PAINTING IN BRITAIN FROM HOGARTH TO TURNER The course examines painting in Britain during a period of remarkable artistic and cultural change. It looks in particular at the relationship between painting and different forms of artistic display, performance and self-promotion in the Georgian period, and offers close readings of individual practitioners and their works. The course begins with the emergence of William Hogarth as a leading figure within the mid-eighteenth-century British art world and looks in detail at his pictorial series, his portraits and his conversation pieces. The course then moves on to investigate the emergence of a new ‘Age of Exhibitions’ during the 1760s and 1770s. This was a period dominated by the annual displays of contemporary painting held by the Society of Artists and the Royal Academy, and by the portraiture produced by Joshua Reynolds and Thomas Gainsborough, whose works in the genre are studied in depth. The course then investigates the rise of the one-man exhibition in the 1780s and 1790s, before turning to the work of David Wilkie, and exploring the reasons why the kind of genre painting in which he specialised become so celebrated in the first decades of the nineteenth century. Painting in Britain: from Hogarth to Turner ends by studying of the work, careers and exhibition histories of two of the most ambitious landscape painters of the early nineteenth century, J.M.W Turner and John Constable. PRELIMINARY READING:
    [Show full text]
  • GAINSBOROUGH & the Landscape of Refinement •
    GAINSBOROUGH & The Landscape of Refinement • LOWELL LIBSON LTD • The lonely haunts of the solitary shepherd, – the return of the rustic with his bill and bundle of wood, – the darksome lane or dell, – the sweet little cottage girl at the spring with her pitcher, – were the things he delighted to paint, and which he painted with exquisite refinement, yet not a refinement beyond nature JOHN CONSTABLE ON THOMAS GAINSBOROUGH, 1836 • [ B ] • GAINSBOROUGH AND THE LANDSCAPE OF REFINEMENT • LOWELL LIBSON LTD Foreword LOWELL LIBSON LTD January 2014 marks precisely 100 years since the pioneering exhibition of Gainsborough drawings held by Knoedler in their New York gallery. The Knoedler show comprised 3 Clifford Street · London w1s 2lf some thirty sheets, fourteen of which had come from Barton Grange and been formed by Telephone: +44 (0)20 7734 8686 Gainsborough himself as a representative selection of his work as a draughtsman which he Fax: +44 (0)20 7734 9997 gave to his friend Goodenough Earl, with a further five drawings from the distinguished Email: [email protected] collection of John Postle Heseltine. This was the first major exhibition to show a group of Website: www.lowell-libson.com Gainsborough drawings, not only in America, but anywhere in the world and contributed largely to the revival of interest in his work as a draughtsman. We believe that our exhibition Lowell Libson is the largest commercial concentration of his drawings gathered since then. [email protected] Like the Knoedler show our selection includes drawings from the distinguished collec- Deborah Greenhalgh tions formed in the eighteenth century by Dr Thomas Monro and Dr John Hunter as well [email protected] as Sir Watkin Williams-Wynn.
    [Show full text]
  • Library Catalogue, 2020-21,Part 1
    DEPARTMENT OF THE HISTORY OF ART AND ARCHITECTURE, TCD, LIBRARY CATALOGUE, 2020-21, PART 1 L’ABBAYE S. WANDRILLE DE FONTE nos. 9-15 (1959-65); no. 17 (1967); no. 19 (1969) M19-M27 ABSTRACT PAINTING: see Michel Seuphor WADD 1 (Seminar Room) ABSTRACTION: Towards a New Art-Painting 1910-20 London, Tate Gallery, 1980 Introduction by Alan Bowness MO47 PATHS TO ABSTRACTION 1867-1917: Edited by Terence Maloon In association with the exhibition ‘Paths to Abstraction 1867-1917’ 26 June-19 September, 2010 Published by Art Gallery of New South Wales Sydney, 2010. (Donated by M. Johnson) (Seminar Room) MO282 (Seminar Room) ACADEMIES, MUSEUMS AND CANONS OF ART: Edited by Gill Perry and Colin Cunningham From series Art and Its Histories Published by Yale University Press, New Haven and London in association with The Open University, 1999. AH155 THE GALLERIA DELLA ACCADEMIA FLORENCE: Guide to the Gallery and Complete Catalogue By Giorgio Bansanti, Director of the Gallery Published by Editrice Giusti di Becocci & C. e. Scala, Instituo Fotografico Editoriale, SpA, Firence, 1990 AGM 2 ACKERMAN: James S. Palladio By James S. Ackerman Published by Penguin Books Ltd., London, 1991 (Donated by anonymous donor) R175 (Seminar Room) ACKERMANN: M. Max Ackermann Gemälde 1908-1967 (Paintings) Mittelrhein Museum Koblenz 2 September -29 October, 1967 (Gift of Anne Crookshank) MO253 (Seminar Room) 1 ACTON: M. Learning to look at Modern Art By Mary Acton Published by Routledge, London, 2004 (Gift of Ben Power) AH178 ACTON: M. Learning to look at Paintings By Mary Acton Published by Routledge, London, 2001 (Gift of Ben Power) AH188 ADAMS: B.
    [Show full text]
  • A Catalogue of British Old Master Paintings in the Collection of the Louisiana State University Museum Of
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2009 A catalogue of British old master paintings in the collection of the Louisiana State University Museum of Art Quincy Lee Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Lee, Quincy, "A catalogue of British old master paintings in the collection of the Louisiana State University Museum of Art" (2009). LSU Master's Theses. 3470. https://digitalcommons.lsu.edu/gradschool_theses/3470 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. A CATALOGUE OF BRITISH OLD MASTER PAINTINGS IN THE COLLECTION OF THE LOUISIANA STATE UNIVERSITY MUSEUM OF ART A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Quincy Lee B.A., Southeastern Louisiana University, 2006 May 2009 Dedicated to Shane and Siobhan ii ACKNOWLEDGMENTS I would like to acknowledge my committee members, Darius Spieth, Mark Zucker, and Justin Walsh, for their willingness to help me with this thesis and their constructive criticisms. I would especially like to thank H. P. Bacot for the idea for the paper, much of the information within, and guidance throughout and Frances Huber, Assistant Director for Collections Management at the Louisiana State University Museum of Art for all of the help she gave me in allowing access to the paintings and the accession folders.
    [Show full text]
  • The Library of Professor Leo Steinberg
    The Library of Professor Leo Steinberg 4164 titles in ca. 4600 physical volumes INTRODUCTORY MATERIAL DICTIONARY OF ART HISTORIANS A Biographical Dictionary of Historic Scholars, Museum Professionals and Academic Historians of Art Steinberg, Leo, né Zalman Lev Date born: July 9, 1920 Place Born: Moscow, Russia Date died: March 13, 2011 Place died: New York, NY Michelangelo- and modernist art historian; Benjamin Franklin professor of art at University of Pennsylvania, 1975- 1991. Steinberg was born in Moscow of German-Jewish parents (his mother was Anyuta Esselson [Steinberg], 1890- 1954) and his father, Isaac Nachman Steinberg (1888-1957), government figure and lawyer in revolutionary Russia. Lenin appointed Steinberg's father commissar of justice. His idealism, (he wanted to abolish the prison system, for example) forced the family into exile in Berlin, where the younger Steinberg grew up. After the rise of the Nazis in Germany, the family moved to London where Steinberg studied (studio) painting and sculpture at the Slade School in London from 1936 to 1940. After World War II he immigrated to New York working initially as a freelance writer and translator (including a holocaust account, Ashes and Fire, 1947). He also taught drawing at the Parsons School of Design. He studied art history at the Institute of Fine Arts, New York University, under Richard Krautheimer and Wolfgang Lotz, receiving his Ph.D., in 1960. His dissertation, written under Lotz, was on Borromini's San Carlo alle Quattro Fontane. In 1962 he an art editor for Life magazine married Dorothy Seiberling (later divorced). Between 1962-1975 Steinberg taught art history and life drawing at Hunter College, the City University of New York.
    [Show full text]
  • Italian Art at the Utah Museum of Fine Arts (UMFA) Spans Several Centuries, from the Late 1300S to the 1900S
    Ursula M. Brinkmann Pimentel ITALIAN ART AT THE UTAH MUSEUM OF FINE ARTS A GUIDE TO THE COLLECTION Contributors: Elizabeth A. Peterson Martha A. Seiner Madelyn D. Garrett 1 Copyright © Ursula M. Brinkmann Pimentel 2000 All Rights Reserved Published by the Utah Museum of Fine Arts, University of Utah, Salt Lake City, UT 84112, USA. This publication is made possible, in part, by generous support from Friends of the Art Museum and the Salt Lake City Arts Council. Accredited by the 2 CONTENTS Page Foreword ………………………………………………………..………………………………………………..9 Acknowledgments………………………………………………………………..………………………………10 Catalogue………………………………………………………………………………………………………...11 Explanation of Cataloguing Practices ………………...…………………………………………………………12 Cat. 1 Unknown Italian, Madonna and Child with Angels……………………………………………………..14 2 Unknown Italian, possibly Tuscan, Parchment Leaf from the Proper of Saints, Feast of the Nativity of St. John the Baptist (24 June), Matins, Third Nocturn…………………..……..18 3 Unknown Italian, possibly Tuscan, Parchment Leaf from the Common of Saints, Common of Several Martyrs, Matins, Second-Third Nocturns………………………...………………..21 4 Fra Filippo di Tomaso Lippi, Madonna and Child………………………………………………………23 5 Unknown Italian, Saint Cecilia…………………………………………………………………………..27 6 School of Andrea Mantegna, Entombment with Three Birds……………………………………………31 7 Daniel Hopfer, Battle between Two Tritons, after Andrea Mantegna…………………………………...35 8 Polidoro di Bartolomeo, Crucifixion with Saints (Virgin Mary, Mary Magdalen, St. John the Apostle, St. Francis of Assisi,
    [Show full text]
  • ABSTRACT Title of Thesis: 'A WORLD of TROUBLE
    ABSTRACT Title of Thesis: ‘A WORLD OF TROUBLE’: JOSEPH WRIGHT OF DERBY IN BATH, 1775-1777 Abram Jacob Fox, Master of Arts, 2009 Thesis directed By: Professor William Pressly Department of Art History Between November 1775 and June 1777, Joseph Wright of Derby (1734-1797) spent two social ‘seasons’ in the resort town of Bath. Shortly after returning from two years in Rome, Wright left Derby with his new wife and child in hopes of becoming the premier portrait painter in Bath, filling the void left by Thomas Gainsborough’s departure the previous year. Rather than achieving success, Wright found himself ill- equipped for the complex social interactions of his new city and severely wanting for commissions. In light of Wright’s professional failure in Bath, particularly contrasted with the artist’s highly successful 1768-1771 Liverpool period, the Bath period has become a forgotten episode in critical literature on Wright. This thesis examines Wright’s life during those two years, collecting for the first time all of his published Bath works and correspondence and exploring the dramatic effects of the experience on his career. ‘A WORLD OF TROUBLE’: JOSEPH WRIGHT OF DERBY IN BATH, 1775-1777 By Abram Jacob Fox Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2009 Advisory Committee: Professor William Pressly, Chair Professor June Hargrove Professor Marjorie Venit Disclaimer The thesis or dissertation document that follows has had referenced material removed in respect for the owner's copyright.
    [Show full text]
  • Italian Paintings of the Sixteenth Century
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Sixteenth Century Italian Paintings of the Sixteenth Century Published March 21, 2019 Generated March 21, 2019 To cite: Robert Echols, Peter Humfrey, Italian Paintings of the Sixteenth Century, NGA Online Editions, https://purl.org/nga/collection/catalogue/italian-paintings-of-the-sixteenth-century/2019-03-21 (accessed March 21, 2019). Italian Paintings of the Sixteenth Century © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Sixteenth Century CONTENTS 01 Caletti, Giuseppe 02 Portrait of a Man as Saint George 17 Caliari, Benedetto 18 Saint Jerome in the Wilderness 25 Caliari, Gabriele 26 Saint Lucy and a Donor 35 Pace, Gian Paolo 36 Alessandro Alberti with a Page 45 Emilia di Spilimbergo 58 Irene di Spilimbergo 71 Sustris, Lambert 72 Christ at the Sea of Galilee 90 Tintoretto, Domenico 91 Susanna 99 Tintoretto, Jacopo 104 Andrea Renier and His Son Daniele 110 The Conversion of Saint Paul 126 Doge Alvise Mocenigo and Family before the Madonna and Child 141 The Madonna of the Stars 150 Portrait of a Man with a Landscape View 160 A Procurator of Saint Mark's 170 Summer 185 The Worship of the Golden Calf 194 Circle of Tintoretto Contents © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Sixteenth Century 195 Christ at the Sea of Galilee 213 Lamentation 220 Titian 224 Allegory of Love 237 Andrea de' Franceschi
    [Show full text]
  • The Barber Institute of Fine Arts at 80
    Christie’s Bulletin for professional advisers The BarBer InsTITuTe Who Was Lady BarBer and Why and of fIne arTs aT 80 hoW Was her eponymous InsTITuTe founded and deveLoped? The magnificent Barber Institute of Fine Arts Martha Constance Hattie Onions was born at the University of Birmingham was founded by in Worcestershire in 1869, the daughter of a Lady Barber’s Deed of Settlement on 13 December prosperous bellows manufacturer, and was robert Wenley to enjoy a comfortable childhood including Barber Institute of fine arts 1932. The Barber is marking the 80th anniversary Robert Wenley is the Acting of this momentous event with an ambitious education at the prestigious Cheltenham Ladies’ Director of the Barber Institute of Fine Arts at the University series of exhibitions, loans and events through College. She proved herself to be a talented of Birmingham, having joined pianist and studied at the Royal Academy of in May 2010 as the Head of the ensuing 12 months and the publication Collections and Learning. of a richly illustrated commemorative book. Music in the 1880s. In 1893 she married (William) He was previously Curator Henry Barber (1860–1927), a solicitor and very of European Art, 1600–1800 and Acting Head of Research Today, the Barber possesses one of the most successful Birmingham property developer. He (Art) for Glasgow Museums (2003–10), and Curator of extraordinary collections of its size in the world, had brilliantly exploited the opportunities offered Sculpture and Works of Art by the rapid growth of the city during the 1880s at the Wallace Collection, together with a splendid concert hall, and two London, where he worked well-stocked specialist libraries, all within one of and 1890s to the extent that he was able to retire from 1991 to 2003.
    [Show full text]
  • Ellis Kirkham Waterhouse Notebooks and Research Files, 1801-1987, Bulk Ca
    http://oac.cdlib.org/findaid/ark:/13030/tf067n9785 No online items Finding aid for the Ellis Kirkham Waterhouse notebooks and research files, 1801-1987, bulk ca. 1924-ca. 1979 Finding aid prepared by Hillary Brown. 870204 1 Descriptive Summary Title: Ellis Kirkham Waterhouse notebooks and research files Date (inclusive): 1801-1987 (bulk ca. 1924-ca. 1979) Number: 870204 Creator/Collector: Waterhouse, Ellis Kirkham, 1905- Physical Description: 15.0 linear feet(34 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: The archive documents the scholarly career of Ellis Waterhouse, art historian and museum director. A major part of the archive consists of notebooks, maintained from 1924 until his death in 1985, in which he recorded paintings seen in private and public collections. The remainder of the papers are research materials on various subjects within art and architecture, manuscripts of lectures, notes on sales, and reviews by Waterhouse and others. 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 Ellis Kirkham Waterhouse was distinguished as both a scholar and a museum director. Waterhouse began studying art history when the subject was not yet taught at Oxford, his alma mater, and by the end of his career was a major figure among British art historians. Waterhouse's legacies to British art historical studies are his pioneering research in the areas of 18th century British painting and the Italian Baroque, his exacting methods of provenance studies and connoisseurship, and his passion for creating well organized and endowed scholarly libraries.
    [Show full text]
  • Refiguring the Art Museum in Twentieth-Century Britain Ana
    The Road to Renewal: Refiguring the Art Museum in Twentieth-Century Britain Ana Baeza Ruiz Submitted in accordance with the requirements for the degree of Doctor in Philosophy The University of Leeds, School of Fine Arts, History of Art and Cultural Studies January 2017 2 Intellectual Property and Publication Statements The candidate confirms that the work submitted is her own, except where work which has formed part of jointly-authored publications has been included. The contribution of the candidate and the other authors to this work has been explicitly indicated below. The candidate confirms that appropriate credit has been given within the thesis where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2017 The University of Leeds and Ana Baeza Ruiz The right of Ana Baeza Ruiz to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. 3 Acknowledgements A PhD is no individual project, even though it can at times be a lonesome one. There are many people that have made their way into this thesis, but I am especially grateful to my supervisors, Susanna Avery-Quash and Mark Westgarth, for their insightful comments and unfaltering encouragement. I am greatly indebted to the kind assistance of numerous archivists, librarians and museum curators who have made my research a lot more manageable, and I would like to especially thank Ceri Brough, Nicholas Donaldson, Shana McKenna, James Lomax, Alan Crookham, Tom Mitchie, Nicola Kennedy, and Richard Wragg.
    [Show full text]