DOCSLIB.ORG

FRANCIS BARLOW English Book Illustration

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FRANCIS BARLOW English Book Illustration FRANCIS BARLOW First master of English book illustration EDWARD HODNETT EDWARD HODNETT FRANCIS BARLOW First Master of English Book Illustration UNIVERSITY OF CALIFORNIA PRESS Printed in Great Britain by The Scolar Press Ltd Ilkley, Yorkshire © Edward Hodnett 1978 ISBN O-52O-93409-O Library of Congress Catalog Card No. 76-55570 Preface i Francis Barlow’s Career 11 n Book Illustration in Plngland before 1700 35 h i Marcus Gheeraerts the Elder and the Tradition of Aesopic Fable Illustration 57 iv Francis Cleyn and John Ogilby 73 v The Minor Works of Barlow 89 vi Barlow’s Illustrations of Theophila by Edward Benlowes (1652) 112 v 11 The Interpretive Illustrations of Wenceslaus Hollar - Ogilby’s Aesop Paraphras'd (1665); his Aesopics and The Ephesian Matron (1668) 134 vin Barlow’s Aesop's Tables (1666) 167 ix Barlow’s Designs for Ogilby’s Aesopics and Androcleus (1668); his Life of Aesop Series (1687) 197 Bibliography Index 5 Actes and Monuments, 25, 39, 40, 64 B a r k e r , Robert, 114 Aesop: Five Centuries of Illustrated Fables, 6 5 B a r l o w , Francis Aesopic fables, 64-72 Aesopic ’s: or a Second Collection of Fables Aesopic's: or a Second Collection of Fables Paraphras’din Verse(i668), 96, 99, 106, 109, Paraphras’din Verse( 1668). See Hollar, 167, 197-202, 204, 222; see also Hollar Wenceslaus, and Barlow, Francis; (1673) Aesop’s Fables. With his life. In English French Ogilby, John ePLatine(1666), 13, 28, 93, 154, 167-96, 197, AesopiPhrygis, et aliorumfabulae(1565), 70 206,213, 222 Aesopi Phrygis Fabulae (1385), 209 Aesop’s Fables, etc. (1687), 16, 167, 171, 206-20 Aesopi Phrygis fabule (15 6 6), 70 Aesop's Fables, etc. (1703), 16, 220 Aesop Paraphras'd. See Fables of Aesop anatomy, knowledge of, 179 Paraphras'din Verse Androcleus, or the Roman Slave, 78, 96, 99, 100, Aesop’s Fables (1497), 37 153,161,165,167,197,202-06, 219, 220, 222 Aesop's Fables (1666, 1687, 1703). See Barlow animals and birds, 11, 13, 14, 17-19, 20-23, 33, Aesop’s Fable Sail'S), 221 96, 102-09, 117, 123, 129, 141, 167, 168, 169, A.H.,54 182-89, 202 A l b a , Duke of, 57 apprenticeship, 14 A l c i a t i , Andrea, 67, 196 Benlowes’ portrait, 114-19 A l d u s. See Manutius, Aldus birds. See animals and birds A l e x a n d e r the G r e a t , 170 birthplace, 13,14, 16 A m b r o se , Isaac, 142 Britannia, 109 Anatomy of the Horse, 99 burial place, 16 A n d r e w s , Keith K., 63 cartoons, political, 11,25, 26-33 Androcleus, or the Roman Slave (1668). See Barlow; commentary, social, 24-26 (1673) Ogilby ‘David Slaying the Lion’, 23 Anecdotes, Observations, and Characters of Men, 84 death, place of, 13, 15 Animalium, Ferarum, ePBestiarum, 136 Description and Use of theCarpenters-Rule, 95 Annals of the Old and New Testament ( Annals Diversae Avium Species, 102 of the World), 97 Divers Species of Birds, 19, 103 AntiquitatesChristianae, 54 drawings, u , 13, 20-24, 28, 171-74, 209, 222 Antiquities of Nottinghamshire, 142 Electra portrait of Princess Elizabeth, the, Apologi creaturarum, 60, 62, 80 89-93, 178 Ariosto, Ludovico, 46-48, 5 3 engravings after, 114, 170, 202, 204, 206, A r t of Drawing with the Pen, The, 48 207-08 A r t of Graveing and Etching, The, 20 etchings, by and after, 11, 12, 14, 26, 28, 89, 91, A r u n d e l , Thomas Howard, second Earl of, 134 92, 93, 96, 97, 114, 167-68, 170, 171-72, 178, A sh m o l e , Elias, 138 206,207,209 A u b r e y , John, 75, 78 Fablesd'Esope (1704), 220 A u e r b a c h , Erna, 39 frontispieces, 89, 93, 95-100, 114, 168-69, 202 Genealogical History of the Kings of England, A y r e s , Philip, too 111 B a l l a i n , Geoffroy, 67 Gentleman's Recreation, The, 106-09 229 I , - __________ ____ ___ .........' ' ' ................... ... FRANCIS BARLOW guide books, 109-10 B e z a , Theodore, 51 influence, 220-22 Bible, 39, 77, 113, 138, 143 interpretation of texts, 11, 95, 174-79, 192-96, Bion, 5 3 202,206,209, 215, 222 B ish (Bysshe), Sir Edward, 33 involvement, emotional, 190-96, 222 B l o m e , Richard, 106, 138 Itinerarium Angliae, 109 B l o u n t , Sir W. K., 141 landscapes, 87, 106, 109, 132, 187-89 B o c c a c c io , Giovanni, 37 ‘Last Horse Race, The’, 109 Boke Named the Roy all, 3 8 Life of Aesop illustrations ( 1687), 64-65, too, Boke of Hawkynge andHuntynge, 36, 106 167,171, 204, 207, 208-20 Bonaventura, St., 36 Mores Hominum. The Manners of Men Described in B o n e r , Ulrich, 67 Sixteen Satyrs by Juvenal, 100-02, 141, 143, Booke of Faulconrie or Hawking, The, 45 144, 204 Book of Christian Prayers, The, 113-14 motifs, sources of, and degrees of Book of Martyrs, The, 40 indebtedness, 174-78, 180, 215 B r a n t , Sebastian, 36, 37, 38 Multae et diversae Avium Species, 14, 102 Bristol, John Hervey, first Earl of, 15, 16, 17 paintings, 11, 12, 13, 17 -19 , 170 Britannia (1673), 138 Parly of Beasts, The, or Morphandra, 97-99, 202 Britannia{ 1675), 78, 109 patrons, 16-17 British Sporting Prints, 17 Pelecanicidium: or, the Christian Adviser against B r o m e , Richard, 74-75 Self-Murder, 91, 93-95, 117, 131, 170, 222 B roughton, Hugh, 46 playing cards, 25-26, 221 B r o w n , John, 95 publisher, 24, 167-68, 206 B r o w n , Samuel, 91, 92, 142 references to, contemporary, 12-13 B u n y a n , John, 5 3 reputation, 11,13 , 45, 55, 175, 220, 222 B u r g h e r s , Michiael, 5 3 residences, 13, 14, 15 Bynneman, Henry, 39, 43, 45, 55, 61, 62 Seuerall Wayes of Hunting, Hawking, <& Fishing, 104-06,109,142, 222 C a d e m a n , W., 51 sporting scenes, 11, 87,104, 189 Canterbury Tales, The, 36 style, 117, 179, 212, 215, 219 Caro lies, 78 technique, 20-22, 178-81 Carter, W., 83 text of Aesop's Fables, polyglot, 170-71, 220 Castle of Labour, The, 3 8 Theophila, or Love’s Sacrifice, 12, 13,42, 50, 93, Catalogue of British Drawings: X V I & X V I I 95, 112-33, 168, 170, 179, 206, 220, 222 Centuries, 171 @T)po\oyia, or The Queen O f the Inchanted Hand Catalogue of Engraved and Etched Title-Pages, 100 {The Parly of Beasts, or Morphandra), 97-99, 202, C a t h e r i n e o f B r a g a n z a , Queen o f England, title-pages, 14, 95-100, 102, 104, 109,166, 167, 16, 17, 134, 144 168, 171, 207 C a u k e r c k e n , Cornells, 87 ‘To the Reader’, 169, 207 C a v e , William, 54 Vertue’s account of, 13-14, 15 C a v e n d i s h , William. See Devonshire and B a r k e r , Christopher, 113 Newcastle B a t e m a n , Stephen, 40, 43, 61 C a x t o n , William, 35, 36, 37, 39, 5 5, 69 B e a r d sl e y , Aubrey, 212 C e c i l l , Thomas, 74 B e c k e t t , Isaac, 100 ceramic tiles, 25-26 C h a r l e s i B e d e l l , Gabrieli, 97 , King of England, 19, 73, 77, 89, 91, B e h a m , Hans Sebald, 39 92, 95, 97, 112, 119, 134 B e h n , Aphra, 207-08, 212, 215, 219, 220 C h a r l e s ii, King of England, 16, 19, 24, 26, B e n e sc h , Otto, 11,131,132 28-33, 77, 78, 87, 91, 92, 100, 109, 134, 136, B e n l o w e s, Edward, 112-33 143, 144, 159, 197, 202, 212, 220 B en n ett, Edward T., 23 C h a r l e s i v , King of Spain, 95 C h a r l e s v , B e n tley, Thomas, 46 Duke of Lorraine, 28-30 Berger Extravagant, Le, 50 C h a r l e s xi, King of Sweden, 30 C h a u c e r , B et t e s, John, 40 Geoffrey, 36, 37 Bevis of Hampton, 37 C h a u v e a u , Francois, 23 B e w i c k , Thomas, 185, 221 Choice of Emblemes, A , 48 230 Index ChristallGlasse, A , 40, 43, 61 D a v ie s , John, of Kidwelly, 50, 132 C h r ist ia n i v , King of Denmark, 73 D a y , John, 39-43, 55, 61 Chronicles of England, Scotlande, and Irelande, 25, 45, de C l e r c k , Pieter, 70 61, 62-64 D e C r it z family, 60 Clandon Park, 17 de D en e, Edewaerd, 70 Defence de la Religion Reformee et de la Monarchie et C l a r k e , Samuel, 92, 96, 97 C lef des champs pour trouver plusieurs Animaux, La, Eglise Anglicanae, La, 92 136 de J o d e , Gerard, 60 C le y n , Francis, 12, 14, 55, 73, 74, 75, 88, 167, D e l a r a m , Francis, 50 de M a r n e f , Jerome, 209, 221 i 74, 175 > 179, 221 Aeneid, 83-84, 88 D e n h a m , Henry, 43, 46 Bucolics, 84 D e n m a r k , King of, (Frederick III), 26 Eclogues, 88 D e n n y, Sir William, 91, 93-95, 112, 131, 170 etching, his, 74, 75, 83 de P a s s e , Crispin.
Load more

Recommended publications
  • Kingston Lacy Illustrated List of Pictures K Introduction the Restoration
    Kingston Lacy Illustrated list of pictures Introduction ingston Lacy has the distinction of being the however, is a set of portraits by Lely, painted at K gentry collection with the earliest recorded still the apogee of his ability, that is without surviving surviving nucleus – something that few collections rival anywhere outside the Royal Collection. Chiefly of any kind in the United Kingdom can boast. When of members of his own family, but also including Ralph – later Sir Ralph – Bankes (?1631–1677) first relations (No.16; Charles Brune of Athelhampton jotted down in his commonplace book, between (1630/1–?1703)), friends (No.2, Edmund Stafford May 1656 and the end of 1658, a note of ‘Pictures in of Buckinghamshire), and beauties of equivocal my Chamber att Grayes Inne’, consisting of a mere reputation (No.4, Elizabeth Trentham, Viscountess 15 of them, he can have had little idea that they Cullen (1640–1713)), they induced Sir Joshua would swell to the roughly 200 paintings that are Reynolds to declare, when he visited Kingston Hall at Kingston Lacy today. in 1762, that: ‘I never had fully appreciated Sir Peter That they have done so is due, above all, to two Lely till I had seen these portraits’. later collectors, Henry Bankes II, MP (1757–1834), Although Sir Ralph evidently collected other – and his son William John Bankes, MP (1786–1855), but largely minor pictures – as did his successors, and to the piety of successive members of the it was not until Henry Bankes II (1757–1834), who Bankes family in preserving these collections made the Grand Tour in 1778–80, and paid a further virtually intact, and ultimately leaving them, in the visit to Rome in 1782, that the family produced astonishingly munificent bequest by (Henry John) another true collector.
    [Show full text]
  • Anecdotes of Painting in England : with Some Account of the Principal
    C ' 1 2. J? Digitized by the Internet Archive in 2013 http://archive.org/details/paintingineng02walp ^-©HINTESS <0>F AEHJKTID 'oat/ /y ' L o :j : ANECDOTES OF PAINTING IN ENGLAND; WITH SOME ACCOUNT OF THE PRINCIPAL ARTISTS; AND INCIDENTAL NOTES ON OTHER ARTS; COLLECTED BY THE LATE MR. GEORGE VERTUE; DIGESTED AND PUBLISHED FROM HIS ORIGINAL MSS. BY THE HONOURABLE HORACE WALPOLE; WITH CONSIDERABLE ADDITIONS BY THE REV. JAMES DALLAWAY. LONDON PRINTED AT THE SHAKSPEARE PRESS, BY W. NICOL, FOR JOHN MAJOR, FLEET-STREET. MDCCCXXVI. LIST OF PLATES TO VOL. II. The Countess of Arundel, from the Original Painting at Worksop Manor, facing the title page. Paul Vansomer, . to face page 5 Cornelius Jansen, . .9 Daniel Mytens, . .15 Peter Oliver, . 25 The Earl of Arundel, . .144 Sir Peter Paul Rubens, . 161 Abraham Diepenbeck, . 1S7 Sir Anthony Vandyck, . 188 Cornelius Polenburg, . 238 John Torrentius, . .241 George Jameson, his Wife and Son, . 243 William Dobson, . 251 Gerard Honthorst, . 258 Nicholas Laniere, . 270 John Petitot, . 301 Inigo Jones, .... 330 ENGRAVINGS ON WOOD. Arms of Rubens, Vandyck & Jones to follow the title. Henry Gyles and John Rowell, . 39 Nicholas Stone, Senior and Junior, . 55 Henry Stone, .... 65 View of Wollaton, Nottinghamshire, . 91 Abraham Vanderdort, . 101 Sir B. Gerbier, . .114 George Geldorp, . 233 Henry Steenwyck, . 240 John Van Belcamp, . 265 Horatio Gentileschi, . 267 Francis Wouters, . 273 ENGRAVINGS ON WOOD continued. Adrian Hanneman, . 279 Sir Toby Matthews, . , .286 Francis Cleyn, . 291 Edward Pierce, Father and Son, . 314 Hubert Le Soeur, . 316 View of Whitehall, . .361 General Lambert, R. Walker and E. Mascall, 368 CONTENTS OF THE SECOND VOLUME.
    [Show full text]
  • English Female Artists
    ^ $525.- V ^ T R /S. / / \ * t {/<•/dti '/’rlk- Printed lor Hob'.Saryer.N?^ in Fleet Street ■ ENGLISH 'EMALE ART < rn us. Ei.LSK C. G) aYXO v A' £HOR Of •' QUi'JBKir OF 80N0 ' !,'TO. • • • VOL f. LONDON; ! OTHERS, S CATHERINE ST.. SXRAN I) 187C. (A'ii *1 ijkti r ;,d) * ENGLISH FEMALE ARTISTS. lBY ELLEN C. CLAYTON, AUTHOR OF “QUEENS OF SONG,” ETC. IN TWO VOLUMES. VOL. I. I- LONDON: TINSLEY BROTHERS, 8 CATHERINE ST., STRAND. 1876. (All rights reserved.) TO (gHsabftlt Sltompisian THIS BOOK, A ROLL CALL OF HONOURABLE NAMES, is BY PERMISSION INSCRIBED, IN TESTIMONY OF ADMIRATION FOR HER GENIUS. CONTENTS. CHAPTER I. PAGE Susannah Hornebolt. Lavinia Teerlinck ... ... ... 1 CHAPTER II. Anne Carlisle. Artemisia Gentileschi. The Sisters Cleyn 14 CHAPTER III. Anna Maria Carew. Elizabeth Neale. Mary More. Mrs. Boardman. Elizabeth Creed ... ... ... ... 35 CHAPTER IY. Mary Beale ... ... ... ... ... ... 40 CHAPTER Y. Susan Penelope Rose ... ... ... ... ... 54 CHAPTER VI. Anne Killigrew ... ... ... ... ... ... 59 CHAPTER VII. Maria Varelst ... ... ... ... ... ... 71 VI CONTENTS. CHAPTER VIII. PAGE Anne, Princess of Orange. Princess Caroline. Agatha Van- dermijn. Sarah Hoadley 78 CHAPTER IX. Elizabeth Blackwell 91 CHAPTER X. Mary Delany 96 CHAPTER XL Frances Reynolds 146 CHAPTER XII. Maria Anna Angelica Catherine Kauffman 233 CHAPTER XIII. Mary Moser 295 CHAPTER XIV. Maria Cecilia Louisa Cosway 314 CHAPTER XV. Amateurs: Temp. George the Third 336 CHAPTER XVI. The Close of the Eighteenth Century 359 CHAPTER XVII. The Earlier Years of the Nineteenth Century ... 379 CHAPTER XVIII. Mary Harrison. Anna Maria Charretie. Adelaide A. Maguire 410 LIST OF THE PRINCIPAL AUTHORITIES CONSULTED FOR THE FIRST VOLUME. Annual Registek. Abt Joubnal.
    [Show full text]
  • Barry Mcglashan L I N E O F B E a U T Y Barry Mcglashan L I N E O F B E a U T Y
    Barry McGlashan L INE OF B EAUTY Barry McGlashan L INE OF B EAUTY 2–24 N OVEM B ER 2018 FOREWORD BY WALDEMAR JANUSZCZAK John Martin Gallery Barry’s World by Waldemar Januszczak Talk about a kid in a sweet shop! What evident fun Death of Ananias… Our job as viewers – our pleasure Barry McGlashan has had recreating and imagining as viewers – is to explore the details, make sense the studios of great artists. Let loose on the entire of them, puzzle over them, connect them, decipher history of art, free to pop into any studio he wants, them. Some of the pleasure you get from a Barry buzzing between geniuses and epochs like a bee McGlashan picture is the kind of pleasure you get collecting pollen, McGlashan paints pictures that from a Where’s Wally book. throb with the Hello! Magazine pleasure of sneaking into people’s houses and having a good gawp. In fact, artists taking on other artists is a genre with plenty of precedents. To give you an immediate Look, there’s Raphael with his mistress, La Fornerina, example, Rembrandt’s great self-portrait at Kenwood sitting on his knee while he paints her portrait! Look, House, the one with two mysterious circles looming there’s Leonardo at work on the Mona Lisa! And isn’t up behind him, was a deliberate riposte to the that the table around which Jesus and the Apostles celebrated Greek painter, Apelles, who was famous sat in the Last Supper? Look, it’s Toulouse Lautrec for being able to draw a perfect circle, freehand.
    [Show full text]
  • MASTER DRAWINGS Index to Volumes 1–55 1963–2017 Compiled by Maria Oldal [email protected]
    MASTER DRAWINGS Index to Volumes 1–55 1963–2017 Compiled by Maria Oldal [email protected] The subject of articles or notes is printed in CAPITAL letters; book and exhibition catalogue titles are given in italics; volume numbers are in Roman numerals and in bold face. Included in individual artist entries are authentic works, studio works, copies, attributions, etc., arranged in sequential order within the citations for each volume. When an author has written reviews, that designation appears at the end of the review citations. Names of collectors are in italics. Abbreviated names of Italian churches are alphabetized as if fully spelled out: "Rome, S. <San> Pietro in Montorio" precedes "S. <Santa> Maria del Popolo." Concordance of Master Drawings volumes and year of publication: I 1963 XII 1974 XXIII–XXIV 1985–86 XXXV 1997 XLVI 2008 II 1964 XIII 1975 XXV 1987 XXXVI 1998 XLVII 2009 III 1965 XIV 1976 XXVI 1988 XXXVII 1999 XLVIII 2010 IV 1966 XV 1977 XXVII 1989 XXXVIII 2000 XLIX 2011 V 1967 XVI 1978 XXVIII 1990 XXXIX 2001 L 2012 VI 1968 XVII 1979 XXIX 1991 XL 2002 LI 2013 VII 1969 XVIII 1980 XXX 1992 XLI 2003 LII 2014 VIII 1970 XIX 1981 XXXI 1993 XLII 2004 LIII 2015 IX 1971 XX 1982 XXXII 1994 XLIII 2005 LIV 2016 X 1972 XXI 1983 XXXIII 1995 XLIV 2006 LV 2017 XI 1973 XXII 1984 XXXIV 1996 XLV 2007 À l’ombre des frondaisons d’Arcueil: Dessiner un jardin du XVIIe siècle, exh. cat. by Xavier Salmon et al. Review. LIV: 397–404 A. S.
    [Show full text]
  • Press Image Sheet
    1. Neptune and Cupid Plead with Vulcan for the Release of Venus and 2. Triumph of Bacchus, about 1560 Mars, about 1625–1636 Design overseen by Raphael (Raffaello Sanzio, Italian, 1483–1520), Design by an Unknown Northern Artist about 1518–1519 Border design by Francis Cleyn (German, 1582–1658), about Design and cartoon by Giovanni da Udine (Italian, 1487–1564) 1625–1628 in collaboration with other artists from the workshop of Raphael, Mortlake Tapestry Works (English, founded 1619) under the about 1518–1520 ownership of Sir Francis Crane (English, about 1579–1636) Brussels workshop of Frans Geubels (Flemish, flourished 1545– Wool, silk, and gilt metal-wrapped thread 1585) H: 440 x W: 585 cm (173 1/4 x 230 5/16 in.) Wool, silk, and gilt metal-wrapped thread Le Mobilier National, Paris H: 495 x W: 764 cm (194 7/8 x 300 13/16 in.) Image © Le Mobilier National. Photo by Lawrence Perquis Le Mobilier National, Paris EX.2015.6.3 Image © Le Mobilier National. Photo by Lawrence Perquis EX.2015.6.4 3. The Chariot of Triumph Drawn by Four Piebald Horses (also known 4. Constantius [I] Appoints Constantine as his Successor, about as The Golden Chariot), about 1606–1607 1625–1627 Design by Antoine Caron (French, 1521–1599), about 1563–1570 Design by Peter Paul Rubens (Flemish, 1577–1640), 1622 Border design attributed to Henri Lerambert (French, about Border design attributed to Laurent Guyot (French, about 1575– 1540/1550–1608), about 1606–1607 after 1644), about 1622–1623 Cartoon by Henri Lerambert (French, about 1540/1550–1608), Workshop of Faubourg Saint-Marcel (French, active 1607–1661) about 1606–1607 under the direction of entrepreneurs Marc de Comans (Flemish, Louvre workshop of Maurice I Dubout (French, died 1611) 1563–1644) and François de La Planche (Flemish, 1573–1627) Wool and silk Wool, silk, and gilt metal-wrapped thread H: 483 x W: 614 cm (190 3/16 x 241 3/4 in.) H: 458 x W: 407 cm (180 5/16 x 160 1/4 in.) Le Mobilier National, Paris Le Mobilier National, Paris Image © Le Mobilier National.
    [Show full text]
  • Sir Francis Crane Kt. and Dr. William Davison; Patient and Doctor in Paris in 1636
    Medical History, 1979, 23: 346-351. SIR FRANCIS CRANE KT. AND DR. WILLIAM DAVISON; PATIENT AND DOCTOR IN PARIS IN 1636 by LAURENCE MARTIN* THIS DUAL biographical essay concerns two outstanding men of the seventeenth century, an Englishman and a Scotsman. They made their reputations in very different walks of life and in different countries. Both were proteges of royalty; Sir Francis Crane of James I and Charles I, and William Davison of Charles I and Queen Henrietta Maria, as well as of the kings of France and Poland, to whom he was successively appointed physician. Crane was a courtier, administrator, and man of the world; Davison was a chemist, botanist, and Paracelsian physician. The two were briefly brought together in Paris in 1636 as patient and doctor. Both died in Paris; Crane in 1636 and Davison in 1669. Nothing is known of the parentage or ancestry of Sir Francis Crane (Fig. 1); neither the date and place of his birth nor his exact age at death are recorded. This is all the more remarkable because he and his relations were prominent people holding appointments in the Court, royal households and State. Thus his only brother, Richard Crane (d. 1645), was Captain and Gentleman of the Privy Chamber in the reign of Charles I and was created a baronet in 1642. His cousin, John Crane (1576- 1661) of Loughton, Bucks., was an Officer of the Admiralty and Surveyor General of Victuals for all ships. He had been a servant of Queen Elizabeth I before becoming Chief Clerk of the Green Cloth to James I, Charles I, and Charles II.
    [Show full text]
  • Exhibition Checklist Woven Gold: Tapestries of Louis Xiv
    EXHIBITION CHECKLIST WOVEN GOLD: TAPESTRIES OF LOUIS XIV At the J. Paul Getty Museum, Getty Center December 15, 2015 – May 1, 2016 In the hierarchy of court art, tapestry was regarded, historically, as the preeminent expression of princely status, erudition, and aesthetic sophistication. Extraordinary resources of time, money, and talent were allocated to the creation of these works meticulously woven by hand with wool, silk, and precious- metal thread, after designs by the most esteemed artists. The Sun King, Louis XIV of France (born 1638; reigned 1643–1715), formed the greatest collection of tapestries in early modern Europe. By the end of his reign, the assemblage was staggering, totaling some 2,650 pieces. Though these royal hangings were subsequently dispersed, the largest, present repository of Louis’s holdings is the Mobilier National of France. With rare loans from this prestigious institution, Woven Gold: Tapestries of Louis XIV explores and celebrates this spectacular accomplishment. This exhibition was organized by the J. Paul Getty Museum in association with the Mobilier National et les Manufactures Nationales des Gobelins, de Beauvais et de la Savonnerie. We gratefully acknowledge the Hearst Foundations, Eric and Nancy Garen, and the Ernest Lieblich Foundation for their generous support. Catalogue numbers refer to Woven Gold: Tapestries of Louis XIV by Charissa Bremer-David, published by The J. Paul Getty Museum numbers refer to the GettyGuide® audio tour Louis XIV as Collector, Heir, Patron By the end of Louis XIV’s reign, the French Crown’s impressive holdings of tapestries had grown by slow accumulation over centuries and by intense phases of opportunistic acquisition and strategic patronage.
    [Show full text]
  • The Hunt of the Unicorn: Tapestry Copies Made for Stirling Castle, Scotland
    The Hunt of the Unicorn: Tapestry Copies Made for Stirling Castle, Scotland by Amy Beingessner A Thesis presented to The University of Guelph In partial fulfilment of requirements for the degree of Master of Arts in Art History and Visual Culture Guelph, Ontario, Canada © Amy Beingessner, May, 2015 ABSTRACT THE HUNT OF THE UNICORN: TAPESTRY COPIES MADE FOR STIRLING CASTLE, SCOTLAND Amy Beingessner Advisor: University of Guelph, 2015 Professor S. A. Hickson In 2014 the West Dean Tapestry Studio in England completed a commission for Historic Scotland, an agency of the Scottish government, to reproduce the late fifteenth-century Hunt of the Unicorn tapestry series on permanent display at the Cloisters Museum in New York City. The purpose of Historic Scotland’s reproductions is to heighten the tourist’s experience of authenticity in the Renaissance apartments at Stirling Castle, Scotland. This thesis explores Historic Scotland’s decision to reproduce The Hunt of the Unicorn tapestries for the renovation of Stirling Castle’s royal apartments, and how this representation of Scottish heritage and identity challenges traditional boundaries of authorship and authenticity. Applying the concept of the simulacrum, specifically through the writing of Jean Baudrillard and Gilles Deleuze, the Unicorn tapestries are analyzed based on the contexts and authorities that inform perceptions of their status as either copies or originals, revealing authenticity to be a perceived construction. iii Table of Contents Page List of Illustrations ......................................................................................................
    [Show full text]
  • Special Collections Exhibition Gallery
    Special Collections Exhibition Gallery The Early Modern Image: Patronage, Kings and Peoples We live in an environment that is full of images: our electronic devices, television screens, advertising and marketing displays make the most of their visual impact. It is therefore hard to imagine a world in which far fewer were present — and those that there were appeared in closely defined contexts, especially in churches and religious sites, in the palaces and in the houses of the elite. The late fifteenth and early sixteenth centuries mark a period of major change: images were present from here on, in tapestries, paintings and sculpture, in ever increasing quantity. The palaces of the early modern Europe were more oriented towards display than those of the late medieval period. Great households no longer travelled as much as they had in the later Middle Ages, and more investment was concentrated in proportionately fewer residences: images were an essential part of decoration, an important complement to court life and its festivals. Technological change — printing — meant that many who had not possessed images before now could do so, from playing cards to comparatively cheap, mass-produced books. This interest in the visual was greater than ever — from theological debate on the role of the image, to the inclusion of representations in sumptuous schemes of decoration. Yet this was also a new world, with expanding horizons. It was no longer enough to communicate novelties in words — images were an essential accompaniment to textual explanation of the unfamiliar, the unusual and bizarre. At the same time, we can see the wider consumption of prints through contemporary books and publications, also collected by kings and princes.
    [Show full text]
  • Shakespeare and the Classical World Slides 2021
    25/02/2021 SHAKESPEARE AND THE CLASSICAL WORLD William Shakespeare Anonymous C17th portrait Angelica Kauffmann The Birth of Shakespeare and Fame Dr William Sterling decorating Shakespeare’s Tomb 1770s Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk 1 2 Henry Fuseli Infant Shakespeare between Tragedy and Comedy Richard Westall 1805 Shakespeare between Tragedy and Comedy 1825 Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk 3 4 Gerard Johnson Shakespeare monument Stratford c 1623 Dr William Sterling Poets’ Corner Westminster Abbey designed by William Kent 1740 Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk 5 6 1 25/02/2021 The Nine Muses on a Hellenistic relief from Alexandria called “The Apotheosis of Homer”, British Museum Johann Zoffany David Garrick and his wife by their Dr William Sterling Temple to Shakespeare 1762 www.williamsterling.co.uk 7 8 Roman Muse Sarcophagi from the British Museum and the Louvre Apollo and the Muses 9 10 Thomas Stothard “Cupid Bound To A Tree” by the Muses 1832, National Gallery Lionel Noel Royer Garden of the Muses 11 12 2 25/02/2021 HAMLET The Niobids based on the Statue of Zeus at Olympia, British Museum Muse Casket, Esquiline Treasure British Museum Melpomene the Tragic Muse 13 14 Heracles and the Nemean Lion, British Museum 15 16 Neoptolemus/Pyrrhus killing Priam with Astyanax in front of Hecuba, British Museum 17 18 3 25/02/2021 Damon and Pythias playbill 1871 Damon and Pythias by Guercino 1632 19 20 Damon and
    [Show full text]
  • The Spirit & Force Of
    THE SPIRIT &FORCE OF ART Drawing in Britain 1600–1750 THE SPIRIT & FORCE OF ART: DRAWING IN BRITAIN 1600–1750 3 Clifford Street, London 20 June to 6 July 2018 London London Art Week 29 June to 6 July 2018 new york TeFAF New York Fall 27 to 31 October 2018 THE SPIRIT &FORCE OF ART Drawing in Britain 1600–1750 Lowell Libson & Jonny Yarker Ltd London 2018 Contents Index of Artists 6 Foreword Lowell Libson 7 Introduction Jonny Yarker 8 3 Clifford Street · London w1S 2LF +44 (0)20 7734 8686 ‘The spirit and force of art’: [email protected] Defining Drawing in England, 1600–1750 www.libson-yarker.com Richard Stephens 11 Lowell Libson [email protected] A Lost Art? Collecting Early British Drawings Jonny Yarker & their Critical Fate [email protected] Richard Stephens and Jonny Yarker 33 Cressida St Aubyn [email protected] CATALoGUe Published by Lowell Libson & Jonny Yarker Ltd 2018 I Towards an English School 41 Text and publication © Lowell Libson & Jonny Yarker Ltd All rights reserved II Academies 69 ISBn 978 1 9999783 1 0 Designed by Dalrymple III The Rise of the Sketch 85 Set in Mário Feliciano’s Rongel type Photography by Rodney Todd-White & Son Ltd VI From Prospect to Landscape 101 Colour reproduction by Altaimage Ltd Printed in Belgium by Albe De Coker V From Ceiling to Exhibition Room: the Progress of History Painting 127 VI Face Painting 147 VII ‘A noble, delightful and useful art’: Drawings by Antiquarians, Amateurs and Artisans 169 VIII The Age of Hogarth 181 Notes and References 199 Index of Artists Foreword References are to catalogue numbers Laguerre, Louis 47 We are delighted to publish this catalogue which represents the culmination of over ten years of gathering these rare drawings which were created before the ‘Golden Age’ Amigoni, Jacopo 58 Laroon, Marcellus 73 of British watercolours and which demonstrate the formation of an identifiable ‘British’ Baron, Bernard 74 Laroon, Marcellus, the younger 84 School.
    [Show full text]