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THE POWER of BEAUTY in RESTORATION ENGLAND Dr
THE POWER OF BEAUTY IN RESTORATION ENGLAND Dr. Laurence Shafe [email protected] THE WINDSOR BEAUTIES www.shafe.uk • It is 1660, the English Civil War is over and the experiment with the Commonwealth has left the country disorientated. When Charles II was invited back to England as King he brought new French styles and sexual conduct with him. In particular, he introduced the French idea of the publically accepted mistress. Beautiful women who could catch the King’s eye and become his mistress found that this brought great wealth, titles and power. Some historians think their power has been exaggerated but everyone agrees they could influence appointments at Court and at least proposition the King for political change. • The new freedoms introduced by the Reformation Court spread through society. Women could appear on stage for the first time, write books and Margaret Cavendish was the first British scientist. However, it was a totally male dominated society and so these heroic women had to fight against established norms and laws. Notes • The Restoration followed a turbulent twenty years that included three English Civil Wars (1642-46, 1648-9 and 1649-51), the execution of Charles I in 1649, the Commonwealth of England (1649-53) and the Protectorate (1653-59) under Oliver Cromwell’s (1599-1658) personal rule. • Following the Restoration of the Stuarts, a small number of court mistresses and beauties are renowned for their influence over Charles II and his courtiers. They were immortalised by Sir Peter Lely as the ‘Windsor Beauties’. Today, I will talk about Charles II and his mistresses, Peter Lely and those portraits as well as another set of portraits known as the ‘Hampton Court Beauties’ which were painted by Godfrey Kneller (1646-1723) during the reign of William III and Mary II. -
Darnley Portraits
DARNLEY FINE ART DARNLEY FINE ART PresentingPresenting anan Exhibition of of Portraits for Sale Portraits for Sale EXHIBITING A SELECTION OF PORTRAITS FOR SALE DATING FROM THE MID 16TH TO EARLY 19TH CENTURY On view for sale at 18 Milner Street CHELSEA, London, SW3 2PU tel: +44 (0) 1932 976206 www.darnleyfineart.com 3 4 CONTENTS Artist Title English School, (Mid 16th C.) Captain John Hyfield English School (Late 16th C.) A Merchant English School, (Early 17th C.) A Melancholic Gentleman English School, (Early 17th C.) A Lady Wearing a Garland of Roses Continental School, (Early 17th C.) A Gentleman with a Crossbow Winder Flemish School, (Early 17th C.) A Boy in a Black Tunic Gilbert Jackson A Girl Cornelius Johnson A Gentleman in a Slashed Black Doublet English School, (Mid 17th C.) A Naval Officer Mary Beale A Gentleman Circle of Mary Beale, Late 17th C.) A Gentleman Continental School, (Early 19th C.) Self-Portrait Circle of Gerard van Honthorst, (Mid 17th C.) A Gentleman in Armour Circle of Pieter Harmensz Verelst, (Late 17th C.) A Young Man Hendrick van Somer St. Jerome Jacob Huysmans A Lady by a Fountain After Sir Peter Paul Rubens, (Late 17th C.) Thomas Howard, Earl of Arundel After Sir Peter Lely, (Late 17th C.) The Duke and Duchess of York After Hans Holbein the Younger, (Early 17th to Mid 18th C.) William Warham Follower of Sir Godfrey Kneller, (Early 18th C.) Head of a Gentleman English School, (Mid 18th C.) Self-Portrait Circle of Hycinthe Rigaud, (Early 18th C.) A Gentleman in a Fur Hat Arthur Pond A Gentleman in a Blue Coat -
R.Kirschbaum, Thesis, 2012.Pdf
Introduction: Female friendship, community and retreat Friendship still has been design‘d, The Support of Human-kind; The safe Delight, the useful Bliss, The next World‘s Happiness, and this. Give then, O indulgent Fate! Give a Friend in that Retreat (Tho‘ withdrawn from all the rest) Still a Clue, to reach my Breast. Let a Friend be still convey‘d Thro‘ those Windings, and that Shade! Where, may I remain secure, Waste, in humble Joys and pure, A Life, that can no Envy yield; Want of Affluence my Shield.1 Anne Finch’s “The Petition for an Absolute Retreat” is one of a number of verses by early modern women which engage with the poetic traditions of friendship and the pastoral.2 Finch employed the imagery and language of the pastoral to shape a convivial but protected space of retreat. The key to achieving the sanctity of such a space is virtuous friendship, which Finch implies is both enabled by and enabling of pastoral retirement. Finch’s retreat is not an absolute retirement; she calls for “a Friend in that Retreat / (Tho’ withdrawn from all the rest)” to share in the “humble Joys and pure” of the pastoral. Friendship is “design’d [as] the Support of Human-kind”, a divine gift to ease the burden of human reason and passion. The cause of “the next World’s Happiness, and this”, 1 Anne Finch, “The Petition for an Absolute Retreat” in Miscellany Poems, on Several Occasions, printed for J.B. and sold by Benj. Tooke at the Middle-Temple-Gate, William Taylor in Pater-Noster-Row, and James Round (London, 1713), pp. -
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. -
ISSUE 2489 | Antiquestradegazette.Com | 24 April 2021 | UK £4.99 | USA $7.95 | Europe €5.50
To print, your print settings should be ‘fit to page size’ or ‘fit to printable area’ or similar. Problems? See our guide: https://atg.news/2zaGmwp 7 1 -2 0 2 1 9 1 ISSUE 2489 | antiquestradegazette.com | 24 April 2021 | UK £4.99 | USA $7.95 | Europe €5.50 S E E R 50years D koopman rare art V A I R N T antiques trade G T H E KOOPMAN (see Client Templates for issue versions) THE ART M ARKET WEEKLY [email protected] +44 (0)20 7242 7624 www.koopman.art Kempton back with a bang – and entrance fees Sunbury Antiques Market, better known simply as Kempton due to its Surrey racecourse location, last week became the first open-air fair to return after the most recent lockdown. The event’s Covid-restricted capacity of 300 stalls sold out quickly when organiser Sunbury Antiques announced new dates in March, with queues of buyers forming before opening time at 6.30am. “Demand was such that we could have sold out 10 times over but for this first fair we Milking the sale tried to accommodate traders with existing bookings from postponed dates,” said Edward Cruttenden, who with wife Jennie of ‘Breadboard runs Sunbury Antiques. Entrance ways were reduced from three Annie’ collection to two, with stalls primarily sited outside. “Hopefully in future we will be able to The mouthwatering kitchenalia collection of Annie Marchant increase stall capacity,” Cruttenden said. (1951-2020) certainly served to please when it came to auction The next Kempton fair is on April 27. -
Coversheet for Thesis in Sussex Research Online
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details ‘At home’ in Standen: A study of the Beale family’s lived experience of their late-nineteenth century Arts and Crafts home, 1890-1914 Anne Stutchbury Submitted for the degree of Doctor of Philosophy University of Sussex 2016 1 Statement: I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another University for the award of any other degree. Signature:……………………………………… 2 Contents Abstract 3 Acknowledgements 4 List of Figures 5 List of Abbreviations 19 Introduction 20 Part One: Dwelling on family history: 1840-1890 38 1.1 The early years: Birmingham and Leamington 1.2 The London years Part Two: A ‘house in the country’ 74 2.1 Locating Standen 2.2 Collaborating with Philip Webb Part Three: The ‘artists’ 98 3.1 Inspired by nature: Margaret Beale’s garden artistry 3.2 ‘A connoisseur of things beautiful’: Margaret S. Beale Part Four: Styling Standen 127 4.1 Questioning ‘Arts and Crafts’ 4.2 Aesthetic interiors: Beauty, harmony and visions of femininity Part Five: Travelling and collecting 171 5.1 Holiday hunting for furniture 5.2 European excursions and objets d'art 5.3 Exotic visions and ‘Oriental’ objects Part Six: ‘Identifying’ the Beales 197 6.1 Treasured family possessions 6.2 Renewing and refashioning old furniture Conclusion 215 Bibliography 222 Appendices A. -
Introduction to Bronzes
Metalware 1 6 Introduction to Bronzes with Price Guide By Chris Murray Antoine Louis Barye (1795- 1875), French bronze Eléphant ronzes generally appeal to a comparatively small and knowledgeable du Sénégal (Running Elephant), Bgroup of buyers, and on the whole avoid the sometimes dramatic fluctua- oval base, signed Barye with Art Deco bronze, ivory and tions seen in other areas of the art market. They have weathered the recent uncer- gold FB plaque, Barbedienne enamel figure, by Gerda Iro tainties comparatively well and remain a solid investment. foundary inscription and Gerdago, ‘Exotic Dancer’. Bronzes are usually catalogued independently of ‘art’ painting and graphic incised no.9 to underside, 5.5 x Cotswold Auction Company, works, even sculpture. This is largely because bronzes range from high art 7.75in. Gorringes, Lewes. Dec Cheltenham. Mar 08. HP: (Henry Moore bronzes in an edition of only 4) to works that have little artistic 06. HP: £6,000. ABP: £7,057. £6,000. ABP: £7,057. merit and are produced in thousands. In other words they are multiples. But then so are prints. The key to buying bronzes is to acquire the skill of identifying where a specific bronze stands on this continuum - the ‘same’ bronze may occur at several points, according to its edition, so novices need to be careful. 2 Several things determine value. First, of course, the artist. With anonymous works or those by lesser artists, period and school are important; because of the unparalleled achievement of French bronzes during the nineteenth century, the Bronze figure of a bull cast 7 after a model by Rosa designation ‘French’ nearly always adds value - as does ‘Art Deco.’ Bonheur, standing with raised Rarity is also important: early casting in a long series are far more sought after tail, brown/green patination, than later ones, and some bronzes are limited editions. -
SAS Is on the Move
SAS is on the move.... .... we look forward to welcoming you Hambridge North 4 4 4 4 8 9 0 0 0 0 0 0 m 82 85 87 m 167500m 167500m 72 72 167000m 167000m 4 4 4 4 8 9 0 82 85 87 0 0 0 0 0 m m © Crown copyright and database rights 2019 Ordnance Survey 100048957.The representation of Supplied by: www.ukmapcentre.com road, tNewrack or path is no eviden ce addressof a boundary or right of way. The represen tafromtion of features as January 2020: Serial No:171499 lines is no evidence of a property boundary. Centre Coordinates:448553,167185 Production Date: 03/10/2019 15:31:28 Special Auction Services Plenty Close Off Hambridge Road NEWBURY RG14 5RL 01635 580595 [email protected] www.specialauctionservices.com 1 Hugo Marsh Neil Thomas Forrester Director Shuttleworth Director Director Antiques & Fine Art Tuesday 5th November 2019 at 10.00 Viewing: Monday 4th November 2019 10:00 - 16:00 9:00 morning of auction Otherwise by Appointment Saleroom Two 80 Greenham Business Park NEWBURY RG19 6HW Telephone: 01635 580595 Fax: 0871 714 6905 Email: [email protected] www.specialauctionservices.com Harriet Mustard Helen Bennett Antiques & Fine Antiques & Art Fine Art Due to the nature of these items buyers must satisfy themselves on authenticity prior to bidding and returns will not be accepted. Additional images are available on request. Buyers Premium: 17.5% plus Value Added Tax making a total of 21% of the Hammer Price SAS Live Premium: 20% plus Value Added Tax making a total of 24% of the Hammer Price the-saleroom.com Premium: 22.5% plus Value Added Tax making a total of 27% of the Hammer Price Order of Auction Metal 1-24 Silver, Silver Plate & Jewellery 25-50 Objets d’Art 51-166 Clocks 167-186 Ceramics 187-289 Glass 290-339 Asian Wares & Art 340-406 Textiles 407-423 Paintings 424-524 Drawings & Prints 525-566 Furniture & Rugs 567-640 www.specialauctionservices.com 3 METAL 8. -
From the Commonwealth to the Georgian Period, 1650-1730
A STROLL THROUGH TATE BRITAIN This two-hour talk is part of a series of twenty talks on the works of art displayed in Tate Britain, London, in June 2017. Unless otherwise mentioned all works of art are at Tate Britain. References and Copyright • The talk is given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • Our sponsored charities are Save the Children and Cancer UK. • Unless otherwise mentioned all works of art are at Tate Britain and the Tate’s online notes, display captions, articles and other information are used. • Each page has a section called ‘References’ that gives a link or links to sources of information. • Wikipedia, the Oxford Dictionary of National Biography, Khan Academy and the Art Story are used as additional sources of information. • The information from Wikipedia is under an Attribution-Share Alike Creative Commons License. • Other books and articles are used and referenced. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 A STROLL THROUGH TATE BRITAIN • The History of the Tate • From Absolute Monarch to Civil War, 1540-1650 • From Commonwealth to the Georgians, 1650-1730 • The Georgians, 1730-1780 • Revolutionary Times, 1780-1810 • Regency to Victorian, 1810-1840 • William Blake • J. M. W. Turner • John Constable • The Pre-Raphaelites, 1840-1860 West galleries are 1540, 1650, 1730, 1760, 1780, 1810, 1840, 1890, 1900, 1910 East galleries are 1930, 1940, 1950, 1960, 1970, 1980, 1990, 2000 Turner Wing includes Turner, Constable, Blake and Pre-Raphaelite drawings Agenda 1. -
British Miniature Painters and Their Works
DUKE UNIVERSITY LIBRARY Treasure %Qom # : ^25 Copies of this book have been printed for sale, of which 12^ are on large paper. No. /a: Vlottingbam Printed by R. B. Earp & Sons, Ltd., Goldsmith Street. -* # *: « ' '^ ! ^H MINIAi PAINTEko AND THEIR \ RKS, BY J. J FOSTER, Asti-iUift 'istft'iKsijiCl at-aiyv n\iS\K .oi;8i ,f;noJyiV naaup ifJasjfiM lyH Xonfcon SAMPSON LOW, MARSTOxN St. Dunstan's House, Fet. DICKINSONS , ,fT W -^y:im ir Portrait. Her Majesty Queen Victoria, 1870. After Messrs. Dickinsons' : BRITISH MINIATURE PAINTERS AND THEIR WORKS, BY J. J. FOSTER. Xonbon SAMPSON LOW, MARSTON & COMPANY, Limited, St. Dunstan's House, Fetter Lane, E.G. AND DICKINSONS, 114, New Bond Street, W. 1898. m. Iber fIDost (5raciou6 flDajest^ IDictotia, of tbe •Clnite^ •RiiiQ&om of (great IBritain anb 5relanb> an& of tbe Colonteg an& Dependencies tbereot Empress of 5n&ia, tbis worft is, bg special permls* IV. Tfar-igrncr-JTiiriinincrir'.j-'.iij TinaTTi FTt'-nTj-iQ niun£TTjj~.irar^riLn^n^ri^nrriitn!r'.L^ PREFACE. HE follotving lines should be called, perhaps, an acknowledgment rather than a Preface, inasmuch as what I have to say in them is mainly to express gratittide for favours received. First then, let me record my sense of the honour and the favour done me by Her Majesty The Queen, in giving Her gracious permission to reproduce such miniatures as I might select from the Royal Library. The like acknowledgment is due to many noble and private owners (too numerous to mention here) of similar treasures. I have appended their names in the list of Illustrations, and to each and to all I beg to offer most sincere thanks for their courtesy. -
Mary Beale” by Mary Beale, Oil on Canvas, Circa 1665, 43 In
“Mary Beale” by Mary Beale, oil on canvas, circa 1665, 43 in. × 34½ in., NPG 1687, © National Portrait Gallery, London. Early Modern Women: An Interdisciplinary Journal Vol. 10, No. 1 • Fall 2015 Mary Beale and Art’s Lost Laborers: Women Painter Stainers Helen Draper istories of seventeenth-century British art suggest that one, two, possibly Hthree women were painters.1 Of those, only Mary Beale (1633–99) estab- lished an independent commercial studio, maintaining it successfully for more than twenty years without formal training, court patronage, or guild affiliation.2 Fellow portraitist Joan Carlile (d.1679) and miniaturist Susannah-Penelope Rosse (d.1700) painted professionally, enjoying some renown, but few of their paintings survive. Can this possibly represent the entire contribution of women to the artistic life of the metropolis? No, dozens of women were members of or apprenticed to the Company of Painter Stainers and their story will be explored herein. Although other women painters earned money, only Beale is now repre- sented by a large, attributed body of work including several self-portraits, printed poetry, and two manuscripts, one of which, Observations by MB in her painting of Apricots, is the first known text in English about the act of painting written 1 For example, Ian Chilvers Oxford Dictionary of Art and Artists (Oxford: Oxford University Press, 1990); M. Whinney and O. Miller The Oxford History of English art: 1625–1714 (Oxford: Clarendon Press, 1957). For a closer look at women painters see Susan E. James, Feminine Dynamic in English Art, 1485–1603 (Farnham: Ashgate, 2009). 2 Helen Draper, “‘her painting of Apricots’: The Invisibility of Mary Beale (1633–1699),” Forum for Modern Language Studies, 48.4 (2012): 389–405; Tabitha Barber, Mary Beale (1632/3– 1699) . -
Artist and Curator: an Exploration of the Impact of Digital Media in Museums Through Media Art, Surveillance, and Selfies
Artist and Curator: An Exploration of the Impact of Digital Media in Museums Through Media Art, Surveillance, and Selfies by Jenna Poczik A Thesis Submitted in Fulfillment of Requirements for Graduation with Distinction in the Department of Art, Art History & Visual Studies With a Major in Visual and Media Studies Duke University, Trinity College April 2017 _____________________________ Jenna Poczik _____________________________ William Seaman, Ph.D. Professor of Art, Art History and Visual Studies at Duke University Primary Advisor _____________________________ _____________________________ Victoria Szabo, Ph.D. Sarah Schroth, Ph.D. Associate Research Professor in the Director of Nasher Museum of Art Department of Art, Art History, and at Duke University Visual Studies at Duke University Table of Contents Abstract…………………………………………...………….…………………………3 I. Introduction: Artist and Curator ………………….……….………………………….4 II. Guiding Questions…………………………………………………………………...9 III. Digital Media at Museums.………………………………………………………..17 IV. Social Media and Art Startups…………………………………………………….20 V. Surveillance and Artveillance ……………………………………………………..,27 VI. Self-Portraits, Selfies, and the Self…………..…………………………………….44 VII. Conclusion………………...………………………………………………………57 Bibliography…………….………...……………………………………………………58 2 Abstract Artist and Curator: An Exploration of the Impact of Digital Media in Museums Through Media Art, Surveillance, and Selfies is the accompanying exhibition catalogue to the Movement Series installation presented by me, Jenna Poczik at the Smith Warehouse at Duke University in late April and early May of 2017. In this exhibition, I act as both artist and curator, creating the new media works presented while also stepping away and applying a theoretical/critical curatorial response throughout this text. I begin with an introduction and artist statement, outlining my goals for the experiment, exploring themes that are present in the art world today, and intertwining critical theories in visual studies.