DOCSLIB.ORG

{PDF} Turner Ebook Free Download

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
{PDF} Turner Ebook Free Download TURNER PDF, EPUB, EBOOK William Gaunt,Robin Hamlyn | 128 pages | 12 Aug 1998 | Phaidon Press Ltd | 9780714827599 | English | London, United Kingdom Turner | Definition of Turner by Merriam-Webster Turner — , English painter Jamie Turner born , American automobile dealer Jane Turner born , Australian actor and comedian Janine Turner born , American actor Jay Turner — , American football running back Jean Turner born , member of the Scottish Parliament Jermaine Turner born , American professional basketball player Jessie Franklin Turner — , American fashion designer. Turner born , American magician, mentalist and speaker Jonathan Baldwin Turner — , abolitionist and educational leader Jonathan D. Turner end , American football player T. Retrieved 28 August A Dictionary of English Surnames Third ed. Retrieved 9 December American Surnames. Genealogical Publishing Com. Dictionary of American Family Names. Oxford University Press. Time Traveler for turner The first known use of turner was in the 13th century See more words from the same century. Statistics for turner Look-up Popularity. More from Merriam-Webster on turner Thesaurus: All synonyms and antonyms for turner. Comments on turner What made you want to look up turner? Get Word of the Day daily email! Test Your Vocabulary. Love words? Need even more definitions? The awkward case of 'his or her'. Take the quiz Forms of Government Quiz Name that government! Take the quiz Spell It Can you spell these 10 commonly misspelled words? Take the quiz Citation Do you know the person or title these quotes desc Play the game. High levels of volcanic ash from the eruption of Mt. Tambora in the atmosphere during , the " Year Without a Summer ", led to unusually spectacular sunsets during this period, and were an inspiration for some of Turner's work. John Ruskin said that an early patron, Thomas Monro , Principal Physician of Bedlam , and a collector and amateur artist, was a significant influence on Turner's style:. His true master was Dr Monro; to the practical teaching of that first patron and the wise simplicity of method of watercolour study, in which he was disciplined by him and companioned by his friend Girtin , the healthy and constant development of the greater power is primarily to be attributed; the greatness of the power itself, it is impossible to over-estimate. Together with a number of young artists, Turner was able, in Monro's London house, to copy works of the major topographical draughtsmen of his time and perfect his skills in drawing. But the curious atmospherical effects and illusions of John Robert Cozens 's watercolours, some of which were present in Monro's house, went far further than the neat renderings of topography. The solemn grandeur of his Alpine views were an early revelation to the young Turner and showed him the true potential of the watercolour medium, conveying mood instead of information. Turner experimented with a wide variety of pigment. As a result, many of his colours have now faded. Ruskin complained at how quickly his work decayed; Turner was indifferent to posterity and chose materials that looked good when freshly applied. Calais Pier , , oil on canvas, National Gallery. Dutch Boats in a Gale , , oil on canvas. For his painting Turner drew inspiration from the art of Willem van de Velde the Younger. The Burning of the Houses of Lords and Commons , c. Wreckers Coast of Northumberland , c. The Fighting Temeraire tugged to her last berth to be broken up , , oil on canvas, National Gallery. The Evening of the Deluge , c. Norham Castle, Sunrise , c. Turner left a small fortune which he hoped would be used to support what he called "decayed artists". He planned an almshouse at Twickenham with a gallery for some of his works. His will was contested and in , after a court battle, his first cousins, including Thomas Price Turner , received part of his fortune. His finished paintings were bequeathed to the British nation, and he intended that a special gallery would be built to house them. This did not happen due to disagreement over the final site. Twenty-two years after his death, the British Parliament passed an act allowing his paintings to be lent to museums outside London, and so began the process of scattering the pictures which Turner had wanted to be kept together. In , a new wing at the Tate, the Clore Gallery , was opened to house the Turner bequest, though some of the most important paintings remain in the National Gallery in contravention of Turner's condition that they be kept and shown together. Increasingly paintings are lent abroad, ignoring Turner's provision that they remain constantly and permanently in Turner's Gallery. Mary's Church, Battersea added a commemorative stained glass window for Turner, between and The city of Westminster unveiled a memorial plaque at the site of his birthplace at 21 Maiden Lane, Covent Garden 2 June After the society endorsed the Tate Gallery's Clore Gallery wing on the lines of the Duveen wing of , as the solution to the controversy of what should be done with the Turner Bequest, Selby Whittingham resigned and founded the Independent Turner Society. A major exhibition, "Turner's Britain", with material including The Fighting Temeraire on loan from around the globe, was held at Birmingham Museum and Art Gallery from 7 November to 8 February Turner , a biopic of Turner's later years, released in From Wikipedia, the free encyclopedia. Self-portrait , oil on canvas, c. Covent Garden , London , England. Cheyne Walk , Chelsea , England. Hamilton suggests that this "fit of illness" may have been an early sign of her madness. Retrieved 27 November At the turn of the 18th century, history painting was the highest purpose art could serve, and Turner would attempt those heights all his life. But his real achievement would be to make landscape the equal of history painting. Retrieved 14 February The life and masterworks of J. Turner 4th ed. New York: Parkstone Press. Turner Random House Trade Paperback ed. New York: Random House. Joseph Mallord William Turner. Oxford Dictionary of National Biography. Oxford University Press. Chapter 1. Subscription required. Standing in the sun: a life of J. London: Pimlico. In Brown, David Blayney ed. Turner: Sketchbooks, Drawings and Watercolours. Tate Research Publications. Retrieved 10 March Turner in his time New ed. The life of J. London: Sceptre. Rifles for Sale Surname list. Categories : Surnames Norman-language surnames Occupational surnames. Hidden categories: Articles with short description Short description is different from Wikidata All set index articles. Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Wikimedia Commons. A woman working a modern lathe. Surname list This page lists people with the surname Turner. The loss or alteration of the X chromosome occurs randomly. Sometimes, it's because of a problem with the sperm or the egg, and other times, the loss or alteration of the X chromosome happens early in fetal development. Family history doesn't seem to be a risk factor, so it's unlikely that parents of one child with Turner syndrome will have another child with the disorder. Turner syndrome can affect the proper development of several body systems, but varies greatly among individuals with the syndrome. Complications that can occur include:. Mayo Clinic does not endorse companies or products. Advertising revenue supports our not-for-profit mission. This content does not have an English version. This content does not have an Arabic version. Overview Turner syndrome, a condition that affects only females, results when one of the X chromosomes sex chromosomes is missing or partially missing. Request an Appointment at Mayo Clinic. Share on: Facebook Twitter. Show references National Library of Medicine. Turner syndrome. Genetics Home Reference. Accessed July 5, Learning about Turner syndrome. Turner biographical name 3. Nat — American slave insurrectionist. Turner biographical name 4. First Known Use of turner Noun 1 13th century, in the meaning defined above Noun 2 , in the meaning defined above. Keep scrolling for more. Learn More about turner. Time Traveler for turner The first known use of turner was in the 13th century See more words from the same century. Statistics for turner Look-up Popularity. More from Merriam-Webster on turner Thesaurus: All synonyms and antonyms for turner. Comments on turner What made you want to look up turner? Get Word of the Day daily email! Test Your Vocabulary. Love words? Turner (surname) - Wikipedia Retrieved 9 December American Surnames. Genealogical Publishing Com. Dictionary of American Family Names. Oxford University Press. A Dictionary of English Surnames. Psychology Press. Surname list. Categories : Surnames Norman-language surnames Occupational surnames. Hidden categories: Articles with short description Short description is different from Wikidata All set index articles. Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Wikimedia Commons. Do you know the person or title these quotes desc Login or Register. Save Word. Turner biographical name 1. Frederick Jackson — American historian. Turner biographical name 2. J oseph M allord W illiam — English painter. Turner biographical name 3. Nat — American slave insurrectionist. Turner biographical name 4. First Known Use of turner Noun 1 13th century, in the meaning defined above Noun 2 , in the meaning defined above. Keep scrolling for more. Learn More about turner. Time Traveler for turner The first known use of turner was in the 13th century See more words from the same century. Statistics for turner Look-up Popularity. More from Merriam-Webster on turner Thesaurus: All synonyms and antonyms for turner. Comments on turner What made you want to look up turner? Get Word of the Day daily email! Test Your Vocabulary.
Load more

Recommended publications
  • The Controversial Treatments of the Wallace Collection
    HOME ABOUT US THE JOURNAL MEMBERSHIP ARCHIVE LINKS 8 September 2011 The Controversial Treatments of the Wallace Collection Watteaus Restorers who blunder often present their dramatically altered works as miraculous “recoveries” or “discoveries”. Sometimes they (or their curators) park their handiwork in dark corners pending re-restorations (see the Phillips Collection restoration of Renoir’s “The Luncheon of the Boating Party” and the Louvre’s multi- restoration of Veronese’s “The Pilgrims of Emmaüs”). Here, Dr Selby Whittingham, the Secretary-General of the Watteau Society (and the 2011 winner of ArtWatch International’s Frank Mason Prize – see below), discusses the controversial restorations of Watteau paintings at the Wallace Collection and calls for greater transparency and accountability in the treatment of old masters. Above, Fig. 1: “Les charmes de la vie”, (reversed) engraving by Pierre Aveline, after Antoine Watteau, the British Museum, London. Selby Whittingham writes: The Watteau exhibitions held in London 12 March – 5 June 2011 prompted much comment, but little about the condition of the oils at the Wallace Collection [- see endnote 1]. Exceptionally Brian Sewell mentioned their poor state: “both overcleaned and undercleaned, victims of cleaners with Brillo pads and restorers with a taste for gravy.” [2] This was a bit sweeping, but had some justification. In the Watteau Society Bulletin 1985 Sarah Walden contrasted the recent restorations at the Wallace Collection with those at the Louvre and the Above, Fig. 2: Watteau’s “Les charmes de la vie” as reproduced in the Wallace Collection’s 1960 volume of different philosophies behind them [3]. The report illustrations of pictures and drawings to accompany the on the cleaning of “Les Charmes de la vie” at the Catalogue of Pictures and Drawings.
    [Show full text]
  • The Construction of Northumberland House and the Patronage of Its Original Builder, Lord Henry Howard, 1603–14
    The Antiquaries Journal, 90, 2010,pp1 of 60 r The Society of Antiquaries of London, 2010 doi:10.1017⁄s0003581510000016 THE CONSTRUCTION OF NORTHUMBERLAND HOUSE AND THE PATRONAGE OF ITS ORIGINAL BUILDER, LORD HENRY HOWARD, 1603–14 Manolo Guerci Manolo Guerci, Kent School of Architecture, University of Kent, Marlowe Building, Canterbury CT27NR, UK. E-mail: [email protected] This paper affords a complete analysis of the construction of the original Northampton (later Northumberland) House in the Strand (demolished in 1874), which has never been fully investigated. It begins with an examination of the little-known architectural patronage of its builder, Lord Henry Howard, 1st Earl of Northampton from 1603, one of the most interesting figures of the early Stuart era. With reference to the building of the contemporary Salisbury House by Sir Robert Cecil, 1st Earl of Salisbury, the only other Strand palace to be built in the early seventeenth century, textual and visual evidence are closely investigated. A rediscovered eleva- tional drawing of the original front of Northampton House is also discussed. By associating it with other sources, such as the first inventory of the house (transcribed in the Appendix), the inside and outside of Northampton House as Henry Howard left it in 1614 are re-configured for the first time. Northumberland House was the greatest representative of the old aristocratic mansions on the Strand – the almost uninterrupted series of waterfront palaces and large gardens that stretched from Westminster to the City of London, the political and economic centres of the country, respectively. Northumberland House was also the only one to have survived into the age of photography.
    [Show full text]
  • +44 (0)1844 277188 +44 (0) 20 7394 2100 +44 (0)20 7394 8061 [email protected] [email protected] [email protected]
    ROPEWALK THREE PIGEONS BRUNSWICK HOUSE Arch 52, London Road, 30 Wandsworth Road, Maltby Street, Milton Common, Vauxhall, Bermondsey, Oxfordshire OX9 2JN London SW8 2LG London SE1 3PA www.lassco.co.uk +44 (0)1844 277188 +44 (0) 20 7394 2100 +44 (0)20 7394 8061 [email protected] [email protected] [email protected] SIR WILLIAM CHAMBERS' DOORCASE An important carved Portland Stone doorcase c.1769, by Chambers (1723-1796) for his own house in Berners Street Westminster the triangular pediment with dentil mouldings above the rusticated cushion moulded frieze centred by a keystone in Coade Stone modelled in relief with a female mask, the jambs constructed with alternating rusticated quoins, DIMENSIONS: 432cm (170") High, 244cm (96") Wide, 198 (78.5) wide at jambs, Aperture = 315 x 152cm (124 x 59.75 STOCK CODE: 43528 HISTORY Sir William Chambers (1723-96) is one of the most revered of Georgian neo-classical architects. In his early career he was appointed architectural tutor to the Prince of Wales, later George III. In 1766, he became Architect to the King, (this being an unofficial title, rather than an actual salaried post with the Office of Works). He worked for Augusta, Dowager Princess of Wales building exotic garden buildings at Kew (the pagoda is his), and in 1757 he published a book of Chinese designs which had a significant influence on contemporary taste. He developed his Chinese interests further with his Dissertation on Oriental Gardening (1772), a fanciful elaboration of contemporary English ideas about the naturalistic style of gardening in China.
    [Show full text]
  • Piranesi and His Studio at the Staatliche Kunsthalle Karlsruhe
    Unexpected fame: Conservation approaches to the preparatory object. Proceedings from the International Conference of the Icon Book & Paper Group, Oxford 1–2 October 2018 https://icon.org.uk/unexpected-fame-conservation-approaches-to-the-preparatory-object Spotlight on newly identified drawings in albums: Piranesi and his studio at the Staatliche Kunsthalle Karlsruhe Irene Brucklë and Maria Kramer̈ Copyright information: This article is published by Icon on an Open Access basis, after a 3 month embargo period, under a Hybrid Creative Commons Attribution-NonCommercial- NoDerivatives License (CC BY-NC-ND) https://creativecommons.org/licenses/by-nc- nd/4.0/. After the embargo is over, you are free to copy and redistribute this material in any medium or format under the following terms: You must give appropriate credit and provide a link to the license (you may do so in any reasonable manner, but not in any way which suggests that Icon endorses you or your use); you may not use the material for commercial purposes; and if you remix, transform, or build upon the material you may not distribute the modified material without prior consent of the copyright holder. You must not detach this page. To cite this article: Irene Brucklë and Maria Kramer̈ , ‘Spotlight on newly identified drawings in albums: Piranesi and his studio at the Staatliche Kunsthalle Karlsruhe’ in Unexpected fame: Conservation approaches to the preparatory object. Proceedings from the International Conference of the Icon Book & Paper Group, Oxford 1–2 October 2018 (London, The Institute of Conservation: 2020). https://icon.org.uk/unexpected-fame-conservation-approaches-to-the-preparatory-object (accessed date).
    [Show full text]
  • The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): an Exploration Into the Masonic and Occult Imagination of the Late Enlightenment
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2003 The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Terrance Gerard Galvin University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Architecture Commons, European History Commons, Social and Behavioral Sciences Commons, and the Theory and Criticism Commons Recommended Citation Galvin, Terrance Gerard, "The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment" (2003). Publicly Accessible Penn Dissertations. 996. https://repository.upenn.edu/edissertations/996 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/996 For more information, please contact [email protected]. The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Abstract In examining select works of English architects Joseph Michael Gandy and Sir John Soane, this dissertation is intended to bring to light several important parallels between architectural theory and freemasonry during the late Enlightenment. Both architects developed architectural theories regarding the universal origins of architecture in an attempt to establish order as well as transcend the emerging historicism of the early nineteenth century. There are strong parallels between Soane's use of architectural narrative and his discussion of architectural 'model' in relation to Gandy's understanding of 'trans-historical' architecture. The primary textual sources discussed in this thesis include Soane's Lectures on Architecture, delivered at the Royal Academy from 1809 to 1836, and Gandy's unpublished treatise entitled the Art, Philosophy, and Science of Architecture, circa 1826.
    [Show full text]
  • Thomas Hardwick Jnr. (1752-1827)
    THOMAS HARDWICK JNR. (1752-1827) The name of Hardwick in the field of architecture was the most prominent name during the 19th century. From the late 18th century until 1892 the Hardwick Dynasty contributed some of the finest buildings in London and helped restore a great many too. Born in Brentford, greater London, to a prosperous master mason Thomas Hardwick Snr. (1725 -1798) who worked with the Adam brothers during the building of Syon House. Hardwick Jnr. underwent his training during the construction of the Somerset House and was tutored by William Chambers. He became a member of the Royal Academy and won the prestigious gold medal in architecture. Then came his travel to Europe with his close friend/rival Sir John Soane; together they visited Italy and France. Thomas became a notable church architect and the church of St Mary’s is his finest piece of work in London. The building is a prime example of Regency architecture. His other work included the restoration of St James, Piccadilly, St. Paul’s, Convent Garden and St Bartholomew-the-less, in Smithfield. He was also appointed Clerk of Works by King George III at both Hampton Court and Kew Palace. In his later years he became a tutor to none other than JMW Tuner whom he persuaded to concentrate more on painting rather than architecture! He had two sons, John Hardwick, whom became a famous magistrate in London, and also Philip (1792-1870) who would become the second architect in the Hardwick line and who took over his father’s office in 1825.
    [Show full text]
  • Elhanan Bicknell - Collection of Paintings
    Elhanan Bicknell - Collection of paintings. Detail of those by JMW Turner Index Himalayan mountains ....................................................................................................2 Himalayan mountains ....................................................................................................3 Giudecca, la Donna della Salute and San Georgio ........................................................4 Campo Santo, Venice.....................................................................................................5 Palestrina – a Composition ............................................................................................6 Sun rising through Vapour.............................................................................................7 Calder Bridge.................................................................................................................8 Ivy Bridge Mill ..............................................................................................................9 Port Ruysdael...............................................................................................................10 Wreckers - Coast of Northumberland,.........................................................................11 Ehrenbreitstein:............................................................................................................12 Helvoetsluys: ‘The City of Utrecht’, 64, going to sea .................................................14 Antwerp: Van Goyen Looking for a Subject
    [Show full text]
  • Colnaghistudiesjournal Journal-01
    EDITORIAL COMMITTEE Charles Avery Art Historian specializing in European Xavier F. Salomon Peter Jay Sharp Chief Curator, The Frick Sculpture, particularly Italian, French and English. Collection, New York. Colin Bailey Director, Morgan Library and Museum, New York. Salvador Salort-Pons Director, President & CEO, Detroit Francesca Baldassari Art Historian. Institute of Arts. Piers Baker-Bates Visiting Research Associate in Art History, Jack Soultanian Conservator, The Metropolitan Museum of Colnaghi Studies Journal is produced biannually by the Colnaghi Foundation. Its purpose is Art, New York. The Open University. to publish texts on significant pre-twentieth-century artworks in the European tradition Bruce Boucher Director, Sir John Soane’s Museum, London. Nicola Spinosa Former Director of Museo di Capodimonte, Naples. that have recently come to light or about which new research is underway, as well as Till-Holger Borchert Director, Musea Brugge. Carl Strehlke Adjunct Emeritus, Philadelphia Museum of Art. on the history of their collection. Texts about artworks should place them within the Antonia Boström Keeper of Sculpture, Metalwork, Ceramics Holly Trusted Senior Curator of Sculpture, Victoria & Albert broader context of the artist’s oeuvre, provide visual analysis and comparative images. & Glass, Victoria & Albert Museum, London. Museum, London. Edgar Peters Bowron Former Audrey Jones Beck Curator of Manuscripts may be sent at any time and will be reviewed by members of the journal’s Benjamin van Beneden Director, Rubenshuis, Antwerp. European Art, The Museum of Fine Arts, Houston. Editorial Committee, composed of specialists on painting, sculpture, architecture, Mark Westgarth Programme Director and Lecturer in Art History Xavier Bray Director, The Wallace Collection, London.
    [Show full text]
  • Going, Going … Urban Geology at the End of an Era at Euston Station
    Urban Geology in London No. 27 Going, going … Urban Geology at the end of an era at Euston Station In the next few years, Euston Station will be, in planning strategy parlance, ‘regenerated’, and already the hoardings are going up. This will update the current, tired old 1960s buildings and make space for the coming of the locally much-despised HS2 link to the north of England. In the meantime, this guide is an opportunity to look at the surprisingly interesting urban geology of the area around the station. Catch it quick, it won’t be there for long. The original Euston Station was built in the late 1830s by railway engineer Robert Stevenson along with architects William Cubitt, Philip Hardwick and his son, P.C. Hardwick. This station was demolished in 1961- 2, to make way for a much larger building, serving trains to Scotland, north-west England and North Wales. This was not without protest; the infamous Euston Arch was also destroyed at the time and many fought for the preservation of this icon of early Victorian architecture. Its destruction heightened debate on the edifices of Britain’s industrial past that were being swept away in the name of modernism. The current station, which opened in 1968 was constructed by Taylor Woodrow Construction, with the plaza and surrounding offices designed by Seifert & Partners were built during the 1970s. The architecture, both past and present is described in Pevsner (Cherry & Pevsner, 1998) and in Stamp (2010). The latter book also contains restored photographs of the old station’s exteriors and interiors.
    [Show full text]
  • Department of Planning and City
    TO VIEW CONSERVATION AREA MAP CLICK HERE FOR LINK TO WESTMINSTER MAPPING SYSTEM DEPARTMENT OF PLANNING AND CITY DEVELOPMENT DEVELOPMENT PLANNING SERVICES MAY 2004 Designation: Designated in November 1990 to include the north side Adjacent Conservation Areas: The Portman Estate Conservation of Broadley Terrace, St Edwards Convent and Primary School and an Area lies to the southeast across Marylebone Road. area on either side of Bell Street and west of Lisson Grove. Strategic Views: Not affected. Historical Background: The area originated as a Saxon and medieval settlement in the manor of Lillestone close to the Roman Areas of Special Archaeological Priority: Part of Paddington and Watling Street. It was described as a hamlet in the Domesday book Lillestone Villages lies within the western edge of the Conservation of 1086, centred around Bell Lane (now Bell Street). Part of the area Area around Ranston Street and Bell Street. was developed by the Portman Estate after they acquired the land in 1553. Lisson Green, formerly north of Bell Street, was mentioned by Article 4 Directions: None. Samuel Pepys in his diaries in 1666. New Road (now MaryIebone Road) first proposed in 1755, opened to traffic in 1757. The Regulation 7 Directions: None. urbanisation of Lisson Green was complete by 1836, including the erection of Christ Church, Cosway Street in 1824-5 designed by Planning Briefs and Design Guides: No specific guidelines for this Thomas Hardwick and completed by his son Philip. Other remnants area. include No. 6 Rossmore Road (c.1800) and Nos. 99-101 Ashmill Street (c. 1820-30). In Victorian times the area evolved as a Spaces protected by the London Squares Act 1931: None residential area for those ‘in service’ as well as attracting artists and writers.
    [Show full text]
  • Selby Whittingham, 'J.M.W. Turner's Almshouse and Gallery At
    Selby Whittingham, ‘J.M.W. Turner’s Almshouse and Gallery at Twickenham’, The Georgian Group Journal, Vol. XX, 2012, pp. 171–178 TEXT © THE AUTHORS 2012 J.M.W. TURNER’S ALMSHOUSE AND GALLERY AT TWICKENHAM SELBY WHITTINGHAM rom the fog of false ideas about J.M.W. Turner’s in all to perches ( / of an acre), though Turner Fbequests has gradually emerged a clearer contemplated building only on the three freehold appreciation of the facts, and not least about his strips and not on the fourth copyhold one. proposed almshouse and gallery at Twickenham, Drawings R and S are clearly for the proposed though uncertainties remain. A newspaper report almshouse and are presumably by Turner, who is after his death in stated: ‘The testamentary known to have considered architecture as a papers are interspersed with drawings and elevations profession and to have been the architect of his own of buildings.’ A.J. Finberg in referred to the villa at Twickenham and his house in Queen Anne drafts for those papers, and, though scholars knew Street, and maybe a lodge at Farnley Hall, Yorkshire. about that, no one looked for them until I did, They confirm the supposition by Dr John Gage that finding the drawings still with the fascinating drafts ‘the style of building he now considered was not the in a dusty bundle. neo-classical style he had occasionally practised There are four sheets of paper each with drawings himself, but English Tudor.’ Gage’s argument was on both sides: that such a style was considered English, and Turner R.
    [Show full text]
  • Stm325 Final
    THE ST MARYLEBONE SOCIETY NEWSLETTER Spring 2018 Number 352 www.stmarylebonesociety.org Registered Charity 274082 SCHOOL’S OUT! Christ Church in 1949 with the Schoolmaster’s House in the background. Christ Church and the Schoolmaster’s House today. The Church St ‘Futures’ masterplan The old schoolmaster’s house stands in schoolmaster’s house is the last threatens the future of the old the way of over-development by a remaining fragment of this history and its schoolmaster’s house at 29 Cosway scheme that is simply not good enough retention should be the starting point for Street and it is hard to believe that a for this important location opposite the new design rather than something complete Victorian building in a Christ Church Cosway Street, Grade 2* that is cleared away because it doesn’t fit Conservation Area is even considered landmark building by Thomas Hardwick the desired massing and density. for demolition. (who also designed St Marylebone We have reported the Society’s strong Parish Church). The old schoolmaster’s The Society has been involved with objections to the demolition of the old house clearly contributes to the setting evolving planning briefs for this site schoolmaster’s house and feel that in this of the church, a fact confirmed in the since 2011, although to date none have high value exceptional location the heritage statement accompanying the been formally adopted. The retention quality of the proposed scheme is not of the old schoolmaster’s house in any application, which concludes that good enough. Demolition on this scale development on the site was originally ‘moderate harm’ is caused by the would not be allowed in the agreed, and as an unlisted heritage proposed demolition of the neighbouring Conservation Areas of asset its contribution to the character schoolmaster’s house.
    [Show full text]