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Hogarth in British North America
PRESENCE IN PRINT: WILLIAM HOGARTH IN BRITISH NORTH AMERICA by Colleen M. Terry A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History Summer 2014 © 2014 Colleen Terry All Rights Reserved UMI Number: 3642363 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3642363 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 PRESENCE IN PRINT: WILLIAM HOGARTH IN BRITISH NORTH AMERICA by Colleen M. Terry Approved: ___________________________________________________________ Lawrence Nees, Ph.D. Chair of the Department of Art History Approved: ___________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts & Sciences Approved: ___________________________________________________________ James G. Richards, Ph.D. Vice Provost for Graduate and Professional Education I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ___________________________________________________________ Bernard L. Herman, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. -
Book-Plates ^Coo^ by U > * W
A_ Z. Book-Plates ^coo^ By U > * w. J. Hardy, F.s.A^H^ypfl SECOND EDITION SPi London Kegan Paul, Trench, Triibner & Co., Ltd. MDCCCXCVII s . y^ First Edition published 1893 as Vol. II. of ' Books about Books. Preface Having vindicated in my introductory chapter the practice of collecting book-plates from the charge of flagrant immorality, I do not think it *» necessary to spend many words in demonstrating that it is in every way a worthy and reasonable pursuit, and one which fully deserves to be made the subject of a special treatise in a series of Books about Books. If need were, the Editor of the series, who asked me to write this little hand-book, would perhaps kindly accept his share of responsibility, but in the face of the existence of a flourishing ' Ex Libris' Society, the importance of the book-plate • as an object of collection may almost be taken as axiomatic. My own interest in this particular hobby is of long standing, and happily the appearance, when my manuscript was already at the printer's, of Mr. Egerton Castle's pleasantly written and profusely illustrated work on English Book-Plates has relieved me of the dreaded necessity of writing an additional j- chapter on those modern examples, in treating of vi Book-Plates which neither my knowledge nor my enthusiasm would have equalled his. The desire to possess a book-plate of one's own is in itself commendable enough, for in fixing the first copy into the first book the owner may surely be assumed to have registered a vow that he or she at least will not join the great army of book-perse- cutors—men and women who cannot touch a volume without maltreating it, and who, though they are often ready to describe the removal of a book- plate, even from a worthless volume, as an act of vandalism, do infinitely more harm to books in general by their ruthless handling of them. -
Society Engraved
SOCIETY ENGRAVED A SPACE for DIALOGUE 94 HOOD MUSEUM OF ART, DARTMOUTH society and nothing with which people could occupy themselves. Mandeville also emphasizes that those who complain about the ills of society are themselves contributing to its vices: “All the Rogues cry’d brazenly, Good Gods, Had we but Honesty!”1 Mandeville further disputes the claim that humans are naturally kind to one another and instead argues that humans are fundamen- tally self-interested, which can lead to corrupt behaviors like those Hogarth depicts. For example, in the third of The Four Stages of Cruelty (left), a four-print series by Hogarth from 1751, the protagonist, Tom Nero, is ob- sessed with deliberate acts of cruelty. Nero is shown with objects on his person that suggest his activity as a highway thief, and Hogarth depicts him being questioned about the robbery and murder of a woman. In an earlier four-print series, The Four Times of Day (1738; cover), the artist looks at society more broadly, rather than the actions of a single evildoer. Morning shows that even outside a church at daybreak, members of society interact in uncomfortable ways that reveal offenses they might have made. The series illustrates dichotomies within and across social Based in London, William Hogarth (1697–1764) classes, often clandestine, at all hours of the day. was a widely influential English painter and en- Because of their timely subject matter, graver whose work, particularly as a printmaker, Hogarth’s prints were in high demand during his offered pointed, shrewd, and satirical social and lifetime. -
The Teaching of Non-Professional Artists in Eighteenth-Century England
THE TEACHING OF NON-PROFESSIONAL ARTISTS IN EIGHTEENTH-CENTURY ENGLAND KIMBERLY MAE SLOAN Thesis submitted for the degree of Doctor of Philosophy Westfield College University of London 1986 ABSTRACT The introductory chapter explains terms used throughout this thesis and why this period was chosen for study. The history of the introduction of drawing to the curriculum of Christ's Hospital, the Lens family who were the drawing masters there, and their drawing manuals and teaching methods are the subject of the second chapter. The third deals with the teaching of drawing at private academies, particularly Thomas Weston's in Greenwich, and with his and the Bickham family's activities as drawing masters to the pupils of this academy and the children at the Royal Naval Hospital. William and Sawrey Gilpin at Cheam Preparatory School are examined through the surviving correspondence of the Grimstons of Kilnwick in chapter four. Alexander Cozens's activities as a drawing master occupy the remaining half of the thesis. Chapter five explains how he himself learnt to draw and describes his earliest known employment as a drawing master at Christ's Hospital from 1749 to 1754. Chapter six traces his activities through the 1750's as a private drawing master and as the author of publications intended to assist the artistic invention of amateurs and professionals alike. It also examines his relationship with his son, John Robert Cozens, with Sir George Beaumont at Eton College, and with Henry Stebbing who studied Cozeris's 'blot' method. Chapter seven examines the activities of three of Cozens's private pupils through their surviving work and family papers in order to ascertain the element of original artistic creativity in the landscapes produced under his instruction. -
Balthasar Moretus
BALTHASAR MORETUS and the Passion of Publishing Museum Plantin-Moretus | Print Cabinet Cover: Anonymous, after Peter Paul Rubens, The Four Philosophers, 17th century (MPM.V.IV.075) BALTHASAR and the Passion of Publishing MORETUS Dirk Imhof Paul van Capelleveen Goran Proot Andrew Steeves Guy Vingerhoets Museum Plantin-Moretus | Print Cabinet TABLE OF CONTENTS 7 50 Foreword Literary publishing & deep regard - The Alderman for Culture, City of Antwerp - Andrew Steeves 10 55 Balthasar I Moretus: a concise biography Engravers from Antwerp or Brussels? Illustrating the works of Hermannus Hugo 12 ‘Ex arte et decore typographica’: 57 Balthasar I Moretus, publisher of Baroque books Publishing for a difficult author: the - Dirk Imhof Bartholomaeus de los Ríos publications 29 60 Peter Paul Rubens, the Moretuses and the Visual Editions: Stories for contemporary readers Plantin Press - Paul van Capelleveen 32 75 The pricing policy of the Officina Plantiniana, The fate of the copper-plate engravings bearing 1580–1655 designs by Peter Paul Rubens - Goran Proot 78 45 Imschoot, Uitgevers. The history of a passion Engraving, reworking and printing from - Guy Vingerhoets copper plates: Theodore Galle’s workshop 87 48 Colophon The breviary in folio of 1614: a pet project of the Moretus brothers Foreword 7 ‘Balthasar Moretus and the Passion of Publishing’, a story of co-creation The Alderman for Culture, City of Antwerp ntwerp is the archetypal Baroque city. That was Rubens and Moretus worked together on more than so in the seventeenth century, and it still is today. twenty book projects. Designs for title pages and illustrations This identity has much to do with the savoir-vivre were also supplied to Moretus by Erasmus Quellinus, Karel ofA Antwerp’s inhabitants: a wealth of tradition that includes de Mallery, Peeter de Jode and Abraham Van Diepenbeeck. -
Terminus, 2019, Special Issue 1 (2019)
TERMINUS Vol. 21 (2019), Special Issue 1, pp. 31–51 doi:10.4467/20843844TE.19.025.11286 Magdalena Piskała https://orcid.org/0000-0001-9178-6114 Institute of Literary Research of the Polish Academy of Sciences magda.piskala[at]poczta.onet.pl Astrology—Emblematics—Heraldry: On Comets, Moons and Stars in the Book of Arms by Szymon Okolski*1 Abstract The paper examines the presence of astrology in the heraldic work Orbis Polonus by Szymon Okolski dating from the mid-1600s. While due to a growing fascination with Neoplatonism and hermetic writings, astrology had enjoyed popularity since the Renaissance, in Okolski’s case its influence came mostly through early-modern books of emblems and compendia of symbols. It is, therefore, important not only to track down astrological motifs in the works of Alciatus, Cesare Ripa, Giulio Cesare Capaccio, Julius Wilhelm Zincgref, and Diego de Saavedra to compare them with those found in Orbis Polonus, but also to recognise the fact that emblematics had a great impact on how Okolski perceived the import of his heraldic work as such. The novelty of Okolski’s project consisted in treating armorial bearings as uni- versal symbols and interpreting them not only in accordance with the rules of her- aldry, but also through a wide range of cultural sources, trends, and traditions. In * This study is the result of a project financed by the National Science Centre allocated by Decision no. DEC2012/05/B/HS2/04124. Publication of this paper was financed by the Ministry of Science and Higher Education of the Republic of Poland under the grant 643/P-DUN/2018. -
A Summary of Catholic History
A SUMMARY OF CATHOLIC HISTORY By Newman C. Eberhardt, G.M. VOLUME II MODERN HISTORY B. HERDER BOOK CO. 15 & 17 South Broadway, St. Louis 2, Mo. AND 2/3 Doughty Mews, London, W.C.1 IMPRIMI POTEST JAMES W. STAKELUM, C.M., PROVINCIAL IMPRIMATUR: ►j4 JOSEPH CARDINAL RITTER ARCHBISHOP OF ST. LOUIS-OCT. 16, 1961 © 1962 BY B. HERDER BOOK CO. ALL RIGHTS RESERVED LIBRARY OF CONGRESS CATALOG CARD NUMBER: 61-8059 PRINTED IN THE UNITED STATES OF AMERICA BY VAIL-BALLOU PRESS, INC., BINGHAMTON, N.Y. Contents PART I: THE CHURCH IN THE HUMANIST WORLD Section I: Secular Humanism (1453-1776) I. THE RENAISSANCE (1447-1517) . 4 1. The Secular Renaissance .. • 4 2. The Ecclesiastical Renaissance .. • 11 3. The Renaissance Papacy (1447-84) . 17 4. The Evil Stewards (1484-1503) . 23 5. The Militant and Humanist Papacy (1503-21) . 30 6. Germanic Renaissance (1378-1519) . 36 7. Slavic Renaissance (1308-1526) . 42 8. French Renaissance (1380-1515) . 47 9. British Renaissance (1377-1509) . 53 10. Iberian Unification (1284-1516) 59 11. Scandinavian Unity (1319-1513) . 65 II. EXPLORATION AND EVANGELIZATION (1492-1776) 71 12. The Turkish Menace (1481-1683) .. 71 13. Levantine Missions 74 14. Return to the Old World ..... 80 15. Discovery of a New World (1000-1550) • 87 16. Latin America (1550-4800) ... 93 17. French America (1603-1774) ... • 104 18. Anglo-Saxon America (1607-1776) . 114 Section II: Theological Humanism (1517-1648) III. THE PROTESTANT REVOLUTION (1517-59) . 124 19. Causes of Protestantism 124 20. Emperor Charles of Europe (1519-58) . 132 21. Luther and Lutheranism .. -
I-001 Image Du Monde Livre De Clergie Nomme¤ L'image Du Monde
I I-001 Image Du Monde refs. MirrouroftheWorld, ed. Prior, 5^8; Caxton, Prologues, 50^ 8, no. xiii. Livre de clergie nomme¨ l'Image du monde. r r a6 Myrrour of the worlde. a1 [Title-page.] r refs. Mirrour of the World, ed. Prior, 8^185; and see Blake, a2 [Introduction.] Incipit: `[C]e present liure dit l'imaige(!) du Caxton, 40 B68^68.3. Gossouin or Gautier de Metz was named monde contient en tout cinquante et cincq chapitres . .' v as the author in some of the manuscript sources. a2 `Prologue.' Incipit: `[Q]ui bien veult entendre ce liure . .' r [Westminster:William Caxton, after 12 Aug. 1481]. Folio. For the a3 Livre de clergie nomme¨ l'Image du monde. Incipit:`[Q]uant dieu dating see BMC. ¢st le monde . .' A prose version of Gossuin (or Gautier) de 8 4 Metz's Image du monde, in turn a translation of the work of collation: a^m n . Honorius Augustodunensis. GW 10966; HC 11656; Go¡ M-883; BMC XI; Pr 9638; Campbell, refs. See L'Image du monde de Ma|ª tre Gossouin, ed. O. H. Prior Maps, 67^8; Caxton, Exhibition, BL, 47^8, no. 40; de Ricci, (Lausanne and Paris,1913), which does not mention this edition. Caxton, 94; Du¡ 401; Needham, Pardoner, 86, no. Cx 46; Oates r 4074; Sheppard 7379; STC 24762. Facsimile: English e5 Pierre de Luxembourg: [Die© te de salut] Chemin de pe¨ nitence. Incipit: `[Q]uant ie regarde l'estat et la vie que iay mene . [S]aint Experience, no. 960 (Amsterdam, 1979). Micro¢che: Unit 3: Pierre dit que nous sommes tous pelerins . -
IA B24859102
. Yh r / / 22101102187 - f \ Digitized by the Internet Archive in 2016 https://archive.org/details/b24859102 I . < > > ri-r7^j 'f j / Book-Plates By f.s.a. W. J. Hardy, London Kegan Paul, Trench, Triibner & Co., Ltd. MDCCCXCIII cues - Access '^.X-^- I \ Preface Having vindicated in my introductory chapter the practice of collecting book-plates from the charge of flagrant immorality, I do not think it necessary to spend many words in demonstrating that it is in every way a worthy and reasonable pursuit, and one which fully deserves to be made the subject of a special treatise in a series of Books about Books. If need were, the Editor of the series, who asked me to write this little hand-book, would perhaps kindly accept his share of responsibility, but in the face of the existence of a flourishing ‘ ex libris’ Society, the importance of the book-plate as an object of collection may almost be taken as axiomatic. My own interest in this particular hobby is of long standing, and happily the appearance, when my manuscript was already at the printer’s, of Mr. Egerton Castle’s pleasantly written and profusely illustrated work on English Book-Plates has relieved me of the dreaded necessity of writing an additional chapter on those modern examples, in treating of Vlll Preface which neither my knowledge nor my enthusiasm would have equalled his. The desire to possess a book-plate of one’s own is in itself commendable enough, for in fixing the first copy into the first book the owner may surely be assumed to have registered a vow that he or she at least will not join the great army of book-perse- cutors—men and women who cannot touch a volume without maltreating it, and who, though they are often ready to describe the removal of a book- plate even from a worthless volume as an act of vandalism, do infinitely more harm to books in general by their ruthless handling of them. -
Scottish Armory and Heraldry: a General Overview
Scottish Armory and Heraldry: A General Overview by Donald Draper Campbell 1 2 © DDC, 2003 - 2021 Revised: 2021 March 02 1 Delegate for North American and Honorary Member – The Heraldry Society of Scotland; Sennachie, Board Member & Fellow – The Society of Scottish Armigers; Fellow – Society of Antiquaries (Scotland); Sennachie – The Clan Campbell Society (North America); and Board Member & Sennachie – Clan Campbell Educational Foundation. 2 The author may be contacted at: 4875 Sioux Drive, Boulder, CO 80303, USA / +1 720-562- 8062 / [email protected]. Prior to __ March 2021 he resided at10457 East Dorado Place, Greenwood Village, CO 80111-3711, USA / +1 303-862-6938 / [email protected]. Prior to 6 Oct 2015 he resided at 4031 Ellicott Street / Alexandria, VA 22304-1011 / USA. This paper is an expansion of a paper, “On Acquiring Scottish Arms”, that was originally published in the Journal of The Clan Campbell Society (United States of America), Vol. 11, Summer 1984, Number 3. -1- Table of Content Introduction. 3 What Is Armory and Heraldry?. 3 What Are Armorial Bearings? . 5 The hereditary community consists of: . 8 The “life” community consists of: . 11 The Law of Arms and The Lord Lyon King of Arm’s Authority . 12 The Court of the Lord Lyon King of Arms. 16 List of Office Holders . 17 Officer of Arms. 18 The Public Register of All Arms and Bearings in Scotland . 18 Eligibility . 20 Grant of Arms Scenario: . 21 Matriculation of Arms Scenario: . 25 Registration of Foreign Arms . 28 The Form of Petitions . 28 Grant of Arms to a Living Person: . 28 Grant of Arms For and In memory of an Ancestor: . -
MA Thesis FINAL
VISIONS OF CHARITY ENGLISH ART AND THE CREATION OF THE LONDON FOUNDLING HOSPITAL by MALLORIE ELIZABETH CULWELL Bachelor of Arts, 2008 Texas Tech University Lubbock, Texas Submitted to the Faculty Graduate Division College of Fine Arts Texas Christian University in partial fulfillment of the requirements for the degree of MASTER OF THE ARTS May, 2012 !!!! Copyright © 2012 by Mallorie Elizabeth Culwell All rights reserved iii VITA Personal Background!! Mallorie Elizabeth Culwell !!!!Born August 19, 1985, Fort Worth, Texas !!!!Daughter of Ric and Linda Culwell Education!! ! Diploma, Springtown High School, Springtown, TX, 2003 !!!!Bachelor of Arts, Art History, Texas Tech University, Lubbock, !!!!TX, 2008 iv Acknowledgements ! I consider myself very fortunate to have chosen such a wonderful Art History program here at Texas Christian University. Although it has been the most difficult two years of my academic career, it has by far been the most worthwhile. I wish to thank my advisor, Dr. Amy Freund, for being so supportive of my topic, as well as giving generously with her time and advice. Because of her I consider my time here as not only a valuable learning experience, but also an enjoyable one. I wish to thank the members of my thesis committee, Dr. Babette Bohn and Dr. Bonnie Blackwell. I could not have written this paper without their encouragement and suggestions. Thanks also to Dr. Fran Colpitt and Dr. Mark Thistlethwaite for expanding my vision beyond the art of eighteenth-century England. ! I am also fortunate to have had two very supportive and understanding fellow MA candidates in Emily Brown and Kelly Fenton. -
Scottish Armory and Heraldry: a General Overview
Scottish Armory and Heraldry: A General Overview by Donald Draper Campbell 1 2 © DDC, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2014, 2015, 2016, 2017, 2018, 2019 Revised: 2019 Jan 12 1 Delegate for North American and Honorary Member – The Heraldry Society of Scotland; Sennachie, Board Member & Fellow – The Society of Scottish Armigers; Fellow – Society of Antiquaries (Scotland); Sennachie – The Clan Campbell Society (North America); and Board Member & Sennachie – Clan Campbell Educational Foundation. 2 The author may be contacted at: 10457 East Dorado Place, Greenwood Village, CO 80111-3711, USA / +1 303-862-6938 / [email protected]. Prior to 6 Oct 2015 he resided at 4031 Ellicott Street / Alexandria, VA 22304-1011 / USA. This paper is an expansion of a paper, “On Acquiring Scottish Arms”, that was originally published in the Journal of The Clan Campbell Society (United States of America), Vol. 11, Summer 1984, Number 3. -1- Table of Content Introduction. 3 What Is Armory and Heraldry?. 3 What Are Armorial Bearings? . 5 The hereditary community consists of: . 8 The “life” community consists of: . 11 The Law of Arms and The Lord Lyon King of Arm’s Authority . 12 The Court of the Lord Lyon, King of Arms . 16 List of Office Holders . 17 Officer of Arms. 18 The Public Register of All Arms and Bearings in Scotland . 18 Eligibility . 20 Grant of Arms Scenario: . 21 Matriculation of Arms Scenario: . 25 Registration of Foreign Arms . 27 The Form of Petitions . 28 Grant of Arms to a Living Person: . 28 Grant of Arms For and In memory of an Ancestor: .