19TH CENTURY EUROPEAN VICTORIAN and BRITISH IMPRESSIONIST ART Wednesday 14 March 2018

Total Page:16

File Type:pdf, Size:1020Kb

19TH CENTURY EUROPEAN VICTORIAN and BRITISH IMPRESSIONIST ART Wednesday 14 March 2018 19TH CENTURY EUROPEAN VICTORIAN AND BRITISH IMPRESSIONIST ART Wednesday 14 March 2018 19TH CENTURY EUROPEAN, VICTORIAN AND BRITISH IMPRESSIONIST ART Wednesday 14 March at 2.00pm New Bond Street, London VIEWING BIDS ENQUIRIES PHYSICAL CONDITION OF Friday 9 March +44 (0) 20 7447 7447 Peter Rees (Head of Sale) LOTS IN THIS AUCTION 2pm to 5pm +44 (0) 20 7447 7401 fax +44 (0) 20 7468 8201 Saturday 10 March To bid via the internet please [email protected] PLEASE NOTE THAT THERE IS 11am to 3pm visit bonhams.com NO REFERENCE IN THIS Sunday 11 March Charles O’Brien CATALOGUE TO THE PHYSICAL 11am to 3pm Please note that bids should be (Head of Department) CONDITION OF ANY LOT. Monday 12 March submitted no later than 4pm on +44 (0) 20 7468 8360 INTENDING BIDDERS MUST 9am to 4.30pm the day prior to the sale. New [email protected] SATISFY THEMSELVES AS TO Tuesday 13 March bidders must also provide proof THE CONDITION OF ANY LOT 9am to 4.30pm of identity when submitting bids. Emma Gordon AS SPECIFIED IN CLAUSE 14 Wednesday 14 March Failure to do this may result in +44 (0) 20 7468 8232 OF THE NOTICE TO BIDDERS 9am to 12pm your bid not being processed. [email protected] CONTAINED AT THE END OF THIS CATALOGUE. SALE NUMBER TELEPHONE BIDDING Alistair Laird 24741 Bidding by telephone will only +44 (0) 20 7468 8211 As a courtesy to intending be accepted on a lot with a [email protected] bidders, Bonhams will provide a CATALOGUE lower estimate of or in written Indication of the physical £25.00 excess of £1,000 Deborah Cliffe condition of lots in this sale if a +44 (0) 20 7468 8337 request is received up to 24 ILLUSTRATIONS Live online bidding is available [email protected] hours before the auction starts. Front cover: Lot 100 for this sale This written Indication is issued Back cover: Lot 39 Please email [email protected] New York subject to Clause 3 of the Notice Inside front: Lot 112 with ‘live bidding’ in the subject Madalina Lazen to Bidders. Inside back: Lot 32 line 48 hours before the auction +1 (212) 644 9108 to register for this service. [email protected] CUSTOMER SERVICES Monday to Friday 8.30 to 6.00 +44 (0) 20 7447 7447 Please see page 2 for bidder information including after-sale collection and shipment Bonhams 1793 Limited Bonhams International Board Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Gordon McFarlan, Andrew McKenzie, Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Harvey Cammell Deputy Chairman, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Antony Bennett, Matthew Bradbury, Charlie O’Brien, Giles Peppiatt, India Phillips, Matthew Girling CEO, Lucinda Bredin, Simon Cottle, Andrew Currie, Peter Rees, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Patrick Meade Group Vice Chairman, Jean Ghika, Charles Graham-Campbell, Veronique Scorer, Robert Smith, James Stratton, +44 (0) 20 7393 3905 fax Jon Baddeley, Rupert Banner, Geoffrey Davies, Matthew Haley, Richard Harvey, Robin Hereford, Ralph Taylor, Charlie Thomas, David Williams, Jonathan Fairhurst, Asaph Hyman, James Knight, David Johnson, Charles Lanning, Grant Macdougall Michael Wynell-Mayow, Suzannah Yip. Caroline Oliphant, Shahin Virani, Edward Wilkinson, Leslie Wright. SALE INFORMATION BIDS SHIPPING STORAGE AND HANDLING VAT +44 (0) 20 7447 7447 For information and estimates CHARGES ON SOLD Will be applied at the current +44 (0) 20 7447 7401 fax on domestic and international LOTS RETURNED TO rate on all above charges [email protected] shipping as well as export THE DEPARTMENT licenses please contact Alban The following symbol is To bid via the internet please Shipping on +44 (0) 1582 493 099 Storage used to denote that VAT visit www.bonhams.com [email protected] Storage will be free of charge is due on the hammer price for the first 14 calendar days and buyer’s premium PAYMENTS COLLECTION from & including the sale date Buyers All sold lots will remain in Wednesday 14 March 2018. † VAT 20% on hammer price +44 (0) 20 7447 7447 the Collections room at Bonhams and buyer’s premium +44 (0) 20 7447 7401 fax New Bond Street until 5.30pm Charges will apply from 9am Wednesday 28 March 2018 without Thursday 29 March 2018. * VAT on imported items at Sellers charge. Sold lots not collected by this a preferential rate of 5% on Payment of sale proceeds time will be returned to the department Pictures and small objects: hammer price and the +44 (0) 20 7447 7447 storage charges may apply. £2.85 per day + VAT prevailing rate on buyer’s premium +44 (0) 20 7447 7401 fax Furniture, large pictures and large objects: Y These lots are subject to VALUATIONS, £5.70 per day+ VAT CITES regulations, please TAXATION & HERITAGE (Note: Charges apply every day read the information in the +44 (0) 20 7468 8340 including weekends and Public back of the catalogue. +44 (0) 20 7468 5860 fax Holidays) [email protected] Handling CATALOGUE SUBSCRIPTIONS After the first 14 calendar days To obtain any Bonhams following the sale the following catalogue or to take out handling charges apply per Lot: an annual subscription: Pictures and Large objects: Subscriptions Department £21.00+ VAT +44 (0) 1666 502200 Large pictures £42.00+ VAT +44 (0) 1666 505107 fax [email protected] Loss and Damage Extended Liability cover for the value of the Hammer Price will be charged at 0.6% but will not exceed the total value of all other transfer and storage charges. 19TH CENTURY EUROPEAN, VICTORIAN AND BRITISH IMPRESSIONIST ART Lots 1 - 127 1 2 1 2 EUGÈNE GALIEN-LALOUE (FRENCH, 1854-1941) EUGÈNE GALIEN-LALOUE (FRENCH, 1854-1941) Quai de l’Hotel de Ville sous la neige Théâtre du Châtelet signed ‘E. Galien-Laloue’ (lower left) signed ‘E. Galien-Laloue’ (lower left) gouache over traces of pencil gouache over traces of pencil 20.5 x 31cm (8 1/16 x 12 3/16in). 19 x 30.5cm (7 1/2 x 12in). £6,000 - 8,000 £6,000 - 8,000 €6,800 - 9,100 €6,800 - 9,100 US$8,400 - 11,000 US$8,400 - 11,000 Provenance Frost & Reed, London. Private collection, UK (acquired from the above 5 August 2005). For details of the charges payable in addition to the final Hammer Price of each Lot 6 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 3 EUGÈNE GALIEN-LALOUE (FRENCH, 1854-1941) Porte Saint-Martin, Paris signed ‘E. Galien-Laloue’ (lower left) gouache over traces of pencil 26.5 x 45.5cm (10 7/16 x 17 15/16in). £10,000 - 15,000 €11,000 - 17,000 US$14,000 - 21,000 Provenance Anon. sale, Sotheby’s, New York, 9 February 1999, lot 171. MacConnal-Mason & Son Ltd., London. Private collection, UK. For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 7 4 ANTONIETTA BRANDEIS (CZECH, 1849-1926) Manin Palace, Venice signed ‘ABrandeis.’ (lower right) oil on panel 23.5 x 14cm (9 1/4 x 5 1/2in). £5,000 - 7,000 €5,700 - 8,000 US$7,000 - 9,900 For details of the charges payable in addition to the final Hammer Price of each Lot 8 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 5 ANTONIETTA BRANDEIS (CZECH, 1849-1926) Colleoni Monument, Venice signed ‘ABrandeis.’ (lower right) oil on panel 23.5 x 14cm (9 1/4 x 5 1/2in). £4,000 - 6,000 €4,500 - 6,800 US$5,600 - 8,400 For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 9 6 GEORGES CROEGAERT (BELGIAN, 1848-1923) Provenance A good read Phillips & MacConnal, Liverpool. signed and inscribed ‘GEORGES CROEGAERT PARIS’ (lower right) Private collection, UK (acquired from the above in 1919). oil on panel Thence by descent. 33 x 24cm (13 x 9 7/16in). Georges Croegaert exhibited regularly at the Paris Salon between £5,000 - 8,000 1882 and 1914. He had an eye for detail and love of sumptuous €5,700 - 9,100 fabrics, which he painted in vivid glowing colours. US$7,000 - 11,000 For details of the charges payable in addition to the final Hammer Price of each Lot 10 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 7 GEORGES CROEGAERT (BELGIAN, 1848-1923) Provenance Le choix du costume Boydell & Co., Liverpool. signed and inscribed ‘GEORGES CROEGAERT PARIS’ (lower left) Private collection, UK (acquired from the above in 1916). oil on panel Thence by descent. 32.3 x 24.4cm (12 11/16 x 9 5/8in). £5,000 - 8,000 €5,700 - 9,100 US$7,000 - 11,000 For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 11 8 PETRUS VAN SCHENDEL (BELGIAN 1806-1870) At the poultry stall on the Groenmarkt, The Hague signed and dated ‘P. van Schendel. 1868’ (lower left); signed, dated and dedicated ‘J’ai peint ce tableau.pour/Mr.
Recommended publications
  • Open Art Exhibitions 2016
    Submitting Work Checklist The Columbia Threadneedle Prize The Columbia Threadneedle Prize Check for results: 1 Mar Several of Britain’s leading national art societies host their Annual Open Artists are encouraged to submit fresh and £300, unframed prints £120. Submit online: 13 July to 16 Oct 2015 Unaccepted collection: 3 Mar intriguing figurative or representational works Exhibitions at Mall Galleries, London. Non-member artists may submit their Attend show: 5 to 20 May Awards & Prizes Login for results: 23 Oct that are strong and topical observations on, or Call For Entries First Prize £20,000 plus a solo exhibition at work, which, if accepted, will be hung in the Annual Exhibition alongside Receiving Day: 21 Nov Unsold collection: 26 May interpretations of, the world around us. Mall Galleries work by the well-established member artists. Check for results: 26 Nov Acceptable media: Painting, sculpture, drawing, Visit www.columbiathreadneedleprize.com Submit your work Unaccepted collection: 28 Nov New English Art Club (NEAC) original framed prints (please detail edition). Why submit? Selling Price & Commission Submit online: 30 Nov ‘15 to 4 Mar 2016 Receiving Day (if pre-selected) Attend show: 3 to 20 Feb 2016 All work must be submitted online • Opportunity to exhibit at a prestigious All work must be for sale (excluding Royal Saturday 21 November, 10am to 5pm Unsold collection: 25 Feb Login for results: 11 Mar Opens: Monday 13 July 2015, 12 noon gallery in the heart of London, alongside Society of Portrait Painters). The price of Notification of acceptance posted on Receiving Day: 9 Apr Closes: Friday 16 October 2015, 12 noon well established and admired artists works stated on the registration form must www.mallgalleries.org.uk on Thursday 26 Check for results: 12 Apr Notification of pre-selectionLog in on Friday • Have your work seen by thousands of include commission of 45% (plus VAT).
    [Show full text]
  • Leonardo Da Vinci Il Genio E Le Invenzioni
    Anno III n. 4 BIMESTR ALE D’ARTE, LETTER ATUR A E CULTUR A Redazione, amministrazione: Via Feltre, 71 - 20134 Milano - Direttore responsabile: Lidia Silanos 2011 Edito da Associazione Culturale Zaffiro - Milano, Via Feltre, 71 - Telefono 02.215.50.24 Settembre / Ottobre La mostra a Palazzo della Cancelleria di Roma prorogata fino al 30 aprile 2012 Leonardo da Vinci Il genio e le invenzioni Un museo interattivo delle macchine inventate, e ora funzionanti, dallo sconfinato talento del Genio del Rinascimento italiano opo il grande successo in Germania al Palazzo della Cancelleria di Roma dove derlo resistente all’usura e indeformabile. De a Vienna con oltre 60.000 visitato- avrebbe dovuto rimanere per un anno, ma la Gli 800 mq. di superficie ospitano oltre 45 ri, con il patrocinio della Regione Lazio numerosa affluenza di pubblico ne ha fatto macchine, suddivise in 5 categorie rappre- la mostra “Leonardo da Vinci - Il genio prorogare la chiusura al 30 aprile 2012. sentanti i 4 elementi vitali: acqua, aria, ter- e le invenzioni” arriva nel 2009 in Italia L’ingegno e il talento di Leonardo da Vin- ra e fuoco, con l’aggiunta di meccanismi ci, riconosciuti univer- a seconda dell’elemento SOMMARIO salmente, hanno spazia- naturale che le carat- to in altissime forme di terizza: la sega idrau- LEONARDO DA VINCI – IL GENIO E LE INVENZIONI espressione nei campi lica e i galleggianti per di Mariella Galbusera pag. 1 dell’arte e della cono- camminare sull’acqua, I TOMMASI di Angelora Brunella Di Risio pag. 2 scenza: pittura, scultura, l’aliante e il paracadute, ITINER ARI D’ ARTE architettura, ingegneria, l’automa e la macchina a cura di Lidia Silanos pag.
    [Show full text]
  • The Female Art of War: to What Extent Did the Female Artists of the First World War Con- Tribute to a Change in the Position of Women in Society
    University of Bristol Department of History of Art Best undergraduate dissertations of 2015 Grace Devlin The Female Art of War: To what extent did the female artists of the First World War con- tribute to a change in the position of women in society The Department of History of Art at the University of Bristol is commit- ted to the advancement of historical knowledge and understanding, and to research of the highest order. We believe that our undergraduates are part of that endeavour. For several years, the Department has published the best of the annual dis- sertations produced by the final year undergraduates in recognition of the excellent research work being undertaken by our students. This was one of the best of this year’s final year undergraduate disserta- tions. Please note: this dissertation is published in the state it was submitted for examination. Thus the author has not been able to correct errors and/or departures from departmental guidelines for the presentation of dissertations (e.g. in the formatting of its footnotes and bibliography). © The author, 2015 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted by any means without the prior permission in writing of the author, or as expressly permitted by law. All citations of this work must be properly acknowledged. Candidate Number 53468 THE FEMALE ART OF THE FIRST WORLD WAR 1914-1918 To what extent did the female artists of the First World War contribute to a change in the position of women in society? Dissertation submitted for the Degree of B.A.
    [Show full text]
  • Autobiography of Sir George Biddell Airy by George Biddell Airy 1
    Autobiography of Sir George Biddell Airy by George Biddell Airy 1 CHAPTER I. CHAPTER II. CHAPTER III. CHAPTER IV. CHAPTER V. CHAPTER VI. CHAPTER VII. CHAPTER VIII. CHAPTER IX. CHAPTER X. CHAPTER I. CHAPTER II. CHAPTER III. CHAPTER IV. CHAPTER V. CHAPTER VI. CHAPTER VII. CHAPTER VIII. CHAPTER IX. CHAPTER X. Autobiography of Sir George Biddell Airy by George Biddell Airy The Project Gutenberg EBook of Autobiography of Sir George Biddell Airy by George Biddell Airy This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg Autobiography of Sir George Biddell Airy by George Biddell Airy 2 License included with this eBook or online at www.gutenberg.net Title: Autobiography of Sir George Biddell Airy Author: George Biddell Airy Release Date: January 9, 2004 [EBook #10655] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK SIR GEORGE AIRY *** Produced by Joseph Myers and PG Distributed Proofreaders AUTOBIOGRAPHY OF SIR GEORGE BIDDELL AIRY, K.C.B., M.A., LL.D., D.C.L., F.R.S., F.R.A.S., HONORARY FELLOW OF TRINITY COLLEGE, CAMBRIDGE, ASTRONOMER ROYAL FROM 1836 TO 1881. EDITED BY WILFRID AIRY, B.A., M.Inst.C.E. 1896 PREFACE. The life of Airy was essentially that of a hard-working, business man, and differed from that of other hard-working people only in the quality and variety of his work. It was not an exciting life, but it was full of interest, and his work brought him into close relations with many scientific men, and with many men high in the State.
    [Show full text]
  • Copyright Statement
    COPYRIGHT STATEMENT This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and no quotation from the thesis and no information derived from it may be published without the author’s prior consent. i ii REX WHISTLER (1905 – 1944): PATRONAGE AND ARTISTIC IDENTITY by NIKKI FRATER A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities & Performing Arts Faculty of Arts and Humanities September 2014 iii Nikki Frater REX WHISTLER (1905-1944): PATRONAGE AND ARTISTIC IDENTITY Abstract This thesis explores the life and work of Rex Whistler, from his first commissions whilst at the Slade up until the time he enlisted for active service in World War Two. His death in that conflict meant that this was a career that lasted barely twenty years; however it comprised a large range of creative endeavours. Although all these facets of Whistler’s career are touched upon, the main focus is on his work in murals and the fields of advertising and commercial design. The thesis goes beyond the remit of a purely biographical stance and places Whistler’s career in context by looking at the contemporary art world in which he worked, and the private, commercial and public commissions he secured. In doing so, it aims to provide a more comprehensive account of Whistler’s achievement than has been afforded in any of the existing literature or biographies. This deeper examination of the artist’s practice has been made possible by considerable amounts of new factual information derived from the Whistler Archive and other archival sources.
    [Show full text]
  • Cooperativa Agave Scuole Secondarie Di I E II Grado Il Caffè Michelangelo: Officina Di Una Nuova Arte
    Dalla macchia verso la modernità Presentato da Rivolto a Cooperativa Agave Scuole secondarie di I e II grado Il caffè Michelangelo: officina di una nuova arte. Aperto in via Larga a Firenze nel 1848 vicino all'Accademia delle Belle Arti, accoglieva giovani studenti dell'Accademia ed intellettuali italiani e stranieri. I giovani ribelli Gli iscritti all'Accademia, contestavano l'educazione tradizionale e la pittura di storia antica che, nel periodo romantico, aveva trionfato con soggetti letterari e patriottici. Cercavano invece un linguaggio espressivo libero e rinnovato. Stefano Ussi, La cacciata del Duca di Atene da Firenze 1860, Galleria d'Arte Moderna, Firenze. Enrico Pollastrini I novellatori del Decameron 1855, Museo Civico Giovanni Fattori, Livorno. Dagli incontri e scontri presso il Caffè Michelangelo, sarebbe presto nata una nuova via dell'arte italiana tracciata dai "progressisti", chiamati poi in senso dispregiativo Macchiaioli. I giovani dissidenti si rivolsero ai generi minori del paesaggio e della scena di genere, dipinti rigorosamente "dal vero". Serafino de Tivoli fu uno dei primi pittori toscani a partire per Parigi, dove nel 1855 si era aperta l'Esposizione Universale. Era curioso di vedere i quadri realistici dei famosi pittori di Barbizon, che tanto si avvicinavano per stile ai Macchiaioli. Serafino de Tivoli, Paesaggio con buoi 1855, Museo Civico Giovanni Fattori, Livorno. Constant Troyon, La Ford 1852, Museo del Louvre, Parigi. La grande scoperta: il ton gris Cristiano Banti, anche lui di ritorno da Parigi, cominciò a parlare agli amici Macchiaioli del ton gris. Con l'aiuto di uno specchio nero, ritornato in auge con i pittori di Barbizon, si riusciva ad abbassare le gradazioni di luminosità nell'insieme, così da vedere nitidamente i contorni e il forte stacco chiaroscurale dei volumi a scapito del dettaglio.
    [Show full text]
  • Mario Puccini “Van Gogh Involontario” Livorno Museo Della Città 2 Luglio - 19 Settembre 2021
    Mario Puccini “Van Gogh involontario” Livorno Museo della città 2 luglio - 19 settembre 2021 ELENCO DELLE OPERE GLI ESORDI E IL MAESTRO FATTORI Giovanni Fattori, Ritratto di contadina, 1880 circa, olio su tavola, 34x31 cm, Museo Civico Giovanni Fattori Livorno Silvestro Lega, Busto di contadina, 1872-1873, olio su tavola, 40x26 cm, Gallerie degli Uffizi, Galleria d’Arte Moderna di Palazzo Pitti, Firenze Mario Puccini, Ave Maria, 1887 circa, olio su tela, 69x42 cm, Istituto Matteucci, Viareggio Plinio Nomellini, Ritratto di signora, 1885 circa, olio su tela, 33x16 cm, collezione privata Mario Puccini, La modella (La fidanzata), 1889-1890, olio su tela, 49,6x26,6 cm, collezione Fondazione Livorno Plinio Nomellini, Signora in nero, 1887, olio su tela, 43x20 cm, collezione Giuliano Novelli Mario Puccini, Ritratto della fidanzata all’uscita dalla chiesa, olio su tela, 31x21 cm, collezione Rangoni Mario Puccini, Lupo di mare, olio su tela, 38,5x26,2 cm, collezione Rangoni Mario Puccini, Ritratto di giovane, 1890, olio su tela applicata a cartone, 35x25 cm, collezione Rangoni Mario Puccini, Autoritratto con colletto bianco, 1912, olio su tela, 31x21,8 cm, collezione Rangoni Mario Puccini, Interno del mio studio, olio su cartone, 44x28 cm, collezione Rangoni Mario Puccini, Autoritratto, 1914, 47x33 cm, collezione privata Mario Puccini, Autoritratto in controluce, 1914, olio su tavola, 38,5x32,8 cm, collezione privata, courtesy Società di Belle Arti, Viareggio Giovanni Fattori, Nel porto, 1890-1895, olio su tavola, 19x32 cm, Museo Civico Giovanni
    [Show full text]
  • ITALIAN ART SOCIETY NEWSLETTER XXX, 1, Winter 2019
    ITALIAN ART SOCIETY NEWSLETTER XXX, 1, Winter 2019 An Affiliated Society of: College Art Association International Congress on Medieval Studies Renaissance Society of America Sixteenth Century Society & Conference American Association of Italian Studies President’s Message from Sean Roberts benefactors. These chiefly support our dissertation, research and publication grants, our travel grants for modern topics, February 15, 2019 programs like Emerging Scholars workshops, and the cost of networking and social events including receptions. The costs Dear Members of the Italian Art Society: of events, especially, have risen dramatically in recent years, especially as these have largely been organized at CAA and I have generally used these messages to RSA, usually in expensive cities and often at even more promote upcoming programing and events, to call expensive conference hotels. The cost of even one reception attention to recent awards, and to summarize all the in New York, for example, can quickly balloon to activities we regularly support. There are certainly no overshadow our financial support of scholarship. It will be a shortage of such announcements in the near future and significant task for my successor and our entire executive I’m certain that my successor Mark Rosen will have committee to strategize for how we might respond to rising quite a bit to report soon, including our speaker for the costs and how we can best use our limited resources to best 2019 IAS/Kress lecture in Milan. With the final of my fulfill our mission to promote the study of Italian art and messages as president, however, I wanted to address a architecture.
    [Show full text]
  • Seeing and Tagging Things in Pictures
    MICHAEL HANCHER Seeing and Tagging Things in Pictures What men or gods are these? What maidens loth? What mad pursuit? What struggle to escape? What pipes and timbrels? What wild ecstasy? —John Keats, ‘‘Ode on a Grecian Urn’’ Tagging Magritte A RT UK, FORMERLY KNOWN AS Your Paintings, is an ambitious project to document and make accessible online all the paintings that are held by public museums in Great Britain. Launched at the National Gallery in June 2011, it was initially supported by the British Broadcasting Corpo- ration and the Public Catalogue Foundation (now also renamed Art UK), a registered charity established in 2003.1 By August 2015, more than two hundred thousand paintings had been photographed for the project’s data- base.2 Basic metadata for each painting was supplied by museum profes- sionals, but more detailed metadata was crowdsourced by online volunteers, who ‘‘tagged’’ individual images with descriptive terms that could be entered in a search engine to call up relevant paintings. An interim history of the project noted that economy was a major incentive for the crowdsourcing: ‘‘It was obvious that it would be prohibitively expensive to pay expert fine art cataloguers to describe all 200,000 paintings systematically and that some sort of voluntary system would have to be devised.’’ Crowdsourcing prom- ised the contributing museums other benefits as well, including ‘‘the poten- tial to engage both existing and new audiences,’’ and the discovery of vernacular (rather than expert) search terms responsive to the interests of ‘‘the widest set of potential users.’’3 abstract Despite modernist precepts, digital projects that use crowdsourcing to annotate large collections of images of paintings and book illustrations with ‘‘tags’’ have encouraged viewers to see things in pictures and to say what they see.
    [Show full text]
  • Egli È Di Quelli Che Vissero Di Pensiero ­
    numero 4 anno II | Ottobre 2019 nRivista semestrale del Caffè Michelangoiolo -Firenze i ISSN 2611-4089 Egli è di quelli che vissero di pensiero ­ Noi Caffè Michelangiolo indice n.4 anno II Ottobre 2019 Rivista semestrale in copertina | Foto di Silvestro Lega (nd) - Silvestro Lega, “ L’adolescente” (nd) Pubblicata per conto di: Accademia degli Incamminati Via dei Frati, 19 | Modigliana (FC) Lucrezia Caliani pag. 06 www.accademiaincamminati.it “Mi fermo a Firenze” Associazione Culturale Caffè Michelangiolo Chiara Lotti pag. 08 Via degli Artigiani 45, 50041, Calenzano (Firenze) Le ramificazioni dell’arte www.caffemichelangiolo.it Massimo Innocenti pag. 10 Direttore responsabile: Il sole basso e... Andrea Del Carria Segretario di redazione: Erika Vita pag. 14 Maria Grazia Fantini La poetica del vero Redazione: Chiara Lotti Francesca Bertini pag. 18 Le bambine che fanno le signore Per la stesura della bibliografia: Lorenzo Tofi Maria Emirena Tozzi pag. 22 Silvestro Lega e le amicizie fiorentine Ufficio stampa: Giulia Bertelli Stefania Balocco pag. 24 Costanza Peruzzi Dello sguardo nel tempo. Occhi che sentono Redazione: Associazione Culturale Caffè Michelangiolo, Via degli Artigiani 45, 50041, Calenzano (Firenze) fuoripagina [email protected] Edizione: Associazione Culturale Caffè Michelangiolo, Andrea Del Carria pag. 28 Accademia degli Incamminati di Modigliana La frontiera Progetto grafico e impaginazione: Valentina Ciardelli pag. 30 Alessandro Innocenti - [email protected] Le Lamentazioni della famiglia Puccini Stampa: Leonardo
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETH-CENTURY ART COLLECTION SCIIEMES AND TIIEIR IMPACT ON LOCAL AUTHORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISH ART IN BRITAIN VOLUME If Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA.CT.................................................................................. ii ACKNOWLEDGEMENTS •........••.••....••........•.•.•....•••.......•....•...• xi CHAPTER 1:INTRODUCTION................................................. 1 SECTION 1 THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS..........................................................................
    [Show full text]
  • Art in an Age of Civil Struggle, 1848-1871; and Revelation of Modernism: Responses to Cultural Crises in Fin-De-Siècle Painting, Both by Albert Boime
    Elizabeth Mansfield book review of Art in an Age of Civil Struggle, 1848-1871; and Revelation of Modernism: Responses to Cultural Crises in Fin-de-Siècle Painting, both by Albert Boime Nineteenth-Century Art Worldwide 8, no. 1 (Spring 2009) Citation: Elizabeth Mansfield, book review of “Art in an Age of Civil Struggle, 1848-1871; and Revelation of Modernism: Responses to Cultural Crises in Fin-de-Siècle Painting, both by Albert Boime,” Nineteenth-Century Art Worldwide 8, no. 1 (Spring 2009), http://www.19thc- artworldwide.org/spring09/70-art-in-an-age-of-civil-struggle-1848-1871-and-revelation-of- modernism-responses-to-cultural-crises-in-fin-de-siecle-painting-both-by-albert-boime. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2009 Nineteenth-Century Art Worldwide Mansfield: Art in an Age of Civil Struggle, 1848-1871; and Revelation of Modernism Nineteenth-Century Art Worldwide 8, no. 1 (Spring 2009) Albert Boime Art in an Age of Civil Struggle, 1848-1871 Chicago: University of Chicago Press, 2008 784 pp; 385 b/w illustrations Cost: $65.00 [cloth] ISBN: 9780226063287 Revelation of Modernism: Responses to Cultural Crises in Fin-de-Siècle Painting Columbia and London: University of Missouri Press, 2008 304 pp; 77 b/w, 8 color illustrations Cost: $54.95 [cloth] ISBN 978-0-8262-1780-6 As wide-ranging as Albert Boime’s scholarly legacy is, his contributions to the history of nineteenth-century art are especially noteworthy.
    [Show full text]