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A Brief History of the Art of Enameling Part I
MISE_Vox52_end:MISE_Vox52_end 29-01-2011 17:48 Pagina 66 AA BriefBrief HistoryHistory ofof thethe AArtrt ofof EnamelingEnameling PartPart II By Osvaldo Patrizzi Plaque: The Tree of Jesse, attributed to Leonard Limosin. Painted polychrome enamel, Limoges, mid 16th century. he art of enameling co- The production of each period is typical and clearly TTvers a wide range of recognizable. That of the 14th century, for example, historical periods. It is dis- is fundamentally different from that of the 12th or tinct from other analogous the 16th century. The only constants are the ma- arts, such as ceramics and terials employed: enamel and a metal base. glasswork, in that it is au- There are two categories of enamel. The first to be tonomous as concerns the developed, decorative enamel, was known to the materials used, its forms, Touranians and later to the Scythians. They intro- its fabrication processes, duced it into China during the reign of the Thai- and in its progress, remai- wanti, who transmitted it to the ancient civilizations ning isolated, in a sense, of the Indus, Egypt, Phoenicia, Assyria, the Etrus- from all the other indus- Osvaldo Patrizzi cans and the Eduans. The pieces comprise jewelry Chariman and watch expert trial arts. and decorative objects, whose forms are enhanced For several centuries, ena- by the harmonies and brilliance of the colored meling was considered a mere form of decoration enamel. subordinated to the goldsmith’s art. However, The enamel is inlaid, the contours of the design around the 15th century, it came to be considered being fashioned from the metal base itself. -
Glyptics, Italian Plaquettes in France and Their Reproduction in Enamel
Glyptics, Italian Plaquettes in France and their reproduction in Enamel by Michael Riddick Glyptics, Italian Plaquettes in France and their Reproduction in Enamel Glyptics, Italian Plaquettes in France and their Reproduction in Enamel While the relationship between plaquettes and other media have been thoroughly studied, less explored is their rarer influence on French enamels, especially upon artists like Jean II Pénicaud and his contemporary, the Master K.I.P. That the two enamelers both show evidence of using plaquettes as source material could bring credence to Alfred Darcel’s early suggestion that Master K.I.P. was a pupil active in Pénicaud II’s workshop.1 The great majority of painted Limoges enamel compositions were initially dependent upon prints from the Rhineland, Germany, France and Flemish territories. By the mid-16th century, the wide diffusion of prints throughout Europe provided ample references for enamelers who either borrowed from them directly or mixed-and-matched source material to realize their designs. Fig. 01: Marcantonio Raimondi (after Raphael), Quos Ego, engraving, ca. 1515-16 (Metropolitan Museum of Art, Borrowing from prints was a practice both enamelers Inv. 19.52.10) and plaquette-makers shared in common. In Northern Europe this is especially evident where Northern plaquette-makers based their reliefs on the same prints used also by enamelers. Examples include productions based upon Dürer’s Passion series2 or the works of Bernard Salomon.3 The intersecting influence of prints on both enamels and Italian plaquettes can also be observed. One example is Marcantonio Raimondi’s Quos Ego (after Raphael) (Fig. 01), reproduced variably by Limoges enamelers (Fig. -
SPORTS the Official Magazine of RAF Halton Summer 2019
MainThe Official Magazine of RAF HaltonpointSummer 2019 1 Mainpoint SpringSTATION 2017 SNIPPETS | COMMUNITY AND CHARITY | SPORTS ASTON CLINTON BEER FESTIVAL 8 – 2nd to 4th AUGUST 2019 WouldWould youyou like toto playplay The ACBF team have always managed to get hold of the best cask and keg beers in the country and this year will be no exception. The beer roster will cater for traditional and cricketcricket atat thethe weekend?weekend? contemporary tastes alike and everything in between. A good selection of Cider and Perry will also be available and Kimble Cricket Club is a friendly, “Craftyard” will be present with their artisan Gin bar. Of Kimble Cricket Club is a friendly, course, it wouldn’t be ACBF if there wasn’t Prosecco and locallocal club club withwith aa historyhistory ofof RAF personnel Pimm’s on tap as well! playingplaying veryvery successfullysuccessfully for us. There will be an amazing line up of musical acts. The most prominent of these being “Love Distraction” theWe UK’s are always Welooking are for always new players looking to play for innew one players of our foremost Human League tribute act, who will openWe theare always looking for new players to play in one of our festival on Friday 2nd August supported by firm ACBFtwo league teams on Saturdays or friendlies on Sunday. two league teams on Saturdaysto play or in friendlies one of onour Sunday. favourites “Soulmates”. two league teams on Saturdays Our outdoor nets are on Wednesday evenings from 6pm The “Saturday Sessions” takes on a rockier edgeOur with outdoor nets are on orWednesday friendliesWould eveningsonyou Sunday. -
The Waddesdon Bequest Catalogue of the W. Rks F Art Bequeathed To
T HE WA DDES DO N BEQ U EST CATA LOGU E OF T HE W. R K S F A R T BEQ U EATHED TO THE BRITIS H MU S EU M E D D T D P I AN R H HIL M . BA RON F R N O SC , BY CH A R LE S H E R CU LE S R E A D K E E PE R OF T HE DE PAR T M E NT OF B R IT I S H A ND M E D IE VAL A NT IQU IT I ES AND ET H NOG R APHY LONDON PR INT E D BY OR DE R OF T H E T R U S T E E S SOLD AT T HE BRITISH MUSEUM D W A N BY LONGM A N S CO. PAT NOST R O , 39, ER ER B R D U A R ITCH r ICCA DILLY S R 1 B D O D S COV G D NA P A C0 . F T T NT A N E R Q , s, ; HE , 3, E R REE , E R E R GAN PAU L T NC T R fiB NE R CO PATE NOST HOU S E C A ING CR OS S R OA D E , RE H , R ER . H R A N D N Y F R OWDE OX F O D U N IV SITY P SS WA OU S AM N CO N HE R , R ER RE REH E, E R ER 1 90 2 [ A 11 f i g]: ts r es: f w d ] CHIS WlCK PR ESS : CHARLES WHITTING HAM A N D CO TOOK S COU R T C ANC Y LAN E LO N DON . -
The Rothschild Bibliography Caroline Shaw of the Rothschild Archive Describes Her Attempts to Chart the Family’S Countless Ventures Into Print
The Rothschild Bibliography Caroline Shaw of The Rothschild Archive describes her attempts to chart the family’s countless ventures into print The ‘Dunottar Castle’ from the cover of Three weeks in South Africa by Ferdinand de Rothschild Has there ever been such a family as the Rothschilds for getting into print? For me, after working on this project for two years, the question is coloured by a mixture of wonder and exasperation. Will they never stop publishing? Of course, one hopes not; but is there to be no rest for the bibliographer? It has been a long-standing goal of The Rothschild Archive to compile a bibliography of publications by members of the Rothschild family and now, 1,840 entries by fifty-one individuals further on, we are perhaps ready to acknowledge that critical mass has been reached whilst accepting that completion may never be achieved. The initial motivation for producing The Rothschild bibliography was a desire to bring some kind of intellectual order to this not insignificant aspect of the activities of the Rothschild family. It has been a mapping of a wide and diverse terrain and revealed some previously uncharted areas. Beyond this, and the greater insight allowed into the lives and interests of many members of the family, the bibliography has brought some other benefits to the Archive. New acquisitions have followed from our greater knowledge and awareness of the publications; and the ever-expanding database of references has also built up into a guide for locating material, whether held at the Archive or at another institution. -
Lady Almina and the Real Downton Abbey the Lost Legacy of Highclere Castle
You loved your last book...but what are you going to read next? Using our unique guidance tools, Lovereading will help you find new books to keep you inspired and entertained. Opening Extract from… Lady Almina and the Real Downton Abbey The Lost Legacy of Highclere Castle Written by the Countess of Carnarvon Published by Hodder & Stoughton All text is copyright © of the author This Opening Extract is exclusive to Lovereading. Please print off and read at your leisure. 8824X_tx.indd24X_tx.indd iiiiii 118/08/20118/08/2011 110:050:05 First published in Great Britain in 2011 by Hodder & Stoughton An Hachette UK company 1 Copyright © 8th Countess of Carnarvon 2011 The right of the Countess of Carnarvon to be identifi ed as the Author of the Work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means without the prior written permission of the publisher, nor be otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser. A CIP catalogue record for this title is available from the British Library. Hardback ISBN 978 1 444 73082 1 Trade Paperback ISBN 978 1 444 73083 8 eBook ISBN 978 1 444 73086 9 Typeset in Bembo by Palimpsest Book Production Limited, Falkirk, Stirlingshire Printed and bound by Clays Ltd, St Ives plc Hodder & Stoughton policy is to use papers that are natural, renewable and recyclable products and made from wood grown in sustainable forests. -
Catalogue of the Mediaeval Ivories Enamels Jewellery
\5^ i ^*> FITZWILLIAM MUSEUM MCCLEAN BEQUEST CAMBRIDGE UNIVERSITY PRESS ILonDon: FETTER LANE, E.G. C. F. CLAY, Manackr u *[ .«...r^^ GFUinturgJ) : loo, PRINCES STREET Btrlin: A. ASHER AND CO. 1Lfip>ig: F. A. BROCKHAUS i^tiu Sork: G. P. PUTNAM'S SONS iSombaB Bnti ffalnittn : MACMILLAN AND CO.. Ltd. All rights reservai FITZWILLIAM MUSEUM MACLEAN BEQUEST CATALOGUE OF THE MEDIAEVAL IVORIES, ENAMELS, JEWELLERY, GEMS AND MISCELLANEOUS OBJECTS BEQUEATHED TO THE MUSEUM BY FRANK MCCLEAN, M.A., F.R.S. BY O. M. DALTON, M.A. Cambridge : at the University Press 1912 M Camiriirgf : PRINTED BY JOHN CLAY, M.A. AT THE UNIVERSITY PRESS PREFACE " I ""HE present catalogue, though limited in extent, is concerned -^ with of a kind difficulties I objects presenting peculiar ; cannot claim to have surmounted all of these or to have avoided all the errors besetting the classification of similar works of art. In the Introduction I have tried to summarize our present knowledge, and to provide such references to the literature of each subject as will enable the reader to consult original sources of information. I wish to express my great indebtedness to Dr Montague James and Mr S. C. Cockerell for kind assistance rendered at various times during the preparation of the work, and in an especial degree to Dr C. H. Read of the British Museum, who has examined the collection with me and placed his wide knowledge freely at my disposal. The descriptions of nos. io8— 109 and of the Egyptian, Assyrian and Babylonian objects, nos. 119— 143, have been supplied by Mr F, W. -
Waddesdon Unveils 2021 Programme
Life-sized elephants, painterly images of beautiful roses, the kitchen where Queen Victoria sent her own chef to learn and unseen paintings by Gustave Moreau – Waddesdon announces its 2021 programme Emerging from the gloom of 2020, next year looks rosier. Not least because Waddesdon’s 2021 season includes the second instalment of Nick Knight’s Roses from my Garden, a series of superb large-scale still life images with echoes of artists like Brueghel and van Huysum, yet wholly contemporary, extended from 2020. Also, from February, the history and secrets of the Manor’s kitchen and the people who worked in it will be revealed in a fascinating new display, while an exhibition of Gustave Moreau’s watercolours that have not been seen in public for 115 years is sure to be a highlight of summer. History of the Manor Kitchen 3 February – 7 March Manor Restaurant As a summer retreat from London and a magnificent setting for weekend house parties, Baron Ferdinand de Rothschild’s Waddesdon was the last word in luxury and refinement, not least through what was served from its cellars and large kitchen. Guests included Queen Victoria and her son, the Prince of Wales (and future King Edward VII). In 1891, just 24 staff ran the house, but this number would double when the Baron was entertaining and his French chef and Italian pastry-chef came down from London. Such was their artistry in the kitchen, that Queen Victoria sent her own chef to learn from Ferdinand’s after her visit in 1890. Waddesdon – A Rothschild House & Gardens, Aylesbury, Buckinghamshire, HP18 0JH England www.waddesdon.org.uk When the house was bequeathed to the National Trust in 1957, the Manor Kitchen was converted to a tearoom. -
BM Tour to View
08/06/2020 Gods and Heroes The influence of the Classical World on Art in the C17th and C18th The Tour of the British Museum Room 2a the Waddesdon Bequest from Baron Ferdinand Rothschild 1898 Hercules and Achelous c 1650-1675 Austrian 1 2 Limoges enamel tazza with Judith and Holofernes in the bowl, Joseph and Potiphar’s wife on the foot and the Triumph of Neptune and Amphitrite/Venus on the stem (see next slide) attributed to Joseph Limousin c 1600-1630 Omphale by Artus Quellinus the Elder 1640-1668 Flanders 3 4 see previous slide Limoges enamel salt-cellar of piédouche type with Diana in the bowl and a Muse (with triangle), Mercury, Diana (with moon), Mars, Juno (with peacock) and Venus (with flaming heart) attributed to Joseph Limousin c 1600- 1630 (also see next slide) 5 6 1 08/06/2020 Nautilus shell cup mounted with silver with Neptune on horseback on top 1600-1650 probably made in the Netherlands 7 8 Neptune supporting a Nautilus cup dated 1741 Dresden Opal glass beaker representing the Triumph of Neptune c 1680 Bohemia 9 10 Room 2 Marble figure of a girl possibly a nymph of Artemis restored by Angellini as knucklebone player from the Garden of Sallust Rome C1st-2nd AD discovered 1764 and acquired by Charles Townley on his first Grand Tour in 1768. Townley’s collection came to the museum on his death in 1805 11 12 2 08/06/2020 Charles Townley with his collection which he opened to discerning friends and the public, in a painting by Johann Zoffany of 1782. -
4 Archaeological & Historical Development
Wendover Historic Town Assessment Draft Report 4 Archaeological & Historical Development 4.1 Prehistoric period (c.10,000 BC – AD 43) Evidence for the prehistoric period in Wendover has been limited to chance finds, while a greater number of artefacts have been collected during fieldwalking projects in fields around the town. A number of Neolithic flint flakes have been recovered at locations including south of Rowborough Copse and north of The Hale (HER 0222900000). Two Neolithic flint axes were found in gardens at Elthorne and at Cobblershill Farm Cottages (HER 0015100000). Neolithic flints found in the garden of 13 Pound Street (HER 0096000000). In the surrounding landscape evidence is more abundant. Wendover is in close proximity to the Chilterns scarp, one of richest areas of surviving visible prehistoric monuments in the South East. One of the earliest sites was found at Wendover Woods with the discovery of Mesolithic stone tools, (HER 0571902000). At nearby Halton Camp there is a possible Neolithic long barrow (HER 0223000000). On Bacombe Hill, there are two unexcavated barrows dating to the Neolithic/Bronze Age (HER 0001100000). A number of late prehistoric flint flakes and tools were found on the ground surface around the monuments. On Boddington Hill overlooking Wendover, there is also more substantial evidence for later prehistoric settlement in the form of a late Bronze Age or early Iron Age hillfort (HER 0415000000). This scheduled ancient monument is a univallate enclosure, measuring approximately 500m x 200m. Situated on the promontory of the hill, the site has a commanding view of the Vale of Aylesbury to the north and the Wendover valley to the south. -
CONTEMPORARY at WADDESDON Lafite JOANA VASCONCELOS 2015 from 17 April 2015
Press Release CONTEMPORARY AT WADDESDON Lafite JOANA VASCONCELOS 2015 From 17 April 2015 Artist’s Impression ©Joana Vasconcelos From 17 April, Waddesdon unveils a major new acquisition by The Rothschild Foundation: Lafite, a pair of monumental sculptures of candlesticks by Portuguese artist Joana Vasconcelos. Each candlestick is 7 metres tall and made of glass wine bottles set on a steel armature and lit from within with fibre-optic strands. The siting on the North Front is particularly appropriate as the bottles originate from Château Lafite Rothschild, one of the two great Rothschild vineyards in Bordeaux, and the west candlestick stands opposite the door to the Wine Cellars in the house. Joana Vasconcelos (b.1971) lives and works in Lisbon, and has exhibited internationally, most recently in a major solo exhibition at the Château de Versailles and, in 2014, at the Manchester City Art Gallery. Her work is in a number of public and private collections. She aims to re- present and subvert every-day objects, often manipulating notions of scale and form. She is particularly interested in the role of women in contemporary society, and objects associated with them, and also in the relationship between public and private space. In their re-use of objects as ubiquitous as wine bottles, these giant objects merge the legacies of the ready-made, nouveau realism and post-modernism. At Waddesdon, a house famous for hospitality from its creation to the present day, the candlesticks are a reminder of the pleasures of the table, and the value of domesticity, as well as 1 Press Release linking the collections inside the house with the outside world. -
Appendix IV Waddesdon Estate, Manor and Grounds 1 1 Grounds and Manor Estate, Waddesdon Appendix IV Status Grade I
Structure Status Assessment of Significance Waddesdon Manor Grade I Mansion. 1874-83, by Gabriel-Hippolyte Alexandre Destailleur, for Baron Ferdinand de Rothschild. Late c19th mansion Bath stone, steeply pitched slate roofs. In the style of a C16 French chateau, incorporating elements from Blois, Maintenon, Chambord and Chaumont. Approximately E-plan with circular staircase towers in angles with side wings. Other round towers to front of N.E. wing and to rear at S.W. corner. Small wing added to S.W. 1889; Service wing attached to N.E. with Bachelors'wing altered 1890s by Andre Destailleur, to rear. 2 storeys and attic. Main range has 7 bays articulated by paired pilasters, entablatures, and parapet with wave ornament and large carved urn finials. Ground floor has arched windows, balustraded aprons, and Composite pilasters. First floor has stone mullion and transom windows, and panelled aprons and pilasters. Attic dormers with flanking festoon scrolls and elaborate gables. Tall panelled chimneys with segmental pediments on scroll modillion cornices. Centre bay has projection with rusticated quoins and separate pavilion roof, the first floor with French doors between Composite columns, the attic having an elaborate dormer with oculus in cartouche, swan-neck pediment on paired scrolls, and urn finial. Ground floorhas projecting porch with segmental arches, paired Composite columns, and strapwork parapet with urn finials and central heraldic crest. Domed staircase towers with spiral balustrades, the attic storey with carved terms. Side wings have panelled pilasters, entablatures, mock machicolations below plain attic storeys, and very steep pavilion roofs with parapets and tall urn finials. Round tower to left with steep conical roof.