ROYAL COLLECTION STUDIES 2016 Reading List
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Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as -
Ruskin and South Kensington: Contrasting Approaches to Art Education
Ruskin and South Kensington: contrasting approaches to art education Anthony Burton This article deals with Ruskin’s contribution to art education and training, as it can be defined by comparison and contrast with the government-sponsored art training supplied by (to use the handy nickname) ‘South Kensington’. It is tempting to treat this matter, and thus to dramatize it, as a personality clash between Ruskin and Henry Cole – who, ten years older than Ruskin, was the man in charge of the South Kensington system. Robert Hewison has commented that their ‘individual personalities, attitudes and ambitions are so diametrically opposed as to represent the longitude and latitude of Victorian cultural values’. He characterises Cole as ‘utilitarian’ and ‘rationalist’, as against Ruskin, who was a ‘romantic anti-capitalist’ and in favour of the ‘imaginative’.1 This article will set the personality clash in the broader context of Victorian art education.2 Ruskin and Cole develop differing approaches to art education Anyone interested in achieving artistic skill in Victorian England would probably begin by taking private lessons from a practising painter. Both Cole and Ruskin did so. Cole took drawing lessons from Charles Wild and David Cox,3 and Ruskin had art tuition from Charles Runciman and Copley Fielding, ‘the most fashionable drawing master of the day’.4 A few private art schools existed, the most prestigious being that run by Henry Sass (which is commemorated in fictional form, as ‘Gandish’s’, in Thackeray’s novel, The Newcomes).5 Sass’s school aimed to equip 1 Robert Hewison, ‘Straight lines or curved? The Victorian values of John Ruskin and Henry Cole’, in Peggy Deamer, ed, Architecture and capitalism: 1845 to the present, London: Routledge, 2013, 8, 21. -
Bargain Booze Limited Wine Rack Limited Conviviality Retail
www.pwc.co.uk In accordance with Paragraph 49 of Schedule B1 of the Insolvency Act 1986 and Rule 3.35 of the Insolvency (England and Wales) Rules 2016 Bargain Booze Limited High Court of Justice Business and Property Courts of England and Wales Date 13 April 2018 Insolvency & Companies List (ChD) CR-2018-002928 Anticipated to be delivered on 16 April 2018 Wine Rack Limited High Court of Justice Business and Property Courts of England and Wales Insolvency & Companies List (ChD) CR-2018-002930 Conviviality Retail Logistics Limited High Court of Justice Business and Property Courts of England and Wales Insolvency & Companies List (ChD) CR-2018-002929 (All in administration) Joint administrators’ proposals for achieving the purpose of administration Contents Abbreviations and definitions 1 Why we’ve prepared this document 3 At a glance 4 Brief history of the Companies and why they’re in administration 5 What we’ve done so far and what’s next if our proposals are approved 10 Estimated financial position 15 Statutory and other information 16 Appendix A: Recent Group history 19 Appendix B: Pre-administration costs 20 Appendix C: Copy of the Joint Administrators’ report to creditors on the pre- packaged sale of assets 22 Appendix D: Estimated financial position including creditors’ details 23 Appendix E: Proof of debt 75 Joint Administrators’ proposals for achieving the purpose of administration Joint Administrators’ proposals for achieving the purpose of administration Abbreviations and definitions The following table shows the abbreviations -
St James Conservation Area Audit
ST JAMES’S 17 CONSERVATION AREA AUDIT AREA CONSERVATION Document Title: St James Conservation Area Audit Status: Adopted Supplementary Planning Guidance Document ID No.: 2471 This report is based on a draft prepared by B D P. Following a consultation programme undertaken by the council it was adopted as Supplementary Planning Guidance by the Cabinet Member for City Development on 27 November 2002. Published December 2002 © Westminster City Council Department of Planning & Transportation, Development Planning Services, City Hall, 64 Victoria Street, London SW1E 6QP www.westminster.gov.uk PREFACE Since the designation of the first conservation areas in 1967 the City Council has undertaken a comprehensive programme of conservation area designation, extensions and policy development. There are now 53 conservation areas in Westminster, covering 76% of the City. These conservation areas are the subject of detailed policies in the Unitary Development Plan and in Supplementary Planning Guidance. In addition to the basic activity of designation and the formulation of general policy, the City Council is required to undertake conservation area appraisals and to devise local policies in order to protect the unique character of each area. Although this process was first undertaken with the various designation reports, more recent national guidance (as found in Planning Policy Guidance Note 15 and the English Heritage Conservation Area Practice and Conservation Area Appraisal documents) requires detailed appraisals of each conservation area in the form of formally approved and published documents. This enhanced process involves the review of original designation procedures and boundaries; analysis of historical development; identification of all listed buildings and those unlisted buildings making a positive contribution to an area; and the identification and description of key townscape features, including street patterns, trees, open spaces and building types. -
The Industrial Revolution: 18-19Th C
The Industrial Revolution: 18-19th c. Displaced from their farms by technological developments, the industrial laborers - many of them women and children – suffered miserable living and working conditions. Romanticism: late 18th c. - mid. 19th c. During the Industrial Revolution an intellectual and artistic hostility towards the new industrialization developed. This was known as the Romantic movement. The movement stressed the importance of nature in art and language, in contrast to machines and factories. • Interest in folk culture, national and ethnic cultural origins, and the medieval era; and a predilection for the exotic, the remote and the mysterious. CASPAR DAVID FRIEDRICH Abbey in the Oak Forest, 1810. The English Landscape Garden Henry Flitcroft and Henry Hoare. The Park at Stourhead. 1743-1765. Wiltshire, England William Kent. Chiswick House Garden. 1724-9 The architectural set- pieces, each in a Picturesque location, include a Temple of Apollo, a Temple of Flora, a Pantheon, and a Palladian bridge. André Le Nôtre. The gardens of Versailles. 1661-1785 Henry Flitcroft and Henry Hoare. The Park at Stourhead. 1743-1765. Wiltshire, England CASPAR DAVID FRIEDRICH, Abbey in the Oak Forest, 1810. Gothic Revival Architectural movement most commonly associated with Romanticism. It drew its inspiration from medieval architecture and competed with the Neoclassical revival TURNER, The Chancel and Crossing of Tintern Abbey. 1794. Horace Walpole by Joshua Reynolds, 1756 Horace Walpole (1717-97), English politician, writer, architectural innovator and collector. In 1747 he bought a small villa that he transformed into a pseudo-Gothic showplace called Strawberry Hill; it was the inspiration for the Gothic Revival in English domestic architecture. -
Annual Review 2016/17
Historic Royal Places – Spines Format A4 Portrait Spine Width 35mm Spine Height 297mm HRP Text 20pt (Tracked at +40) Palace Text 30pt (Tracked at -10) Icon 20mm Wide (0.5pt/0.25pt) Annual Review 2016/17 1 2 06 Welcome to another chapter in our story Contents 07 Our work is guided by four principles 08 Chairman’s Introduction 09 Chief Executive – a reflection 10 The Year of the Gardens 14 Guardianship 20 Showmanship 26 Discovery 32 Independence 38 Money matters 39 Visitor trends 40 Summarised financial statements 42 Trustees and Directors 44 Supporters 46 Acknowledgments Clockwise from top left: The White Tower, Tower of London; the West Front, Hampton Court Palace; the East Front, Kensington Palace; the South Front, Hillsborough Castle; Kew Palace; Banqueting House. 4 This year, the famous gardens of Hampton Court Palace took Guardianship: Welcome to centre stage. Already a huge attraction in their own right, this Our work is We exist for tomorrow, not just for yesterday. Our job is to give year the historic gardens burst into even more vibrant life. these palaces a future as valuable as their past. We know how another Prompted by the 300th anniversary of the birth of Lancelot guided by four precious they and their contents are, and we aim to conserve ‘Capability’ Brown, we created a spectacular programme of them to the standard they deserve: the best. chapter in exhibitions, events and activities. A highlight was the royal principles Discovery: opening of the Magic Garden; our playful and spectacular We explain the bigger picture, and then encourage people to our story 21st century contribution to 500 years of garden history. -
Museum of Economic Botany, Kew. Specimens Distributed 1901 - 1990
Museum of Economic Botany, Kew. Specimens distributed 1901 - 1990 Page 1 - https://biodiversitylibrary.org/page/57407494 15 July 1901 Dr T Johnson FLS, Science and Art Museum, Dublin Two cases containing the following:- Ackd 20.7.01 1. Wood of Chloroxylon swietenia, Godaveri (2 pieces) Paris Exibition 1900 2. Wood of Chloroxylon swietenia, Godaveri (2 pieces) Paris Exibition 1900 3. Wood of Melia indica, Anantapur, Paris Exhibition 1900 4. Wood of Anogeissus acuminata, Ganjam, Paris Exhibition 1900 5. Wood of Xylia dolabriformis, Godaveri, Paris Exhibition 1900 6. Wood of Pterocarpus Marsupium, Kistna, Paris Exhibition 1900 7. Wood of Lagerstremia parviflora, Godaveri, Paris Exhibition 1900 8. Wood of Anogeissus latifolia , Godaveri, Paris Exhibition 1900 9. Wood of Gyrocarpus jacquini, Kistna, Paris Exhibition 1900 10. Wood of Acrocarpus fraxinifolium, Nilgiris, Paris Exhibition 1900 11. Wood of Ulmus integrifolia, Nilgiris, Paris Exhibition 1900 12. Wood of Phyllanthus emblica, Assam, Paris Exhibition 1900 13. Wood of Adina cordifolia, Godaveri, Paris Exhibition 1900 14. Wood of Melia indica, Anantapur, Paris Exhibition 1900 15. Wood of Cedrela toona, Nilgiris, Paris Exhibition 1900 16. Wood of Premna bengalensis, Assam, Paris Exhibition 1900 17. Wood of Artocarpus chaplasha, Assam, Paris Exhibition 1900 18. Wood of Artocarpus integrifolia, Nilgiris, Paris Exhibition 1900 19. Wood of Ulmus wallichiana, N. India, Paris Exhibition 1900 20. Wood of Diospyros kurzii , India, Paris Exhibition 1900 21. Wood of Hardwickia binata, Kistna, Paris Exhibition 1900 22. Flowers of Heterotheca inuloides, Mexico, Paris Exhibition 1900 23. Leaves of Datura Stramonium, Paris Exhibition 1900 24. Plant of Mentha viridis, Paris Exhibition 1900 25. Plant of Monsonia ovata, S. -
Eugene Barilo Von Reisberg, M
Eugene Barilo von Reisberg, Garters and Petticoats: Franz Xaver Winterhalter’s 1843 Portraits of Queen Victoria and Prince Albert EUGENE BARILO VON REISBERG Garters and Petticoats: Franz Xaver Winterhalter’s 1843 Portraits of Queen Victoria and Prince Albert ABSTRACT What does official royal iconography tell us? What messages does it communicate about the sitters – and from the sitters? This paper deconstructs two official portraits of Queen Victoria and Prince Albert painted by Franz Xaver Winterhalter (1805-1873) in 1843. It outlines the complex semantic layering within this pair of British royal portraits, and explores in particular the emphasis on Prince Albert‘s newly-acquired ‗Englishness‘ and the notion of an iconographic ‗gender reversal‘ within the context of traditional marital pendants. The Honourable Eleanor Stanley wrote in a letter that a ‗regular dull evening‘ at Windsor Castle on 24 March 1845 was enlivened by the youthful Queen Victoria‘s impassioned speech about the state of British portraiture, ‗a terrible broadside at English artists, both as regards their works and … their prices, and their charging her particularly outrageously high.‘1 The twenty-six-year-old queen spoke from experience. As the heir apparent to the British throne, she had been painted from infancy by a succession of artists, vying for the patronage of the future sovereign. From her accession in 1837, the queen sat to numerous painters who failed to satisfy the requirements of official portraiture in the eyes of the monarch, her courtiers, and the critics. David Wilkie‘s (1785-1841) portrait of the queen was condemned by the critics as being ‗execrable‘.2 The queen considered her portrait by Martin Archer Shee (1769- 1850) as ‗monstrous‘;3 while the Figaro compared her countenance in the portrait by George Hayter (1792-1871) as that of an ‗ill-tempered and obstinate little miss.‘4 Portraits of Prince Albert, whom the queen married in February 1840, did not fair much better. -
A MASTERPIECE by SIR ANTHONY VAN DYCK Portrait of Princess Mary, Daughter of King Charles I of England
PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE: 18 SEPTEMBER, 2 0 1 8 A MASTERPIECE BY SIR ANTHONY VAN DYCK Portrait of Princess Mary, daughter of King Charles I of England *One of the most important European Royal Portraits to come to auction for a generation* *Commissioned to celebrate the crucial alliance between the British crown & the House of Orange* Christie’s London, 6 December ‘In the portraits commissioned by the King and Queen, Van Dyck produced a series of masterpieces unsurpassed in the history of the European royal portrait’ (Sir Oliver Millar) London - Portrait of Princess Mary (1631–1660), daughter of King Charles I of England, full-length, in a pink dress decorated with silver embroidery and ribbons by Sir Anthony van Dyck, 1641, will be offered from a Distinguished Private Collection in Christie’s Old Masters Evening Sale on 6 December, during Christie’s Classic Week (estimate: £5,000,000-8,000,000). Commissioned to celebrate the crucial alliance between the British crown and the House of Orange, this intimate ad vivum (from life) portrait of Princess Mary, the finest portrait of the type, is remarkable for its royal provenance, the superb quality of its draughtsmanship and its exceptional condition. It is one of the most important European Royal Portraits to come to auction for a generation. The painting will go on public view for the first time, ahead of the auction, at Christie’s Shanghai on 19 until 21 September, later touring to New York where it will be on public view from 25 to 30 October and to Hong Kong between 23 and 26 November, ahead of the pre-sale public exhibition in London from 1 to 6 December. -
Victoria Albert &Art & Love ‘Incessant Personal Exertions and Comprehensive Artistic Knowledge’: Prince Albert’S Interest in Early Italian Art
Victoria Albert &Art & Love ‘Incessant personal exertions and comprehensive artistic knowledge’: Prince Albert’s interest in early Italian art Susanna Avery-Quash Essays from two Study Days held at the National Gallery, London, on 5 and 6 June 2010. Edited by Susanna Avery-Quash Design by Tom Keates at Mick Keates Design Published by Royal Collection Trust / © HM Queen Elizabeth II 2012. Royal Collection Enterprises Limited St James’s Palace, London SW1A 1JR www.royalcollection.org ISBN 978 1905686 75 9 First published online 23/04/2012 This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for non-commercial, educational purposes only. Please properly attribute the material to its respective authors. For any other uses please contact Royal Collection Enterprises Limited. www.royalcollection.org.uk Victoria Albert &Art & Love ‘Incessant personal exertions and comprehensive artistic knowledge’: Prince Albert’s interest in early Italian art Susanna Avery-Quash When an honoured guest visited Osborne House on the Isle of Wight he may have found himself invited by Prince Albert (fig. 1) into his private Dressing and Writing Room. This was Albert’s inner sanctum, a small room barely 17ft square, tucked away on the first floor of the north-west corner of the original square wing known as the Pavilion. Had the visitor seen this room after the Prince’s rearrangement of it in 1847, what a strange but marvellous sight would have greeted his eyes! Quite out of keeping with the taste of every previous English monarch, Albert had adorned this room with some two dozen small, refined early Italian paintings,1 whose bright colours, gilding and stucco ornamentation would have glinted splendidly in the sharp light coming from the Solent and contrasted elegantly with the mahogany furniture. -
Remembering King Charles I: History, Art and Polemics from the Restoration to the Reform Act T
REMEMBERING KING CHARLES I: HISTORY, ART AND POLEMICS FROM THE RESTORATION TO THE REFORM ACT T. J. Allen Abstract: The term Restoration can be used simply to refer to the restored monarchy under Charles II, following the Commonwealth period. But it can also be applied to a broader programme of restoring the crown’s traditional prerogatives and rehabilitating the reign of the king’s father, Charles I. Examples of this can be seen in the placement of an equestrian statue of Charles I at Charing Cross and a related poem by Edmund Waller. But these works form elements in a process that continued for 200 years in which the memory of Charles I fused with contemporary constitutional debates. The equestrian statue of Charles I at Charing Cross, produced by the French sculptor Hubert Le Sueur c1633 and erected in 1675. Photograph: T. J. Allen At the southern end of Trafalgar Square, looking towards Whitehall, stands an equestrian statue of Charles I. This is set on a pedestal whose design has been attributed to Sir Christopher Wren and was carved by Joshua Marshall, Master Mason to Charles II. The bronze figure was originally commissioned by Richard Weston (First Earl of Portland, the king’s Lord High Treasurer) and was produced by the French sculptor Hubert Le Sueur in the early 1630s. It originally stood in 46 VIDES 2014 the grounds of Weston’s house in Surrey, but as a consequence of the Civil War was later confiscated and then hidden. The statue’s existence again came to official attention following the Restoration, when it was acquired by the crown, and in 1675 placed in its current location. -
Lucy Worsley Summer Is Here!
Summer 2019 History festival UK:DRIC launch What’s on guide CityLife Kings Jam music festival Television presenter and historian Lucy Worsley Summer is here! If you want to know more about the fantastic festivals coming to Gloucester this summer then look no further – as this issue of City Life includes previews of the History Festival, Gloucester Goes Retro family festival and Kings Jam Music Festival as well as our usual What’s On round-up. We also report on why Gloucester is leading the way with digital innovation, how you can help tackle climate change by recycling food waste, and much more. We are always looking for feedback! Let us know what you think of City Life by emailing [email protected] Thanks for reading and enjoy the summer! The City Life team Contents 2 Welcome 3 Gloucester Goes Retro 4 Recycling food waste 5 Call for a wilder Gloucestershire 6 Gloucestershire Poet Laureate 7 Westgate Gardening Group 8 Reception move 10 Bruton Way demolition 12 History Festival 16 What’s On 18 UK: DRIC launch 20 Kings Jam music festival 22 Kings Quarter artists Windrush generationhonoured Discover DeCrypt What’s on guide Spring 2019 Life Moon landing in Glos Cover photo: City Lucy Worsley Subscribe © Historic Royal Palaces, Bloomsbury, Ben Turner. to future issues of City Life Never miss an issue with a free subscription to your resident’s magazine. You will receive an email letting you know when a new issue is online. Published by To sign up email Gloucester City Council 2019 City_1286) [email protected] 2 CityLife Summer 2019 Go Retro in Gloucester Now in its fifth year, the award winning Gloucester Goes Retro returns to Gloucester this summer.