HOLLAND,, JACKSON RECORD Copyright 1959 by Pearl Davis Mccall
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Guide to the Correspondence Series Within The
GUIDE TO THE CORRESPONDENCE SERIES WITHIN THE CHARLES BABBAGE / NEVILLE BABBAGE ARCHIVES IN THE POWERHOUSE MUSEUM 97/186 97/229/1 Paul Wilson 2010 COLLECTED ARCHIVES SERIES DESCRIPTION Registration Number: 97/186/1-1 Creators: Babbage, Charles Babbage, Neville Series Title: Correspondence to Charles Babbage Date Range: 1826-1894 Physical Characteristics: Handwritten letters, envelopes, cards, invitation and document Description: Correspondence, letters (17), cards (6), envelopes (29), one invitation and one document, to Charles Babbage, Charles Babbage/Neville Babbage, England/Australia, 1826-1894 This series contains correspondence predominantly sent to Charles Babbage. The letters provide evidence of his interests and social connections. Babbage was a well known figure in London society. He was friends with many prominent people, such as Charles Dickens, Thomas Carlyle, Sir John Herschel and Charles Darwin. He held regular Saturday evening parties at his home in Manchester Square for many years, which were apparently attended by two or three hundred people and were said to be a meeting place for Europe's liberal intelligentsia. This series contains a letter from Joshua Field as well as correspondence from (Augusta) Ada King, Countess of Lovelace (Byron's daughter). Other correspondents include the Duchess Dowager of Somerset, the scientist Sir Charles Wheatstone, writer and statesman Edward Bulwer-Lytton, Admiral Edward Codrington, politician Henry Bougham, heiress and philanthropist Baroness Angela Georgina Burdett-Coutts, actor William McCready, scientific writer John Peter Gassoit and the civil engineer Isambar Kingdom Brunel. Many of the letters are invitations to social events. Arrangement: Based on order created by Neville Babbage Dimensions: Shelf Length 0.040 m Box Number: 1 COLLECTED ARCHIVES ITEM LIST Series Title: Item Number Item Title Box 97/186/1-1/1 Letter, Joshua Field to Charles Babbage, paper/ink/pencil, 14 1 November 1831 One page hand written letter in black ink from Joshua Field, Lambeth, London, England, to Charles Babbage. -
The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): an Exploration Into the Masonic and Occult Imagination of the Late Enlightenment
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2003 The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Terrance Gerard Galvin University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Architecture Commons, European History Commons, Social and Behavioral Sciences Commons, and the Theory and Criticism Commons Recommended Citation Galvin, Terrance Gerard, "The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment" (2003). Publicly Accessible Penn Dissertations. 996. https://repository.upenn.edu/edissertations/996 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/996 For more information, please contact [email protected]. The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Abstract In examining select works of English architects Joseph Michael Gandy and Sir John Soane, this dissertation is intended to bring to light several important parallels between architectural theory and freemasonry during the late Enlightenment. Both architects developed architectural theories regarding the universal origins of architecture in an attempt to establish order as well as transcend the emerging historicism of the early nineteenth century. There are strong parallels between Soane's use of architectural narrative and his discussion of architectural 'model' in relation to Gandy's understanding of 'trans-historical' architecture. The primary textual sources discussed in this thesis include Soane's Lectures on Architecture, delivered at the Royal Academy from 1809 to 1836, and Gandy's unpublished treatise entitled the Art, Philosophy, and Science of Architecture, circa 1826. -
Download the Annual Report And
SIR JOHN SOANE'S MUSEUM Registered Charity No. 313609 THE ANNUAL REPORT AND ACCOUNTS FOR THE YEAR 1 APRIL 2011 TO 31 MARCH 2012 HC 434 £14.75 SIR JOHN SOANE'S MUSEUM Registered Charity No. 313609 THE ANNUAL REPORT AND ACCOUNTS FOR THE YEAR 1 APRIL 2011 TO 31 MARCH 2012 PRESENTED TO PARLIAMENT PURSUANT TO ARTICLE 3(3) OF THE GOVERNMENT RESOURCES AND ACCOUNTS ACT 2000 (AUDIT OF PUBLIC BODIES) ORDER 2003 (SI 2003/1326) ORDERED BY THE HOUSE OF COMMONS TO BE PRINTED 12 JULY 2012 HC 434 LONDON: The Stationery Office £14.75 © Sir John Soane’s Museum (2012) The text of this document (this excludes, where present, the Royal Arms and all departmental and agency logos) may be reproduced free of charge in any format or medium providing that it is reproduced accurately and not in a misleading context The material must be acknowledged as Sir John Soane’s Museum copyright and the document title specified. Where third party material has been identified, permission from the respective copyright holder must be sought. Any enquiries regarding this publication should be sent to us at [email protected] This publication is also for download at www.official-documents.gov.uk. This document is also available from our website at www.soane.org ISBN: 9780102977394 Printed in the UK by The Stationery Office Limited on behalf of the Controller of Her Majesty’s Stationery Office ID: 2487689 07/12 Printed on paper containing 75% recycled fibre content minimum TRUSTEES OF SIR JOHN SOANE'S MUSEUM LIFE TRUSTEES Simon Swynfen Jervis, FSA (Chairman) Richard Griffiths Bridget -
A Proposal for the Creation of Comprehensive Archives
return to list of Publications and Lectures A PROPOSAL FOR THE CREATION OF COMPREHENSIVE ARCHIVES OF INFORMATION ON THE WORKING PROCEDURE OF INDIVIDUAL ARTISTS AND ON THE VISUAL APPEARANCE AND PHYSICAL CHARACTER OF THEIR ART A Trial Study: John Constable CHARLES S. RHYNE Senior Fellow, Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, D.C., 1983-84 Professor of Art History, Reed College Published by the author Washington, D.C. 1984 Portland, Oregon 1990 This study was first published by the author in 1984 under the title The History of Technique: John Constable, A Trial Study, in conjunction with a seminar at the National Gallery of Art, Washington, D.C. Copies were distributed to those attending the seminar. In 1990, the document was revised and published under its present title, again by the author, in spiral book form. Copies were distributed to Constable scholars and leading research libraries. Copies were also sold at cost to those requesting them. The 1990 version is here posted on the web with minor format changes, December 2005. CONTENTS page I. The Proposal Introduction 4 Sources of information 8 Availability of conservation records 10 II. A Trial Study: John Constable Introduction 13 Sources of information 14 I. Information from original paintings and drawings 14 II. Information from accessory objects 16 III. Information from contemporary written documents 18 IV. Interpretations in art historical and critical studies 19 V. Index 21 Appendix: Quotations from contemporary written documents 26 . I. THE PROPOSAL Introduction The purpose of this document is to propose the creation of comprehensive archives of information on the working procedure of individual artists and on the visual appearance and physical character of their art, and to explore the various types of information desirable in such an archive. -
(Mainstream) Popular Music in 2021: Sounds and Practices 11–12 June 2021, Department of Music, University of Innsbruck, Austria
Listening to (Mainstream) Popular Music in 2021: Sounds and Practices 11–12 June 2021, Department of Music, University of Innsbruck, Austria --- General Information and Schedule --- Main Contact Bernhard Steinbrecher (head of the conference committee) [email protected] Phone: 0043 512 507 33029 Conference Information and Registration https://www.uibk.ac.at/musikwissenschaft/aktuelles/events/2021/konferenz- mainstream/conference-listening-to-mainstream-popular-music-in-2021-sounds-and- practices.html During the conference days, please don’t hesitate to ask the conference volunteers any time. They will be identifiable by their lanyards and/or their backgrounds in Zoom. Thanks to: General Information Location The scholarly programme takes place both online, via Zoom, and at the Department of Music of the University of Innsbruck. You find the latter in the "Haus der Musik" ("House of Music"), located right at the center of Innsbruck. Innsbruck main train station is located within walking distance to “Haus der Musik”. Address: Universitätsstraße 1, 6020 Innsbruck (www.haus-der-musik-innsbruck.at) To get to the Department of Music in the “Haus der Musik”, you can either take the west (main) entry of the buildung and walk right through it to the elevators (and stairs) at its other end, or you can directly take the building's east entry to get to us. Please make sure to observe the current rules regarding the Covid19-pandemic. You can find current informations on the website of the “House of Music” (https://www.haus-der-musik- innsbruck.at/sicherheit; in German), on the website of the University of Innsbruck (https://www.uibk.ac.at/newsroom/information-on-the-corona-virus.html.en#coronavirus), and on the offical Tyrol website (https://www.tyrol.com/information-coronavirus). -
An Examination of Essential Popular Music Compact Disc Holdings at the Cleveland Public Library
DOCUMENT RESUME ED 435 403 IR 057 553 AUTHOR Halliday, Blane TITLE An Examination of Essential Popular Music Compact Disc Holdings at the Cleveland Public Library. PUB DATE 1999-05-00 NOTE 94p.; Master's Research Paper, Kent State University. Information Science. Appendices may not reproduce adequately. PUB TYPE Dissertations/Theses (040) EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS *Audiodisks; Discographies; *Library Collection Development; *Library Collections; *Optical Disks; *Popular Music; *Public Libraries; Research Libraries; Tables (Data) IDENTIFIERS *Cleveland Public Library OH ABSTRACT In the 1970s and early 1980s, a few library researchers and scholars made a case for the importance of public libraries' acquisition of popular music, particularly rock music sound recordings. Their arguments were based on the anticipated historical and cultural importance of obtaining and maintaining a collection of these materials. Little new research in this direction has been performed since then. The question arose as to what, if anything, has changed since this time. This question was answered by examining the compact disc holdings of the Cleveland Public Library, a major research-oriented facility. This examination was accomplished using three discographies of essential rock music titles, as well as recent "Billboard" Top 200 Album charts. The results indicated a strong orientation toward the acquisition of recent releases, with the "Billboard" charts showing the largest percentages of holdings for the system. Meanwhile, the holdings vis-a-vis the essential discographies ran directly opposite the "Billboard" holdings. This implies a program of short-term patron satisfaction by providing current "hits," while disregarding the long-term benefits of a collection based on demonstrated artistic relevance. -
Annual Report 2005
NATIONAL GALLERY BOARD OF TRUSTEES (as of 30 September 2005) Victoria P. Sant John C. Fontaine Chairman Chair Earl A. Powell III Frederick W. Beinecke Robert F. Erburu Heidi L. Berry John C. Fontaine W. Russell G. Byers, Jr. Sharon P. Rockefeller Melvin S. Cohen John Wilmerding Edwin L. Cox Robert W. Duemling James T. Dyke Victoria P. Sant Barney A. Ebsworth Chairman Mark D. Ein John W. Snow Gregory W. Fazakerley Secretary of the Treasury Doris Fisher Robert F. Erburu Victoria P. Sant Robert F. Erburu Aaron I. Fleischman Chairman President John C. Fontaine Juliet C. Folger Sharon P. Rockefeller John Freidenrich John Wilmerding Marina K. French Morton Funger Lenore Greenberg Robert F. Erburu Rose Ellen Meyerhoff Greene Chairman Richard C. Hedreen John W. Snow Eric H. Holder, Jr. Secretary of the Treasury Victoria P. Sant Robert J. Hurst Alberto Ibarguen John C. Fontaine Betsy K. Karel Sharon P. Rockefeller Linda H. Kaufman John Wilmerding James V. Kimsey Mark J. Kington Robert L. Kirk Ruth Carter Stevenson Leonard A. Lauder Alexander M. Laughlin Alexander M. Laughlin Robert H. Smith LaSalle D. Leffall Julian Ganz, Jr. Joyce Menschel David O. Maxwell Harvey S. Shipley Miller Diane A. Nixon John Wilmerding John G. Roberts, Jr. John G. Pappajohn Chief Justice of the Victoria P. Sant United States President Sally Engelhard Pingree Earl A. Powell III Diana Prince Director Mitchell P. Rales Alan Shestack Catherine B. Reynolds Deputy Director David M. Rubenstein Elizabeth Cropper RogerW. Sant Dean, Center for Advanced Study in the Visual Arts B. Francis Saul II Darrell R. Willson Thomas A. -
John Platt (1842-1902), a Late Victorian Extra-Illustrator, and His Collection
J. M. W. Turner and his World: John Platt (1842-1902), a Late Victorian Extra-illustrator, and his Collection Felicity Myrone 1. Introduction In August 2007 the British Library Press Office was able to announce the ‘discovery’ of a ‘missing Constable sketch’.1 This had come to light by chance during cataloguing a few months earlier in an extra-illustrated copy of George Walter Thornbury’s The Life of J. M. W. Turner: Founded on letters and papers furnished by his friends and fellow academicians (London: Hurst and Blackett, 1862). The Constable is just one of over 1,600 additions to Thornbury’s text, collected and inserted by a businessman and justice of the peace from Warrington, John Platt (1842-1902). This essay will briefly examine the collection, its collector and his library. Extra-illustration was a popular activity from the mid-eighteenth to the early twentieth century. It involves the embellishing of an existing text with complementary illustrations and documents.2 Thornbury’s biography of Turner is an excellent choice for extra- illustration, as a large number of Turner’s predecessors and contemporaries are mentioned in the text, as well as places Turner visited and painted. Thornbury’s text also relies on quoting long passages from letters by Turner as well as the writings, letters and reminiscences of his friends and acquaintances or their descendants, and Platt collected manuscript material to match. Most accounts of extra-illustration or ‘grangerization’, as it was often known in the past, have concentrated on the extra-illustrator’s use of portraits and topographical images. -
THE TEMPTATIONS Friday, May 22, 2009, 8:00 PM Saturday, May 23, 2009, 8:00 PM
2008–2009 Season Sponsors The City of Cerritos gratefully thanks our 2008–2009 Season Sponsors for their generous support of the Cerritos Center for the Performing Arts. Season 08/09 YOUR FAVORITE ENTERTAINERS, YOUR FAVORITE THEATER If your company would like to become a Cerritos Center for the Performing Arts sponsor, please contact the CCPA Administrative Offices at (562) 916-8510. THE CERRITOS CENTER FOR THE PERFORMING ARTS (CCPA) thanks the following CCPA Associates who have contributed to the CCPA’s Endowment Fund. The Endowment Fund was established in 1994 under the visionary leadership of the Cerritos City Council to ensure that the CCPA would remain a welcoming, accessible, and affordable venue in which patrons can experience the joy of entertainment and cultural enrichment. For more information about the Endowment Fund or to make a contribution, please contact the CCPA Administrative Offices at (562) 916-8510. Benefactor Morris Bernstein Linda Dowell Ping Ho $50,001-$100,000 Norman Blanco Gloria Dumais Jon Howerton José Iturbi Foundation James Blevins Stanley Dzieminski Christina and Michael Hughes Michael Bley Lee Eakin Melvin Hughes Patron Kathleen Blomo Dee Eaton Marianne and Bob Hughlett, Ed.D. $20,001-$50,000 Marilyn Bogenschutz Susie Edber and Allen Grogan Mark Itzkowitz Linda and Sergio Bonetti Gary Edward Grace and Tom Izuhara National Endowment for the Arts Patricia Bongeorno Jill Edwards Sharon Jacoby Ilana and Allen Brackett Carla Ellis David Jaynes Partner Paula Briggs Robert Ellis Cathy and James Juliani $5,001-$20,000 Darrell Brooke Eric Eltinge Luanne Kamiya Bryan A. Stirrat & Associates Mary Brough Teri Esposito Roland Kerby Chamber Music Society of Detroit Dr. -
Drawing After the Antique at the British Museum
Drawing after the Antique at the British Museum Supplementary Materials: Biographies of Students Admitted to Draw in the Townley Gallery, British Museum, with Facsimiles of the Gallery Register Pages (1809 – 1817) Essay by Martin Myrone Contents Facsimile TranscriptionBOE#JPHSBQIJFT • Page 1 • Page 2 • Page 3 • Page 4 • Page 5 • Page 6 • Page 7 Sources and Abbreviations • Manuscript Sources • Abbreviations for Online Resources • Further Online Resources • Abbreviations for Printed Sources • Further Printed Sources 1 of 120 Jan. 14 Mr Ralph Irvine, no.8 Gt. Howland St. [recommended by] Mr Planta/ 6 months This is probably intended for the Scottish landscape painter Hugh Irvine (1782– 1829), who exhibited from 8 Howland Street in 1809. “This young gentleman, at an early period of life, manifested a strong inclination for the study of art, and for several years his application has been unremitting. For some time he was a pupil of Mr Reinagle of London, whose merit as an artist is well known; and he has long been a close student in landscape afer Nature” (Thom, History of Aberdeen, 1: 198). He was the third son of Alexander Irvine, 18th laird of Drum, Aberdeenshire (1754–1844), and his wife Jean (Forbes; d.1786). His uncle was the artist and art dealer James Irvine (1757–1831). Alexander Irvine had four sons and a daughter; Alexander (b.1777), Charles (b.1780), Hugh, Francis, and daughter Christian. There is no record of a Ralph Irvine among the Irvines of Drum (Wimberley, Short Account), nor was there a Royal Academy student or exhibiting or listed artist of this name, so this was surely a clerical error or misunderstanding. -
Benjamin Robert Haydon
Benjamin Robert Haydon (26 January 1786 – 22 June 1846) Married Mary Cobley at St Marylebone Parish Church, 1821 Painted St Marylebone Parish Church, 1829 Haydon was an English painter who specialised in grand historical pictures, although he also painted a few contemporary subjects and portraits. His commercial success was damaged by his often tactless dealings with patrons, and by the enormous scale on which he preferred to work. He was troubled by financial problems throughout his life, which led to several periods of imprisonment for debt. He committed suicide in 1846. He gave lectures on art, and kept extensive diaries that were published after his death. Portrait of Haydon by his pupil Georgiana Margaretta Zornlin Haydon was born in Plymouth, the only son of another Benjamin Robert Haydon, a prosperous printer, stationer and publisher, and his wife Mary, the daughter of the Rev. Benjamin Cobley, rector of Dodbrooke, near Kingsbridge, Devon Haydon married Mary at St Marylebone Parish Church in 1821). At an early age he showed an aptitude for study, which was carefully fostered by his mother. At the age of six he was placed in Plymouth Grammar School, and at twelve in Plympton Grammar School, where Sir Joshua Reynolds had received most of his education. Reading Albinus inspired him with a love for anatomy, and from childhood he wanted to become a painter. Full of energy and hope, he left home, on 14 May 1804, for London, where he entered the Royal Academy Schools. He was so enthusiastic that Henry Fuseli asked when he found time to eat. -
(And Soul) the Queen Mothers: Aretha Franklin/Irma Thomas/ Etta James/Dionne Warwick/Tina Turner/Dusty Springfield/ Mavis Staples/Ann Peebles
QueenOf Heart (And Soul) The Queen Mothers: Aretha Franklin/Irma Thomas/ Etta James/Dionne Warwick/Tina Turner/Dusty Springfield/ Mavis Staples/Ann Peebles Top: aretha When ArethA FrAnklin sprAng, Full-throAted, Franklin at the out of obscurity at age 14, sitting down at the piano in her father’s detroit FillmOre west, 1971; church and banging out “Yield not to temptation,” caught for poster- BOttOm-leFt: ity on a reel-to-reel tape recorder, she was years away from soul Queen mavis staples; status. she’d still have to run the gauntlet through a stint in new York right: etta James City on Columbia records, where she’d record off-the-mark songs like “rock-a-Bye Your Baby With a dixie Melody” for Mitch Miller. that deal eventually went south and so, wisely, did Franklin, landing in Muscle shoals, Alabama in 1967 with producer Jerry Wexler and the cream of the FAMe (Florence Alabama Music enterprises) studio band behind her. this unbeatable combination, although fleeting (she soon returned to new York, bringing with her what Wexler called “that wonderful rhythm section of Alabama white boys who took a left turn at the blues”), was a sign of things to come. once Aretha opened the door, a small army of sequin-clad, hip- shakin’ queens sashayed through it. some of the most notorious—etta James, Mavis staples, irma thomas, dionne Warwick, Ann peebles and tina turner—are still on the scene; dusty springfield, sadly, is gone. non-songwriters for the most part, these artists interpreted, beautiful- ly—sometimes drawing from the same deep well.