DOCSLIB.ORG

British Canvas, Stretcher and Panel Suppliers' Marks. Part 8, Charles

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
British Canvas, Stretcher and Panel Suppliers' Marks. Part 8, Charles British canvas, stretcher and panel suppliers’ marks. Part 8, Charles Roberson & Co This resource surveys suppliers’ marks on the reverse of picture supports. This part is devoted to Charles Roberson, a business founded in 1819 and which grew to become one of the leading companies as Charles Roberson & Co from 1855 and Charles Roberson & Co Ltd from 1908 until 1987. The business was a significant supplier of canvas from about the 1820s until the 1980s. For further information, see British artists' suppliers, 1650-1950 - R on this website. The Roberson archive is housed at the Hamilton Kerr Institute, University of Cambridge. Measurements of marks, given where known, are approximate and may vary according to the stretching or later conservation treatment of a canvas or the trimming of a label. Links are given to institutional websites where dimensions of works can be found. Business dates and addresses are usually accurate to within a year. Square brackets are used to indicate indistinct or missing lettering in transcripts, with readings sometimes based on other examples. Compiled by Jacob Simon, September 2017, updated March 2020, and based on the pioneering work of Cathy Proudlove and the suppliers’ database created by Jacob Simon. With thanks to Dr Joyce Townsend for providing information on paintings in Tate, to Nicola Costaras at the Victoria and Albert Museum, to John Payne, National Gallery of Victoria, Melbourne, and to Sally Woodcock at the Hamilton Kerr Institute, University of Cambridge. Arranged in twelve numbered sections according to address, business designation and type of mark, with two appendices. Work details Mark transcripts Product marks (not to uniform scale) 1. Charles Roberson at 54 Long Acre 1819- 27 Illustrated: Stencil on canvas: Source: Courtauld - Colourmen Online ROBERSON, database (note 3), as 54, Long Acre. c.1821. British Linen 2. Roberson & Miller in partnership at 51 For Roberson & Co from 1840, see section Long Acre 1828-39, canvas marks 4 below; for Thomas Miller from 1841, see Part 5, E-N of this guide Illustrated: Stamp, 7.1 cm wide, on canvas: J.M.W. Turner, Studies for ‘Dawn of Christianity', R & M c.1841 (Tate, N05508), with frame mark, 1828?, see [for Roberson & Miller] note 4. Also found on: J.M.W. Turner, Heidelberg, c.1844–5 (Tate, N00518), with frame mark, 1830. Work details Mark transcripts Product marks (not to uniform scale) Illustrated: Stencil, 13.7 cm wide, on canvas: Thomas Sidney Cooper, Milking Time. Study of a PREPARED BY Farm-Yard near ROBERSON & MILLER Canterbury, 1833-34 51 LONG ACRE. LONDON (Tate), with stamp, R & M 2039, see notes 5 and 6. [first ‘O’ of LONDON below first ‘L’ of MILLER] [this stamp design set the pattern for the business’s canvas stamps over the next sixty years] Illustrated (top) Stamp within frame on canvas,: William Fisher, Walter Savage Landor, 1839 R & M 10 81 (National Portrait Gallery) [signifance of ’10 81’ not known, see note 5] Illustrated (bottom): William Shiels, Possibly Stencil, 12.8 cm wide, on canvas: William Rix, 1832 (Norwich Castle Museum PREPARED BY and Art Gallery), with ROBERSON & MILLER. stamp, R & M 022, see 51 LONG ACRE. LONDON ^ Fisher notes 5 and 6. [first ‘O’ of LONDON below ‘I’ of MILLER] Note slight differences between the two illustrated stamps, e.g. in position of the ‘L’ of LONG in relationship to the ‘O’ of ROBERSON ^ Shiels For examples dating to 1832-44, see note 6. Illustrated: Stencil, 12.3 cm wide, on lining canvas: Paolo Veronese and studio, Nobleman PREPARED BY between Active and ROBERSON & MILLER. Contemplative life, 51 LONG ACRE LONDON (National Gallery of Victoria, Melbourne) Click on link for an enlarged [line 3 almost matches line 2 in length] image of stencil. Illustrated: Stamp on relining canvas: Continental school, Descent of the Holy Spirit LINED BY (Mellors & Kirk, sale date ROBERSON & MILLER unknown, lot 750) 51 LONG ACRE LONDON ^ [best available image] Work details Mark transcripts Product marks (not to uniform scale) 3. Roberson & Miller in partnership at 51 Long Acre 1828-39, panel labels and marks Illustrated (top): Label, 8.0 cm wide, within artist’s palette; George Richmond, removed from frame: Viscount Sidmouth, watercolour, 1833 ROBERSON & MILLER, (National Portrait Gallery) 51, Long Acre, London. Manufacturers of Also found on: Prepared Cloths Panels Edward Pritchett, The and Piazzetta or The Prison, MILL BOARDS, Venice (Christie’s, 25 April FOR ARTISTS 1975, lot 24), with label of with Improved Oil or Absorbent Grounds W. Mason, Brighton. and every requisite for the FINE ARTS. ^ Richmond Illustrated (bottom): [almost identical to R. & C. Faulkner’s millboard J. Burnet, A Lady reading label, see Part 5 of this guide] in an Interior, panel (Christie’s, 14 May 1976, lot 172) ^ Burnet Illustrated: Label, 9.5 cm wide, linear border, on panel or Unknown artist, Sir John backboard: Goss, c.1835 (National Portrait Gallery) ROBERSON AND MILLER, MANUFACTURERS OF Also found on: Water and Oil Colours, Thomas Sidney Cooper, MATERIALS FOR DRAWING, PAINTING, &c. Cattle by a River, 1835 51, LONG ACRE LONDON. (Fitzwilliam Museum, Cambridge), with impressed panel stamp, repr. below. [this label design set the pattern for the Thomas Sidney Cooper, business’s panel labels over the next sixty Landscape with Cattle and years] Sheep, 1837 (Birmingham Museums Trust) Illustrated: Two stamps impressed in panel, the address Thomas Sidney Cooper, stamp, 4.0 cm wide: Cattle by a River, 1835 (Fitzwilliam Museum, ROBERSON & MILLER Cambridge), with label, repr. above. 51, LONG ACRE LONDON Work details Mark transcripts Product marks (not to uniform scale) Illustrated: Stamp, 6.0cm wide, oval border, impressed Unknown artist, Portrait of towards edge of millboard: a Man (Euan Mackay), with label of type repr. ROBERSON & MILLER, above. No 51 LONG ACRE LONDON 4. Charles Roberson & Co at 51 Long Acre 1840-55, canvas marks Five canvas stencils The following marks are similar; other minor variants Roberson & Co used the designation are found, perhaps depending on the application of Charles Roberson on canvases until c.1880 the stencil. It would appear that the three lines are but the company name on other products. applied using a single stencil. Illustrated: Stencil on canvas: ‘W.S. Hague’, An Artist’s Studio (Sotheby’s PREPARED BY Belgravia, 6 May 1975, CHARLES ROBERSON lot 156), with stamp, R & 51, LONG ACRE. LONDON M 833. Also found on: Richard Redgrave, Cinderella about to try on the Glass Slipper, c.1842 (Victoria and Albert Museum), with stamp CR 1550. Illustrated: Stencil, 10.8 cm wide, on canvas: James Baker Pyne, The Bridge at Capel Curig, PREPARED BY 1849 (Christie’s, 16 July CHARLES ROBERSON 1976, lot 31) 51, LONG ACRE, LONDON Also found on: [less space between words in last line; last 'N' Abraham Solomon, A of LONDON sits below 'N' of ROBERSON] Sketch from Memory, 1851 (Sotheby’s Belgravia, 29 June 1976, lot 73) Illustrated: Stencil, 15.0 cm wide, on canvas: Henry Wallis, Chatterton, 1856 (Tate) PREPARED BY CHARLES ROBERSON Also found on: 51, LONG ACRE, LONDON Frederick Richard Say, 1st Earl of Ellenborough, c.1845 [last 'O' of LONDON sits below 'N' of ROBERSON] (National Portrait Gallery), with stamp CR 462. Accompanied by a stencil in frame on canvas: For examples dating to c.1845 to 1856, many with CR 553 CR numbers, see note 7. [the first two numbers, 55, appear to indicate that the canvas was prepared in 1855] Work details Mark transcripts Product marks (not to uniform scale) Illustrated: Stencil on canvas: Edward Lear, Corfu, 1856 (Bonham’s, 2 March PREPARED BY 2016, lot 49) CHARLES ROBERSON 51, LONG ACRE, LONDON [last line set slightly further to left; last 'O' of LONDON sits below 'ON' of ROBERSON] Illustrated: Stencil, 14.5 cm wide, on canvas: M.F. Halden, A Hurdy- Gurdy Man, 1845, PREPARED BY source: Cobbe coll., see CHARLES ROBERSON note 2. 51, LONG ACRE, LONDON For examples dating to 1845 [first line set further left] to 1856, see note 8. Illustrated: Stencil on relining canvas: Unspecified picture (photograph courtesy Tim LINED BY Everitt) CHARLES ROBERSON. 51, LONG ACRE LONDON. 5. Charles Roberson & Co at 51 Long Acre 1840-55, panel and stretcher labels/marks Illustrated: Label, linear border, floral details at corners, on Jacob Thompson, William panel: Lucas, 1840 (North Hertfordshire Museum) CHARLES ROBERSON, MANUFACTURER OF Also found on: Water and Oil Colours, Jacob Thompson, Mrs MATERIALS FOR DRAWING, PAINTING, &c. William Lucas, 1840 (North 51, LONG ACRE, LONDON. Hertfordshire Museum) Illustrated: Label, 8.8 cm wide, linear border, floral details Source: Courtauld - at corners, on board: Colourmen Online database (note 3) CHARLES ROBERSON & COMPY. MANUFACTURERS OF Also found on: Water and Oil Colours, Augustus Egg, Peter the MATERIALS FOR DRAWING, PAINTING, &c. Great sees Catherine his 51, LONG ACRE, LONDON. Future Empress for the first time, by 1850 (Sotheby’s [now designated as Charles Roberson & Belgravia, 6 January 1976, lot 198), with impressed Compy] panel stamp. Work details Mark transcripts Product marks (not to uniform scale) Illustrated: Label, 8.6 cm wide, linear border, on board: Source: Courtauld - Colourmen Online CHARLES ROBERSON & COMPY. database (note 3) MANUFACTURERS OF WATER AND OIL COLOURS, MATERIALS FOR DRAWING, PAINTING, &c. 51, LONG ACRE, LONDON. [‘S’ of COLOURS above ‘IN’ of PAINTING] Illustrated: Label, damaged, 8.9 cm wide, linear border, on John Everett Millais, stretcher: Ophelia, 1851-2 (Tate) CHARLES ROBERSON & COMPY. Also found on: ARTISTS' COLOURMEN, J.C. Morris, Sheep on a [MA]NUFACTUR[ER OF] Moor, 1852 (Sotheby’s WATER AND OIL COLOURS, Belgravia, 11 March 1975, MATERIALS FOR DRAWING, PAINTING, &c. lot 164) 51, LONG ACRE, LONDON. William Holman Hunt, The Thames at Chelsea, [‘S’ of COLOURS above ‘G,’ of PAINTING] Evening, panel, 1853 (Fitzwilliam Museum, Cambridge), with impressed panel stamp.
Load more

Recommended publications
  • Evelyn De Morgan Y La Hermandad Prerrafaelita
    Trabajo Fin de Grado Lux in Tenebris: Evelyn De Morgan y la Hermandad Prerrafaelita Lux in Tenebris: Evelyn De Morgan and the Pre- Raphaelite Brotherhood. Autor/es Irene Zapatero Gasco Director/es Concepción Lomba Serrano Facultad de Filosofía y Letras Curso 2018/2019 LUX IN TENEBRIS: EVELYN DE MORGAN Y LA HERMANDAD PRERRAFAELITA IRENE ZAPATERO GASCO DIRECTORA: CONCEPCIÓN LOMBA SERRANO HISTORIA DEL ARTE, 2019 ÍNDICE INTRODUCCIÓN - JUSTIFICACIÓN DEL TRABAJO…………………………………....1 - OBJETIVOS…………………………………………………………....2 - METODOLOGÍA……………………………………………………....2 - ESTADO DE LA CUESTIÓN………………………………………....3 - AGRADECIMIENTOS………………………………………………...5 LA ÉPOCA VICTORIANA - CONTEXTO HISTORICO…………………………………………….6 - EL PAPEL QUE DESEMPEÑABA LA MUJER EN LA SOCIEDAD…………………………………………………………….7 LA HERMANDAD PRERRAFAELITA…………………………………...10 EVELYN DE MORGAN - TRAYECTORIA E IDEOLOGÍA ARTÍSTICA……………………...13 - EL IDEAL ICÓNICO RECREADO…………………..……………....15 - LA REPRESENTACIÓN DE LA MUJER EN SU PRODUCCIÓN ARTÍSTICA...........................................................................................16 I. EL MUNDO ESPIRITUAL…………………………………...17 II. HEROÍNAS SAGRADAS…………………………………….21 III. ANTIBELICISTAS…………………………………………....24 CONCLUSIONES…………...……………………………………………….26 BIBLIOGRAFÍA Y WEBGRAFÍA…………………………………………28 ANEXOS….……………………………………………………………..........32 - REPERTORIOGRÁFICO…………………………………………….46 INTRODUCCIÓN JUSTIFIACIÓN DEL TRABAJO Centrado en la obra de la pintora Evelyn De Morgan (1855, Londres) nuestro trabajo pretende revisar su producción artística contextualizándola
    [Show full text]
  • Calendar of Events
    Calendar the September/October 2010 hrysler of events CTHE MAGAZINE OF THE CHRYSLER MUSEUM OF ART p 5 Exhibitions • p 7 News • p 10 Daily Calendar • p 14 Public Programs • p 18 Member Programs G ENERAL INFORMATION COVER Contact Us The Museum Shop Group and School Tours William Powell Frith Open during Museum hours (English, 1819–1909) Chrysler Museum of Art (757) 333-6269 The Railway 245 W. Olney Road (757) 333-6297 www.chrysler.org/programs.asp Station (detail), 1862 Norfolk, VA 23510 Oil on canvas Phone: (757) 664-6200 Cuisine & Company Board of Trustees Courtesy of Royal Fax: (757) 664-6201 at The Chrysler Café 2010–2011 Holloway Collection, E-mail: [email protected] Wednesdays, 11 a.m.–8 p.m. Shirley C. Baldwin University of London Website: www.chrysler.org Thursdays–Saturdays, 11 a.m.–3 p.m. Carolyn K. Barry Sundays, 12–3 p.m. Robert M. Boyd Museum Hours (757) 333-6291 Nancy W. Branch Wednesday, 10 a.m.–9 p.m. Macon F. Brock, Jr., Chairman Thursday–Saturday, 10 a.m.–5 p.m. Historic Houses Robert W. Carter Sunday, 12–5 p.m. Free Admission Andrew S. Fine The Museum galleries are closed each The Moses Myers House Elizabeth Fraim Monday and Tuesday, as well as on 323 E. Freemason St. (at Bank St.), Norfolk David R. Goode, Vice Chairman major holidays. The Norfolk History Museum at the Cyrus W. Grandy V Marc Jacobson Admission Willoughby-Baylor House 601 E. Freemason Street, Norfolk Maurice A. Jones General admission to the Chrysler Museum Linda H.
    [Show full text]
  • Victorian Paintings Anne-Florence Gillard-Estrada
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Archive Ouverte en Sciences de l'Information et de la Communication Fantasied images of women: representations of myths of the golden apples in “classic” Victorian paintings Anne-Florence Gillard-Estrada To cite this version: Anne-Florence Gillard-Estrada. Fantasied images of women: representations of myths of the golden apples in “classic” Victorian paintings. Polysèmes, Société des amis d’inter-textes (SAIT), 2016, L’or et l’art, 10.4000/polysemes.860. hal-02092857 HAL Id: hal-02092857 https://hal-normandie-univ.archives-ouvertes.fr/hal-02092857 Submitted on 8 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Fantasied images of women: representations of myths of the golden apples in “classic” Victorian Paintings This article proposes to examine the treatment of Greek myths of the golden apples in paintings by late-Victorian artists then categorized in contemporary reception as “classical” or “classic.” These terms recur in many reviews published in periodicals.1 The artists concerned were trained in the academic and neoclassical Continental tradition, and they turned to Antiquity for their forms and subjects.
    [Show full text]
  • Wilde's World
    Wilde’s World Anne Anderson Aesthetic London Wilde appeared on London’s cultural scene at a propitious moment; with the opening of the Grosvenor Gallery in May 1877 the Aesthetes gained the public platform they had been denied. Sir Coutts Lindsay and his wife Blanche, who were behind this audacious enterprise, invited Edward Burne-Jones, George Frederick Watts, and James McNeill Whistler to participate in the first exhibition; all had suffered rejections from the Royal Academy.1 The public were suddenly confronted with the avant-garde, Pre-Raphaelitism, Symbolism, and even French Naturalism. Wilde immediately recognized his opportunity, as few would understand “Art for Art’s sake,” that paintings no longer had to be didactic or moralizing. Rather, the function of art was to appeal to the senses, to focus on color, form, and composition. Moreover, the aesthetes blurred the distinction between the fine and decorative arts, transforming wallpapers and textiles into objets d’art. The goal was to surround oneself with beauty, to create a House Beautiful. Wilde hitched his star to Aestheticism while an undergraduate at Oxford; his rooms were noted for their beauty, the panelled walls thickly hung with old engravings and contemporary prints by Burne-Jones and filled with exquisite objects: Blue and White Oriental porcelain, Tanagra statuettes brought back from Greece, and Persian rugs. He was also aware of the controversy surrounding Aestheticism; debated in the Oxford and Cambridge Undergraduate in April and May 1877, the magazine at first praised the movement as a civilizing influence. It quickly recanted, as it sought “‘implicit sanction’” for “‘Pagan worship of bodily form and beauty’” and renounced morals in the name of liberty (Ellmann 85, emphasis in original).
    [Show full text]
  • Proceedings 2012
    TABLE OF CONTENTS Introduction iv Beacon 2012 Sponsors v Conference Program vi Outstanding Papers by Panel 1 SESSION I POLITICAL SCIENCE 2 Alison Conrad “Negative Political Advertising and the American Electorate” Mentor: Prof. Elaine Torda Orange County Community College EDUCATION 10 Michele Granitz “Non-Traditional Women of a Local Community College” Mentor: Dr. Bahar Diken Reading Area Community College INTERDISCIPLINARY STUDIES 18 Brogan Murphy “The Missing Link in the Puzzling Autism Epidemic: The Effect of the Internet on the Social Impact Equation” Mentor: Prof. Shweta Sen Montgomery College HISTORY 31 Megan G. Willmes “The People’s History vs. Company Profit: Mine Wars in West Virginia, the Battle of Blair Mountain, and the Ongoing Fight for Historical Preservation” Mentor: Dr. Joyce Brotton Northern Virginia Community College COMMUNICATIONS I: POPULAR CULTURE 37 Cristiana Lombardo “Parent-Child Relationships in the Wicked Child Sub-Genre of Horror Movies” Mentor: Dr. Mira Sakrajda Westchester Community College ALLIED HEALTH AND NURSING 46 Ana Sicilia “Alpha 1 Anti-Trypsin Deficiency Lung Disease Awareness and Latest Treatments” Mentor: Dr. Amy Ceconi Bergen Community College i TABLE OF CONTENTS (CONTINUED) SESSION II PSYCHOLOGY 50 Stacy Beaty “The Effect of Education and Stress Reduction Programs on Feelings of Control and Positive Lifestyle Changes in Cancer Patients and Survivors” Mentor: Dr. Gina Turner and Dr. Sharon Lee-Bond Northampton Community College THE ARTS 60 Angelica Klein “The Art of Remembering: War Memorials Past and Present” Mentor: Prof. Robert Bunkin Borough of Manhattan Community College NATURAL AND PHYSICAL SCIENCES 76 Fiorella Villar “Characterization of the Tissue Distribution of the Three Splicing Variants of LAMP-2” Mentor: Prof.
    [Show full text]
  • Annual Report 2018/2019
    Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership.
    [Show full text]
  • Angeli, Helen Rossetti, Collector Angeli-Dennis Collection Ca.1803-1964 4 M of Textual Records
    Helen (Rossetti) Angeli - Imogene Dennis Collection An inventory of the papers of the Rossetti family including Christina G. Rossetti, Dante Gabriel Rossetti, and William Michael Rossetti, as well as other persons who had a literary or personal connection with the Rossetti family In The Library of the University of British Columbia Special Collections Division Prepared by : George Brandak, September 1975 Jenn Roberts, June 2001 GENEOLOGICAL cw_T__O- THE ROssFTTl FAMILY Gaetano Polidori Dr . John Charlotte Frances Eliza Gabriele Rossetti Polidori Mary Lavinia Gabriele Charles Dante Rossetti Christina G. William M . Rossetti Maria Francesca (Dante Gabriel Rossetti) Rossetti Rossetti (did not marry) (did not marry) tr Elizabeth Bissal Lucy Madox Brown - Father. - Ford Madox Brown) i Brother - Oliver Madox Brown) Olive (Agresti) Helen (Angeli) Mary Arthur O l., v o-. Imogene Dennis Edward Dennis Table of Contents Collection Description . 1 Series Descriptions . .2 William Michael Rossetti . 2 Diaries . ...5 Manuscripts . .6 Financial Records . .7 Subject Files . ..7 Letters . 9 Miscellany . .15 Printed Material . 1 6 Christina Rossetti . .2 Manuscripts . .16 Letters . 16 Financial Records . .17 Interviews . ..17 Memorabilia . .17 Printed Material . 1 7 Dante Gabriel Rossetti . 2 Manuscripts . .17 Letters . 17 Notes . 24 Subject Files . .24 Documents . 25 Printed Material . 25 Miscellany . 25 Maria Francesca Rossetti . .. 2 Manuscripts . ...25 Letters . ... 26 Documents . 26 Miscellany . .... .26 Frances Mary Lavinia Rossetti . 2 Diaries . .26 Manuscripts . .26 Letters . 26 Financial Records . ..27 Memorabilia . .. 27 Miscellany . .27 Rossetti, Lucy Madox (Brown) . .2 Letters . 27 Notes . 28 Documents . 28 Rossetti, Antonio . .. 2 Letters . .. 28 Rossetti, Isabella Pietrocola (Cole) . ... 3 Letters . ... 28 Rossetti, Mary . .. 3 Letters . .. 29 Agresti, Olivia (Rossetti) .
    [Show full text]
  • Pre-Raphaelite Sisters
    Mariëlle Ekkelenkamp exhibition review of Pre-Raphaelite Sisters Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Citation: Mariëlle Ekkelenkamp, exhibition review of “Pre-Raphaelite Sisters ,” Nineteenth- Century Art Worldwide 19, no. 1 (Spring 2020), https://doi.org/10.29411/ncaw.2020.19.1.13. 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. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Ekkelenkamp: Pre-Raphaelite Sisters Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Pre-Raphaelite Sisters National Portrait Gallery, London October 17, 2019–January 26, 2020 Catalogue: Jan Marsh and Peter Funnell, Pre-Raphaelite Sisters. London: National Portrait Gallery Publications, 2019. 207 pp.; 143 color illus.; bibliography; index. $45.58 (hardcover); $32.49 (paperback) ISBN: 9781855147270 ISBN: 1855147279 The first exhibition devoted exclusively to the contribution of women to the Pre-Raphaelite movement opened in the National Portrait Gallery in London in October. It sheds light on the role of twelve female models, muses, wives, poets, and artists active within the Pre- Raphaelite circle, which is revealed as much less of an exclusive “boys’ club.” The aim of the exhibition was to “redress the balance in showing just how engaged and central women were to the endeavor, as the subjects of the images themselves, but also in their production,” as stated on the back cover of the catalogue accompanying the exhibition. Although there have been previous exhibitions on the female artists associated with the movement, such as in Pre-Raphaelite Women Artists (Manchester City Art Galleries, Birmingham Museum and Art Gallery, Southampton City Art Gallery, 1997–98), the broader scope of this exhibition counts models and relatives among the significant players within art production and distribution.
    [Show full text]
  • PRE-RAPHAELITE STUNNERS at CHRISTIE’S in JUNE Works by Rossetti, Burne-Jones, Poynter and Leighton
    PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE : 20 A p r i l 2 0 1 5 PRE-RAPHAELITE STUNNERS AT CHRISTIE’S IN JUNE Works by Rossetti, Burne-Jones, Poynter and Leighton London – This summer, Christie’s London presents a stellar collection of Pre-Raphaelite and Victorian drawings and paintings – one of the very best collections in private hands with museum-quality works, some of which have not been seen for decades. Offered as part of the Victorian, Pre-Raphaelite & British Impressionist Art sale on 16 June 2015, this beautiful collection features 45 works and is expected to realise in the region of £2 million. Leading the collection is one of eight works by Dante Gabriel Rossetti (1828-1882), Beatrice: A Portrait of Jane Morris (estimate: £700,000-£1 million, illustrated above left). The collection presents the opportunity for both established and new collectors alike to acquire works at a wide range of price points with estimates ranging from £1,000 to £700,000. Harriet Drummond, International Head of British Drawings & Watercolours, Christie’s: “Christie's is delighted to be handling this important and breath-takingly beautiful collection of paintings and drawings brought together by a couple of anglophile art lovers, who combined their passion for the aesthetic of the Victorian Period with the discerning eye of the connoisseur collector. It is the art of this Victorian era celebrating beauty through its depiction of largely female figures, from the monumentality of ‘Desdemona’ to the intimacy of ‘Fanny Cornforth, asleep on a chaise-longue’ that so strongly influenced our idea of beauty today.” With the recent re-emergence of interest in the Pre-Raphaelite Brotherhood, led by Tate’s Pre-Raphaelites: Victorian Avant-Garde exhibition in 2012, this collection represents many of the ‘Stunners’ who inspired their paintings and made their work truly ‘romantic’, including eight beguiling works by Rossetti.
    [Show full text]
  • Dante Gabriel Rossetti and the Italian Renaissance: Envisioning Aesthetic Beauty and the Past Through Images of Women
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2010 DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN Carolyn Porter Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/113 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Carolyn Elizabeth Porter 2010 All Rights Reserved “DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN” A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. by CAROLYN ELIZABETH PORTER Master of Arts, Virginia Commonwealth University, 2007 Bachelor of Arts, Furman University, 2004 Director: ERIC GARBERSON ASSOCIATE PROFESSOR, DEPARTMENT OF ART HISTORY Virginia Commonwealth University Richmond, Virginia August 2010 Acknowledgements I owe a huge debt of gratitude to many individuals and institutions that have helped this project along for many years. Without their generous support in the form of financial assistance, sound professional advice, and unyielding personal encouragement, completing my research would not have been possible. I have been fortunate to receive funding to undertake the years of work necessary for this project. Much of my assistance has come from Virginia Commonwealth University. I am thankful for several assistantships and travel funding from the Department of Art History, a travel grant from the School of the Arts, a Doctoral Assistantship from the School of Graduate Studies, and a Dissertation Writing Assistantship from the university.
    [Show full text]
  • Pre-Raphaelite Brotherhood (PRB) Had Only Seven Members but Influenced Many Other Artists
    1 • Of course, their patrons, largely the middle-class themselves form different groups and each member of the PRB appealed to different types of buyers but together they created a stronger brand. In fact, they differed from a boy band as they created works that were bought independently. As well as their overall PRB brand each created an individual brand (sub-cognitive branding) that convinced the buyer they were making a wise investment. • Millais could be trusted as he was a born artist, an honest Englishman and made an ARA in 1853 and later RA (and President just before he died). • Hunt could be trusted as an investment as he was serious, had religious convictions and worked hard at everything he did. • Rossetti was a typical unreliable Romantic image of the artist so buying one of his paintings was a wise investment as you were buying the work of a ‘real artist’. 2 • The Pre-Raphaelite Brotherhood (PRB) had only seven members but influenced many other artists. • Those most closely associated with the PRB were Ford Madox Brown (who was seven years older), Elizabeth Siddal (who died in 1862) and Walter Deverell (who died in 1854). • Edward Burne-Jones and William Morris were about five years younger. They met at Oxford and were influenced by Rossetti. I will discuss them more fully when I cover the Arts & Crafts Movement. • There were many other artists influenced by the PRB including, • John Brett, who was influenced by John Ruskin, • Arthur Hughes, a successful artist best known for April Love, • Henry Wallis, an artist who is best known for The Death of Chatterton (1856) and The Stonebreaker (1858), • William Dyce, who influenced the Pre-Raphaelites and whose Pegwell Bay is untypical but the most Pre-Raphaelite in style of his works.
    [Show full text]
  • Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013
    Updated Wednesday, February 13, 2013 | 2:36:43 PM Last updated Wednesday, February 13, 2013 Updated Wednesday, February 13, 2013 | 2:36:43 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required (*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Ford Madox Brown The Seeds and Fruits of English Poetry, 1845-1853 oil on canvas 36 x 46 cm (14 3/16 x 18 1/8 in.) framed: 50 x 62.5 x 6.5 cm (19 11/16 x 24 5/8 x 2 9/16 in.) The Ashmolean Museum, Oxford, Presented by Mrs. W.F.R. Weldon, 1920 William Holman Hunt The Finding of the Saviour in the Temple, 1854-1860 oil on canvas 85.7 x 141 cm (33 3/4 x 55 1/2 in.) framed: 148 x 208 x 12 cm (58 1/4 x 81 7/8 x 4 3/4 in.) Birmingham Museums and Art Gallery, Presented by Sir John T.
    [Show full text]