Of Fitzroy Square, London. from a Miniature by W
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Grosvenor Prints Catalogue for July 2007
Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN Tel: 020 7836 1979 Fax: 020 7379 6695 E-mail: [email protected] www.grosvenorprints.com Dealers in Antique Prints & Books Catalogue for July 2007 Item 4 The Arts 3. Veduta Indiana. 1. Zacherias. A.Basoli inv e dip. G.Sandri dis. L. e F. Basoli inc. MA Bonaroti Inve. Piroli f. [n.d., c.1810.] Engraving [Italy, 1821.] Sepia aquatint with line. 295 x 390mm, in brown ink, 370 x 260mm. 14½ x 10¼". £130 11¾ x 15¼". £160 The Old Testament Prophet Zechariah, after the fresco The exterior of an Indian fort. One of three designs by by Michelangelo (1475 - 1564) on the ceiling of the Antonio Basoli for the 1813 production of Gioja's Sistine Chapel. ballet, 'Riti Indiani', published in Basoli's 'Collezione di Engraved by Tommaso Piroli (1752 - 1824) in Rome, varie scene teatrali', 1821. probably from a folio of Michelangelo's designs. Stock: 11607 Stock: 11684 4. Drury Lane Christmas Pantomime. 2. [Man tuning a lute while a woman leafs Hop O' My Thumb. through a song book; three other figures.] [n.d., c.1911?] Ink and watrecolour. Sheet 360 x Wateaux P. N Parr f.(?) [n.d., c.1750.] Etching, 90 x 250mm, 14 x 10". £240 100mm. 3½ x 4". Slightly foxed. £75 A painted playbill for a pantomime version of 'Le Petit A familiar theme of figures playing music and singing Poucet', a fairy tale by Charles Perrault (1628-1703). after Antoine Watteau (1684 - 1721). It appears that There were productions at Drury Lane in 1864, 1892 & Nathaniel Parr (1739 - 1751; active), the London 1911. -
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, Transcription and Biographies • 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. -
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. -
THE LINE-ENGRAVED POSTAGE STAMPS of GREAT BRITAIN PRINTED by PERKINS, BACON & Co
^mmw^m¥'^ii- ^'CALIFO*^ Xf-BSIT)-, -5 - I III mil .i I j^T^^. I- ''^iTjsa?''^ HN^Jl % f ,^ H 5 s I .'SSiiZl'/ J^.^ '^f*;>CAu.o<v^ '-UiiH"3>- % 5» 1 ^! 1> \K^ 11 % 'i. q 9 > 3 A % irwrr 2^^^^- '•^ • LNlVt^"-'' _ , califo*'c^V^ 3 1822 01052 1821 or /> .^N^" <^mxu,M 'f.^<^ '«fe • UHVii^fc^^ r^;^"f!'^,%.^ IK0*~ JSsaaN^^'' 4l ''O, jrtiOJnvo —•5 c .00310 lA'f'. ^^^.oa*^ffl,:?>.r'^^ aA--'' '-ijjsal''^^''' ^<i--ri «Mi.^...^^ii^^ '>'// "OV ijli:. V* fcj^ 1*1. / U/saa'*' •Ul'silAN^^'^ "califo*"' vm fo ffj. '•5-. '$• _,-x<^3^lTy " i'/EGO ^/y;i,|J^ ^^-ioii-no^ l/NlVE-l '^oi^o-'>-* .-^^ fNiveii^ .. .003fr, •i^ ^ .003/(7,. •?>, ^X.,vo.:^\^'S''^ •ujiiaa-^'' Uiiai> I /v'.t:si7\ C'.' .VVl I I .,<:i« -Ujyyi .^^*oJnvo, i:m\^^S<^-< •sb. ' ^iiiGU- ,-e!.'''''-'i'NIV6«^^ THE LINE-ENGRAVED POSTAGE STAMPS OF GREAT BRITAIN PRINTED BY PERKINS, BACON &z Co. WITH HIS GRACIOUS PERMISSION THIS WORK IS DEDICATED TO HIS MAJESTY KING GEORGE V. THE HONOURED PATRON OF THE ROYAL PHILATELIC SOCIETY, LONDON. THE^ LINE-ENGRAVED POSTAGE STAMPS OF GREAT BRITAIN PRINTED BY PERKINS, BACON & CO. BY EDWARD DENNY BACON, M.V.O. (Pkesiuext of the Royal Philatelic Society, London). A HISTORY OF THEIR PRODUCTION DURING THE FORTY YEARS- 1840 TO 1880—MAINLY COMPILED FROM THE RECORDS OF THE FIRM, WITH THE ASSISTANCE OF MR. JAMES DUNBAR HEATH, MANAGING DIRECTOR. With Fifteen Plates of Collotype and other Illustr.\tions. IN TWO volu:mes. VOL. I Published by CHAS. NISSEN & CO., LIMITED. 63 HuiH HoLBORN. London, W.C.i. -
London Metropolitan Archives Artists' Annuity
LONDON METROPOLITAN ARCHIVES Page 1 ARTISTS' ANNUITY AND BENEVOLENT FUND CLC/114 Reference Description Dates CLC/114/MS23649 Royal charter of incorporation. 1827 1 membrane : parchment (with seal) Former Reference: MS 23649. CLC/114/MS23650 Supplemental charter. 1926 1 sheet in envelope : parchment Former Reference: MS 23650 CLC/114/MS23650/A Further supplemental charter 2005 1 membrane : parchment (with seal) CLC/114/MS23651 Prospectus for the"Society for the Management ca.1960 and Distribution of the Artists' Fund". 1 leaflet in envelope Former Reference: MS 23651 CLC/114/MS23652 Artists' fund: minutes of committee and 1810 - 1822 quarterly general meetings. 1 volume Former Reference: MS 23652 CLC/114/MS23653 Incorporated artists' fund: minutes of meetings 1829 - 1926 of the council. 1 volume Former Reference: MS 23653 Annuity fund: minutes of subscribers' quarterly general meetings (1828-98) and of annual general meetings (1898-1977) held jointly with the benevolent fund from 1962. CLC/114/MS23654/001 Annuity fund: minutes of subscribers' quarterly Apr 1828-Mar general meetings (1828-98) and of annual 1835 general meetings (1898-1977) held jointly with the benevolent fund from 1962. Former Reference: MS 23654 CLC/114/MS23654/002 Annuity fund: minutes of subscribers' quarterly Mar 1835-Sep general meetings (1828-98) and of annual 1839 general meetings (1898-1977) held jointly with the benevolent fund from 1962. Former Reference: MS 23654 CLC/114/MS23654/003 Annuity fund: minutes of subscribers' quarterly Sep 1839-Mar general meetings (1828-98) and of annual 1845 general meetings (1898-1977) held jointly with the benevolent fund from 1962. Former Reference: MS 23654 LONDON METROPOLITAN ARCHIVES Page 2 ARTISTS' ANNUITY AND BENEVOLENT FUND CLC/114 Reference Description Dates CLC/114/MS23654/004 Annuity fund: minutes of subscribers' quarterly Jun 1845-Jun general meetings (1828-98) and of annual 1850 general meetings (1898-1977) held jointly with the benevolent fund from 1962. -
Sarah Sophia Banks: Femininity, Sociability and the Practice of Collecting In
Sarah Sophia Banks: Femininity, Sociability and the Practice of Collecting in Late Georgian England Two Volumes Volume I Arlene Carol Leis Ph.D. University of York History of Art September 2013 2 Abstract Sarah Sophia Banks, sister to the botanist and President of the Royal Society, Sir Joseph Banks, assumed an assertive role as a collector. Her repository, which is now housed in the British Museum and British Library contains a rich assemblage of commercial materials that documents the social urban culture of elite eighteenth and nineteenth-century circles. My dissertation will investigate Sarah Sophia Banks and her paper collections. Sifting through her overabundance of everyday, mass-produced, visual and textual sources, this study examines her elite status and collecting practices. It will also offer a social and art historical analysis of four categories of objects that Sarah Sophia collected: the admission ticket, the trade card, the visitor ticket and ladies’ pocket book imagery. This thesis will demonstrate how her collections embody the many characteristics of a modern and polite Eighteenth-century society. 3 Table of Contents Note Regarding Illustrations............................................................................4 Acknowledgments...........................................................................................5 Author’s Declaration........................................................................................7 Introduction .....................................................................................................8 -
“It Was the Heart of the Town”: Two Public Monuments, Cultural Memory and Oral Histories in Walkden and Hastings
“It was the heart of the town”: two public monuments, cultural memory and oral histories in Walkden and Hastings Anthony McIntosh PhD January 2014 The University of Brighton Abstract The importance of the historic built environment to local communities and its ability to foster a sense of place is an issue at the heart of current heritage impact research. This thesis is primarily concerned with how public monuments, as a focus for the localisation of memories and narratives, can contribute to the development of social capital, sense of place, and a sense of community identity. As case studies, the thesis uses two large public monuments significant to the cultural heritage and development of two towns: the Countess of Ellesmere Memorial, Walkden, Greater Manchester, and the Prince Albert Memorial Clock Tower, Hastings, East Sussex. The two monuments were erected on particular sites significant to the history of the towns, sites chosen for their resonance with the development and growth of the local communities. The location of both monuments has been the cause of much controversy and public debate for over a century and their position as objects of local heritage is perhaps as important now as when they were unveiled. As its primary source of data the research study uses oral history interviews in order to analyse how the two monuments are remembered and experienced through accounts of public ceremonials, festivities, and rituals, through specific social norms that have originated in local culture and tradition, and, through the routine activities of everyday life. The analysis of the oral history interviews demonstrates how, through the shaping of kinship and personal narratives, these two public monuments provided a spatial and temporal location for the development of public memory and an associated development of social capital and sense of place. -
Hageman, Carolyn 12-03-2013
The Unlikely Road to Success: The Life and Career of Watercolorist William Leighton Leitch A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Carolyn A. Hageman December 2013 © 2013 Carolyn A. Hageman. All Rights Reserved. 2 This thesis titled The Unlikely Road to Success: The Life and Career of Watercolorist William Leighton Leitch by CAROLYN A. HAGEMAN has been approved for the School of Art and the College of Fine Arts by Jody Lamb Associate Professor of Fine Arts Margaret Kennedy-Dygas Dean of the College of Fine Arts 3 ABSTRACT HAGEMAN, CAROLYN A., M.A., December 2013, Art History The Unlikely Road to Success: The Life and Career of Watercolorist William Leighton Leitch Director of Thesis: Jody Lamb William Leighton Leitch was a watercolorist and tutor in nineteenth-century Britain. He is most famously known as being a drawing instructor to Queen Victoria. However, his prolific career is widely unacknowledged today. Through extensive research I have been able to reestablish his biography as well as analyze his body of work. His paintings can be divided roughly into two periods: early work (pre-1840) and mature work (post-1840). His early work demonstrates how the Picturesque movement in Britain affected his work and his technical proficiency in watercolor painting. In contrast, Leitch’s work after 1840 distinguishes his personal style as Naturalistic. The influence Queen Victoria had on Leitch as a patron is also evident in this later period. Leitch’s painting shows idealization of the landscape with the distinct character of a place. -
1 James M'kenzie-Hall Illustrated Travel: Steel
JAMES M’KENZIE-HALL ILLUSTRATED TRAVEL: STEEL ENGRAVINGS AND THEIR USE IN EARLY NINETEENTH-CENTURY TOPOGRAPHICAL BOOKS, WITH SPECIAL REFERENCE TO HENRY FISHER & CO. VOLUME I: TEXT A Thesis submitted in partial fulfilment of the requirements of the Nottingham Trent University and Southampton Solent University for the degree of Doctor of Philosophy. March 2011 1 ABSTRACT The aim of this thesis is to investigate the introduction, production and sale of steel engravings in the illustrated picture books of the first half of the nineteenth century with particular reference to the publications of Henry Fisher, who began his career in Liverpool and continued it together with his son Robert in London. By looking at the processes from the initial artist's design through to its engraving and printing, and by establishing the interaction between the artist, author, publisher and engraver, this study will lead to a better understanding of both the economics and aesthetics of print production and determine the destination of these illustrated picture books by examining the relationship between the publisher and the public. Previous work on nineteenth-century topographical steel engraving has largely had a bibliographical rather than historiographical aim and has concentrated on the classification of images into regional units. Although useful these publications are not intended to be critical and do not lead to an understanding of the contextual background necessary to explain the enormous output and consumption of topographical steel-engraved books in the 1830s and 1840s. The two leading specialist topographical print-publishers were the London firms of Fisher, Son & Co. and George Virtue. -
(IA Cu31924030651917).Pdf
ND \ CORNELL UNIVERSITY LIBRARY FROM "r.and Mrs. '"m.-F .E. hurley i 4 '37 DATE DUE N 2 2 'T7 " 4p 2 *4fl 10'40 |e Cornell University Library N7616 .H42 + Miniatures, 1924 030 651 917 3 Overs olin THE CONNOISSEUR'S LIBRARY GENERAL EDITOR : CYRIL DAVENPORT MINIATURES Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924030651917 PHIUP THE GOOD FLEMISH MINIATURE ON VEU.UM ( Dale about 1480) MI NI ATURES BY DUDLEY HEATH NEW YORK : G. P. PUTNAM'S SONS LONDON: METHUEN AND CO. I905 a PREFACE THE literature on miniatures has not been exten- sive, and the tendency to increase its volume at the present time is sufficient reason for wishing to widen its grasp and survey by a painter's view of the subject. Dr. Propert's excellent history of the art still retains its place as a scholarly book of reference from the collector's point of view. Unfortunately its limited edition could only reach the very few connoisseurs and collectors who were wise enough to obtain a copy whilst it was still in print. The series of exhibitions which have been held in recent years of the past masters of the art, the formation of two societies for the encouragement of modern miniature painting, and the spread of maga- zine literature devoted to this subject, have helped the general advancement in taste and knowledge, so that to-day the interest in the historical aspect of this English ' art of portraiture in little ' is not confined to the wealthy connoisseurs, but can claim many enthusiasts with less means but no less judgment. -
The Royal Collection Trust
THE ROYAL COLLECTION TRUST Annual Report for the year ended 31 March 2005 Company limited by guarantee, registered number 2713536 Registered Charity number 1016972 TRUSTEES OF THE ROYAL COLLECTION TRUST Chairman of the Trustees HRH The Prince of Wales, KG, KT, GCB, OM, AK, QSO, ADC ϳ••ϳ Deputy Chairman The Lord Luce, GCVO, PC, DL ϳ••ϳ Trustees The Hon. Mrs Marten, OBE, DL (until 17 March 2005) Sir Eric Anderson, KT, FRSE Sir John Guinness, CB Lady Shaw-Stewart (from 17 March 2005) The Rt Hon. Sir Robin Janvrin, KCB, KCVO Mr Alan Reid ϳ••ϳ Secretary Sir Hugh Roberts, KCVO, FSA CONTENTS Chairman’s Foreword 5 Report of the Director of the Royal Collection 6 Custodial Control 9 Conservation 10 Pictures 10 Works of Art 11 Royal Library and Print Room 13 Royal Photograph Collection 14 Royal Archives 15 Access and Presentation 16 Buckingham Palace 16 The Queen’s Gallery 18 The Royal Mews 19 Windsor Castle 19 The Drawings Gallery 20 Special Visits and Research Enquiries 20 Palace of Holyroodhouse 22 The Queen’s Gallery 22 Loans from the Royal Collection 23 Interpretation 25 Education 25 Publishing 30 e-Gallery 31 Accessions and Acquisitions 32 Trading Activities 35 Financial Overview 38 Summarised Financial Statements 40 Appendices Exhibitions and Loans 43 Staff of the Royal Collection 47 External Appointments 47 Staff Numbers 47 Staff Training 48 Staff List 50 John Singer Sargent (1856–1925), Lady Elizabeth Bowes-Lyon: profile portrait, 1923. Sargent’s charcoal drawing provided a striking cover image for Watercolours and Drawings from the Collection of Queen Elizabeth The Queen Mother, the catalogue of the exhibition on display at the Palace of Holyroodhouse from March to September 2005.