DOCSLIB.ORG

Exhibition Checklist Woven Gold: Tapestries of Louis Xiv

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Exhibition Checklist Woven Gold: Tapestries of Louis Xiv EXHIBITION CHECKLIST WOVEN GOLD: TAPESTRIES OF LOUIS XIV At the J. Paul Getty Museum, Getty Center December 15, 2015 – May 1, 2016 In the hierarchy of court art, tapestry was regarded, historically, as the preeminent expression of princely status, erudition, and aesthetic sophistication. Extraordinary resources of time, money, and talent were allocated to the creation of these works meticulously woven by hand with wool, silk, and precious- metal thread, after designs by the most esteemed artists. The Sun King, Louis XIV of France (born 1638; reigned 1643–1715), formed the greatest collection of tapestries in early modern Europe. By the end of his reign, the assemblage was staggering, totaling some 2,650 pieces. Though these royal hangings were subsequently dispersed, the largest, present repository of Louis’s holdings is the Mobilier National of France. With rare loans from this prestigious institution, Woven Gold: Tapestries of Louis XIV explores and celebrates this spectacular accomplishment. This exhibition was organized by the J. Paul Getty Museum in association with the Mobilier National et les Manufactures Nationales des Gobelins, de Beauvais et de la Savonnerie. We gratefully acknowledge the Hearst Foundations, Eric and Nancy Garen, and the Ernest Lieblich Foundation for their generous support. Catalogue numbers refer to Woven Gold: Tapestries of Louis XIV by Charissa Bremer-David, published by The J. Paul Getty Museum numbers refer to the GettyGuide® audio tour Louis XIV as Collector, Heir, Patron By the end of Louis XIV’s reign, the French Crown’s impressive holdings of tapestries had grown by slow accumulation over centuries and by intense phases of opportunistic acquisition and strategic patronage. The collection was notable especially for the Renaissance hangings assembled by François I (reigned 1515– 1547). This valuable inheritance was augmented later in the reign of Louis, after the mid-seventeenth-century civil wars known as the Fronde, with other magnificent antique sets of tapestries that became available on the art market. Moreover, from 1661, once Louis assumed the role of supreme patron of the arts, his administration systematically fostered French manufactories with new commissions. These treasured textiles adorned royal palaces, when the court was in residence, and lined outdoor public spaces on special occasions. The tapestries in this exhibition are arranged chronologically according to the year of the original design (rather than date of production). Thus, the display divides into three sections, aligning with the three means by which the collection evolved: antique sets of Renaissance tapestries purchased for Louis XIV in the seventeenth century; antique sets of tapestries inherited by the king; and new sets of tapestries ordered by the Crown. The three sections reveal Louis XIV as collector, heir, and patron. Louis XIV as Collector When Louis XIV (reigned 1643–1715) assumed independent rule in 1661 at the age of twenty-two, the tapestry holdings of the French Crown were literally and metaphorically rich and visually splendid. Notwithstanding this legacy, Louis’s own taste and aspirations for the monarchy prompted him to augment the collection. His agents actively pursued the remaining great sixteenth- and seventeenth-century sets, favoring those after the designs of Raphael (1483– 1520) and his pupils. Indeed, contemporary art theoreticians argued that the grandeur and rich materiality of the best weavings surpassed their painted models. These hangings carried their own intrinsic value in terms of high quality; prestigious provenances; unique borders, sometimes blazoned with famous coats of arms; well-preserved colors; and excellent condition. By this means, Louis XIV effectively brought the art of Renaissance Rome to the heart of the French realm. “You have seen those marvelous Works that are in H[is] M[ajesty]’s Furniture Warehouse and that are often displayed during major celebrations. I speak as to tapestries of the design of Raphael . .The Acts of the Apostles, do they not surprise you when you see them?” André Félibien, Discussions Concerning the Lives and Works of the Most Excellent Painters, Ancient and Modern (1666) 1. The Miraculous Draft of Fishes This episode from the New Testament, when Christ called the first disciples (Luke 5:1–10), took place at the Sea of Galilee. The fisherman Simon (called Peter) kneels before Jesus, From The Acts of the Apostles whom he believes responsible for a miraculously large catch of fish. Jesus proclaims the Design by Raphael (Italian, 1483–1520), 1516 prophetic words “Henceforth thou shalt be fishers of men.” Raphael originally designed Border design by Francis Cleyn (German, 1582– the scene in 1516 for a tapestry destined for the Sistine Chapel at the Vatican. One 1658), about 1625–36 century later, this version was created on an English loom for the uncle of Louis XIV, Charles I of England (reigned 1625–1649, when beheaded). The border bears his coat of Surrey, Mortlake Tapestry Works, under the arms and motto. Louis acquired the tapestry just after his cousin, Charles II, regained the management of Sir James Palmer (English, 1584– English throne in 1660. 1657), 1636–37 Wool, silk, and gilt metal– and silver-wrapped INSCRIPTION thread The Latin text in the central cartouche below translates as: Le Mobilier National, Paris, inv. GMTT 16/4 Who works at / sea, works hard. / [That] work [is] all futile, / unless [it is] divinely guided, / [then it becomes] skillful work. / Oh Fish who flee the nets: / Behold Christ descending Catalogue number 1a / to the sea. He put you [in the deep], / [now] he catches [you]; and the reign of Charles / EX.2015.6.2 Mortlake 1362 The Middle French motto of Charles I (1600–1649) above translates as: Shamed be he who thinks evil of it Image © Le Mobilier National. Photo by Lawrence Perquis 2. Neptune and Cupid Plead with Vulcan for the Neptune and Cupid plead with Vulcan to release the illicit lovers Mars and Venus Release of Venus and Mars (Vulcan’s wife), who have been caught in bed, snared under a net. A window above the From The Story of Vulcan Three Graces, at left, opens onto an interior space where the resolution of the affair is visualized: Vulcan unbinds the net. The Story of Vulcan was the first tapestry series Design by an unidentified Northern artist, formerly woven at the new English Mortlake Tapestry Works. It replicated an older cycle, thought attributed to Perino del Vaga (Italian, 1501–1547), to have been designed by Raphael or his pupil Perino del Vaga. Louis XIV and his court about 1530–40 especially appreciated this Mortlake version for it inspired the popular poem of 1659 The Border design by Francis Cleyn (German, 1582– Loves of Mars and Venus, by Jean de La Fontaine (1621–1695). 1658), about 1625–28 Surrey, Mortlake Tapestry Works, under the Image © Le Mobilier National. Photo by Lawrence Perquis ownership of Sir Francis Crane (English, about 1579– 1636), about 1625–36 Wool, silk, and gilt metal–wrapped thread Le Mobilier National, Paris, inv. GMTT 36/2 Catalogue number 3a EX.2015.6.3 3. The Triumph of Bacchus Giovanni da Udine, a student of Raphael, devised these tiered vignettes showing the pagan deity Bacchus, in the central arbor, presiding over a celebration of wine, wine From The Triumphs of the Gods making, and revelry. Stylistically, he was inspired by ancient Roman wall frescoes newly Design overseen by Raphael (Italian, 1483–1520), revealed in excavations then underway. The composition was designed originally around about 1518–19 1518–19 for the Vatican, the papal residence in Rome, and conveyed sophisticated Design and cartoon by Giovanni da Udine (Italian, religious symbolism. In the intellectual circle around Pope Leo X (reigned 1513–1520), 1487–1564), in collaboration with other artists from themes and images from classical mythology took on new meaning for educated the workshop of Raphael, about 1518–20 Christians. This subject may have evoked, theologically, the sacramental wine of the Catholic mass and the sacred blood of Christ. Secular monarchs, such as Louis XIV, and Brussels, workshop of Frans Geubels (Flemish, art connoisseurs greatly admired subsequent editions of The Triumphs of the Gods flourished about 1545–1585), about 1560 tapestries as supreme expressions of Renaissance art by the esteemed master Raphael. Wool, silk, and gilt metal–wrapped thread Le Mobilier National, Paris, inv. GMTT 1/3 Image © Le Mobilier National. Photo by Lawrence Perquis Catalogue number 2a EX.2015.6.4 4. The Reception of the Envoys from Carthage The victorious Roman general Scipio (236–183 BC), in his starcovered cloak, receives From The Story of Scipio representatives from Carthage after the final defeat of their commander Hannibal. From antiquity, Scipio’s tactical decisiveness and magnanimity presented a model for military Design in the style of Giulio Romano (Italian, about prowess and princely behavior. The most famous portrayal of the hero was the twenty- 1499– 1546), possibly as early as the 1530s, no later two-piece tapestry cycle, designed by Giulio Romano and others, purchased in the 1530s than 1548/55 by François I of France. Although Louis XIV inherited the grand set of his predecessor, he Border design incorporating motifs by Tommaso also acquired another, smaller edition, which contained this unique hanging. It, in turn, Vincidor (Italian, died 1534/36) had a profound effect on subsequent generations of designers. For example, Scipio Brussels, attributed to the workshop of the inspired the figure of Alexander in The Queens of Persia at the Feet of Alexander (see Dermoyen family, possibly as early as 1544, no later EX.2015.6.9). than 1548/55 Image © Hearst Castle®/CA State Parks. Photo by Victoria Garagliano Wool and silk Hearst San Simeon State Historical Monument, San 1363 Simeon, California, inv. 529-9-93 Catalogue number 4a EX.2015.6.26 Louis XIV as Heir In 1666 the royal inventory of tapestries comprised forty-four extremely valuable sets, woven with profuse quantities of precious metal–wrapped thread.
Load more

Recommended publications
  • The Huguenots and Art, C. 1560–1685*
    chapter 7 The Huguenots and Art, c. 1560–1685* Andrew Spicer 1 Introduction At an extraordinary meeting of the Royal Academy of Painting and Sculpture in Paris on 10 October 1681, the president Charles Le Brun read a command from the king’s minister Jean-Baptiste Colbert. On the orders of Louis xiv, those who were members of the Religion Prétendue Reformée were to be deprived of their positions within the Academy; their places were to be taken by Catholics, and membership in the future was to be restricted to this confes- sion. The measure particularly targeted seven men: Henri Testelin (1616–95), Secretary of the Academy; Jean Michelin (1623–96), Assistant Professor; Louis Ferdinand Elle, père (1612–89), Samuel Bernard (1615–87), Jacques Rousseau (1630–93), council members; Mathieu Espagnandel (1616–89) and Louis Ferdinand Elle fils (1648–1717), academicians. The secretary, Testelin, who had painted several portraits of the young king during the 1660s, acquiesced to the royal order but requested that the Academy recognize that he was deprived of his position not due to any personal failings concerning his honesty and good conduct. The academicians acknowledged this to be the case and similarly noted that the other Huguenots present—Bernard, Ferdinand Elle and Michelin—had acquitted their charge with probity and to the satisfaction of the company.1 The following January, the names of Jacob d’Agard and Nicolas Eude were struck from the Academy’s registers because they had both sought refuge in England.2 The expulsion of these artists and sculptors from this learned society was part of the increasing personal and religious restrictions imposed on the Huguenots by Louis xiv, which culminated in the revocation of the Edict of Nantes in October 1685.
    [Show full text]
  • Print Format
    Adraen Frans Boudewijns (Brussels 1664 - Brussels 1711) and Pieter Bout[Brussels 1658- Brussels 1719) An Extensive River Landscape with Figures around a Village with a Town in the Distance & An Extensive Mountainous Landscape with Figures before a Building the first signed ‘F. Bauduin’ (lower left); the second signed ‘F. Bauduin’ (lower centre) oil on canvas, a pair each 51.4 x 63.2 cm (20¼ x 25 in) (2) Set against a dramatic backdrop of undulating mountain scenery and peopled with brightly lit figures, this pair of paintings presents an exquisite example of the Flemish landscape genre. In An Extensive River Landscape with Figures around a Village with a Town in the Distance, a group of figures in the foreground stop to converse on a well-travelled road. Beyond them, two people make their way along the path leading towards a lake, where more figures and two horses are faintly identifiable. Near the lake, the edge of a town can be seen and in the centre of the painting, a building is nestled within the landscape in front of which stand a herd of cows and a farmer. To their right, a river meanders its way through the craggy landscape where further buildings are situated. In An Extensive Mountainous Landscape with Figures before a Building, a horseman passes a man talking to two women, one of whom sits down to rest; nearby a child clad in blue and a loyal dog wait patiently. Beyond them, two figures follow the path as it curves round to a bridge over which a herdsman guides his cattle.
    [Show full text]
  • Kingston Lacy Illustrated List of Pictures K Introduction the Restoration
    Kingston Lacy Illustrated list of pictures Introduction ingston Lacy has the distinction of being the however, is a set of portraits by Lely, painted at K gentry collection with the earliest recorded still the apogee of his ability, that is without surviving surviving nucleus – something that few collections rival anywhere outside the Royal Collection. Chiefly of any kind in the United Kingdom can boast. When of members of his own family, but also including Ralph – later Sir Ralph – Bankes (?1631–1677) first relations (No.16; Charles Brune of Athelhampton jotted down in his commonplace book, between (1630/1–?1703)), friends (No.2, Edmund Stafford May 1656 and the end of 1658, a note of ‘Pictures in of Buckinghamshire), and beauties of equivocal my Chamber att Grayes Inne’, consisting of a mere reputation (No.4, Elizabeth Trentham, Viscountess 15 of them, he can have had little idea that they Cullen (1640–1713)), they induced Sir Joshua would swell to the roughly 200 paintings that are Reynolds to declare, when he visited Kingston Hall at Kingston Lacy today. in 1762, that: ‘I never had fully appreciated Sir Peter That they have done so is due, above all, to two Lely till I had seen these portraits’. later collectors, Henry Bankes II, MP (1757–1834), Although Sir Ralph evidently collected other – and his son William John Bankes, MP (1786–1855), but largely minor pictures – as did his successors, and to the piety of successive members of the it was not until Henry Bankes II (1757–1834), who Bankes family in preserving these collections made the Grand Tour in 1778–80, and paid a further virtually intact, and ultimately leaving them, in the visit to Rome in 1782, that the family produced astonishingly munificent bequest by (Henry John) another true collector.
    [Show full text]
  • The Petite Commande of 1664: Burlesque in the Gardens of Versailles Thomasf
    The Petite Commande of 1664: Burlesque in the Gardens of Versailles ThomasF. Hedin It was Pierre Francastel who christened the most famous the west (Figs. 1, 2, both showing the expanded zone four program of sculpture in the history of Versailles: the Grande years later). We know the northern end of the axis as the Commande of 1674.1 The program consisted of twenty-four Allee d'Eau. The upper half of the zone, which is divided into statues and was planned for the Parterre d'Eau, a square two identical halves, is known to us today as the Parterre du puzzle of basins that lay on the terrace in front of the main Nord (Fig. 2). The axis terminates in a round pool, known in western facade for about ten years. The puzzle itself was the sources as "le rondeau" and sometimes "le grand ron- designed by Andre Le N6tre or Charles Le Brun, or by the deau."2 The wall in back of it takes a series of ninety-degree two artists working together, but the two dozen statues were turns as it travels along, leaving two niches in the middle and designed by Le Brun alone. They break down into six quar- another to either side (Fig. 1). The woods on the pool's tets: the Elements, the Seasons, the Parts of the Day, the Parts of southern side have four right-angled niches of their own, the World, the Temperamentsof Man, and the Poems. The balancing those in the wall. On July 17, 1664, during the Grande Commande of 1674 was not the first program of construction of the wall, Le Notre informed the king by statues in the gardens of Versailles, although it certainly was memo that he was erecting an iron gate, some seventy feet the largest and most elaborate from an iconographic point of long, in the middle of it.3 Along with his text he sent a view.
    [Show full text]
  • The Baroque Era 1. Title 2. Anthony Van Dyke, Charles I Dismounted, Oil on Canvas, 1635 3. Diego Velázquez, King Philip IV Of
    The Baroque Era 1. Title 2. Anthony van Dyke, Charles I Dismounted, oil on canvas, 1635 3. Diego Velázquez, King Philip IV of Spain (Fraga Philip), oil on canvas, 1644 4. Charles leBrun, Apotheosis of Louis XIV, oil on canvas, 1677 5. Hyacinthe Rigaud, Portrait of Louis XIV, oil on canvas, 1701; 6. Aerial view, Palace of Versailles, Louis Le Vau and Jules Hardouin-Mansart, architects; interior design Le Vau and Hardouin-Mansart with Charles LeBrun, masonry, stone, wood, iron and gold leaf; sculpture in bronze and marble; original gardens designed by André LeNôtre, Versailles, France, begun 1669 7. Plan of Versailles and gardens 8. “Le Vau envelop,” courtyard 9. alternate view of above 10. Louis Le Vau, Jules Hardouin-Mansart, and Charles LeBrun, Hall of Mirrors, Chateau de Versailles, ca. 1680 11. Louis Le Vau, Jules Hardouin-Mansart, and Charles LeBrun, Hall of Mirrors, Chateau de Versailles, ca. 1680 (after 2007 restoration) 12. Charles LeBrun, The King Governs by Himself, from the ceiling of the Hall of Mirrors 13. Jules Hardouin-Mansart and Charles Le Brun, Salon de la Guerre, Chateau de Versailles, ca. 1680 14. Jules Hardouin-Mansart and Charles Le Brun, detail of bas relief of Louis XIV on Horseback, Salon de la Guerre, Chateau de Versailles, ca. 1680 15. Jules Hardouin-Mansart and Charles Le Brun, Salon de la Paix, Chateau de Versailles, ca. 1681-1686 16. Charles LeBrun, La Salle des Gardes de la Reine 17. Jules Hardouin-Mansart, Royal Chapel, upper level, Chateau de Versailles, 1698 18. Palace of Versailles, gardens originally designed by André LeNôtre 19.
    [Show full text]
  • Madame De Ludres-Entourage of Pierre Mignard-17Th
    anticSwiss 02/10/2021 04:52:15 http://www.anticswiss.com Madame de Ludres-entourage of Pierre Mignard-17th SOLD ANTIQUE DEALER Period: 17° secolo -1600 Caudroit Troyes Style: Luigi XIV Reggenza +33662098900 Length:104cm Width:79cm Material:olio su tela Price:4800€ DETAILED DESCRIPTION: Madame de Ludres, Chanoinesse de Pousse in Mary Magdalen repentant French School of the 17th century-circle Pierre Mignard (1612-1695) Canvas 79 cm by 63 cm. Important frame of 104 cm by 87 cm Our painting is a revisited version of the painting of Pierre Mignard exposed to Versailles. Our Madame de Ludres is depicted here repentant, she cries and especially unlike the portrait of Mignard her hair completely covers his chest. Also note the absence of the skull in our table. Madame de Ludres, Canoness of Pousse (1647-1726) Marie-Elisabeth (known as Isabelle), Marquise de Ludres, born in 1647 in Ludres in Lorraine, and died in 1726 in Nancy, is a mistress of King Louis XIV, rival of Madame of Montespan. Pierre Mignard (1612-1695) Born in Troyes, Pierre Mignard apprenticed in Bourges, from 1622, to the painter of altar paintings Jean Boucher, then to Paris at Simon Vouet's. These two painters, who had formerly made the trip to Italy, perhaps communicated to Mignard the desire for a trip beyond the mountains, a rule for the artists of the generation of 1590, abandoned by the artists of his generation (Philippe de Champaigne, La Hyre). From his long stay in Italy, mainly in Rome, from 1634-1635 to 1657 (he made a trip to Parma, Modena and Venice in 1654-1655), we know very little about it; if the artist is strongly Romanized, he still befriends the painter and theorist Charles-Alphonse Du Fresnoy, author of De arte grafica.
    [Show full text]
  • Boel, Etude De Lions
    Fiche oeuvre Auteur Pieter Boel (Anvers, 1625 – Paris, septembre 1674) œuvre Etude de lions Date Entre 1668 et 1674 Technique Huile sur toile Dimensions 71,2 x 92 cm Provenance Décors de la ménagerie de Versailles, répartis à la fin du XIXe siècle dans les Musées de France. Mots-clés Lion, Versailles, Dessin scientifique. CONTEXTE Le règne de Louis XIV (1661-1715) marque l'apogée du premier empire colonial français. Placées sous l'autorité du secrétariat d'Etat à la marine puis sous celle d'un bureau des colonies, les possessions françaises sont au cœur d'un commerce florissant régi par le système de l'Exclusif, aucune colonie n'étant autorisée à faire commerce avec l'étranger. Selon le mercantilisme de Colbert et comme le mentionne l'Encyclopédie : Les colonies n'ont été fondées que pour l'utilité de la métropole. Cette nouvelle prospérité permet le développement considérable de ports comme Nantes, Bordeaux ou Lorient. Au cœur de cette économie coloniale, l'esclavage, régi par le Code noir de 1685, est alimenté par le commerce triangulaire. Les esclaves, tous originaires d'Afrique, sont alors considérés comme une marchandise. Ils permettent également l’importation d’animaux rares comme le lion. ARTISTE Initié par son père graveur, Pieter Boel entre en apprentissage probablement chez les peintres de natures mortes et d’animaux d’Anvers Frans Snyders puis Ian Fyt. Entre 1647 et 1649, il se perfectionne en Italie où il rencontre un vif succès notamment à Rome et Gênes, où il s’inspire des compositions animalières de Giovanni Benedetto Castiglione. De retour à Anvers vers 1650, il est reçut franc maître de la guilde et il s’y marie.
    [Show full text]
  • The Test of Time: Art Encyclopedias and the Formation of the Canon
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Erasmus University Digital Repository TEST OF TIME 1 The Test of Time: Art Encyclopedias and the Formation of the Canon of Seventeenth-Century Painters in the Low Countries Authors Filip Vermeylen, Ph.D. (lead author) Associate Professor in Cultural Economics Erasmus University Rotterdam, The Netherlands Website: http://filipvermeylen.com Maarten van Dijck, Ph.D. Lecturer in Historical Methodology Erasmus University Rotterdam, The Netherlands Website: www.eshcc.eur.nl/english/personal/vandijck/ Veerle De Laet, Ph.D., Leuven University Press, Belgium The authors wish to thank Karolien de Clippel, Neil de Marchi, Victor Ginsburgh and two anonymous reviewers for their insightful feedback, and Jessica Verboom for her help with collecting the data. TEST OF TIME 2 Abstract This paper deals with the process of canon formation for Flemish and Dutch painters from the seventeenth century onwards. We examine how the essential art-historical treatises and art encyclopedias since Houbraken’s Grote Schouburgh der Nederlandsche Konstschilders en Schilderessen ranked and evaluated the leading painters, based on the attention given to them in these volumes. Using standardized z-scores, we map the relative importance the selected artists received in these publications over the three centuries. In doing so, we emphasize the path-dependency and the dimension of time in explaining the endurance of certain artists in the long run. From our research it emanates that the canon of Netherlandish painters is much more volatile than previously assumed. TEST OF TIME 3 “When one does a thing, it appears good, otherwise one would not write it.
    [Show full text]
  • Isabel Clara Eugenia and Peter Paul Rubens’S the Triumph of the Eucharist Tapestry Series
    ABSTRACT Title of Document: PIETY, POLITICS, AND PATRONAGE: ISABEL CLARA EUGENIA AND PETER PAUL RUBENS’S THE TRIUMPH OF THE EUCHARIST TAPESTRY SERIES Alexandra Billington Libby, Doctor of Philosophy, 2013 Directed By: Professor Arthur K. Wheelock, Jr., Department of Art History and Archeology This dissertation explores the circumstances that inspired the Infanta Isabel Clara Eugenia, Princess of Spain, Archduchess of Austria, and Governess General of the Southern Netherlands to commission Peter Paul Rubens’s The Triumph of the Eucharist tapestry series for the Madrid convent of the Descalzas Reales. It traces the commission of the twenty large-scale tapestries that comprise the series to the aftermath of an important victory of the Infanta’s army over the Dutch in the town of Breda. Relying on contemporary literature, studies of the Infanta’s upbringing, and the tapestries themselves, it argues that the cycle was likely conceived as an ex-voto, or gift of thanks to God for the military triumph. In my discussion, I highlight previously unrecognized temporal and thematic connections between Isabel’s many other gestures of thanks in the wake of the victory and The Triumph of the Eucharist series. I further show how Rubens invested the tapestries with imagery and a conceptual conceit that celebrated the Eucharist in ways that symbolically evoked the triumph at Breda. My study also explores the motivations behind Isabel’s decision to give the series to the Descalzas Reales. It discusses how as an ex-voto, the tapestries implicitly credited her for the triumph and, thereby, affirmed her terrestrial authority. Drawing on the history of the convent and its use by the king of Spain as both a religious and political dynastic center, it shows that the series was not only a gift to the convent, but also a gift to the king, a man with whom the Infanta had developed a tense relationship over the question of her political autonomy.
    [Show full text]
  • Murrle Bennett: the Anglo-German Style
    To print, your print settings should be ‘fit to page size’ or ‘fit to printable area’ or similar. Problems? See our guide: https://atg.news/2zaGmwp 7 1 -2 0 2 1 9 1 ISSUE 2488 | antiquestradegazette.com | 17 April 2021 | UK £4.99 | USA $7.95 | Europe €5.50 S E E R 50years D koopman rare art V A I R N T antiques trade G T H E KOOPMAN (see Client Templates for issue versions) THE ART M ARKET WEEKLY [email protected] +44 (0)20 7242 7624 www.koopman.art Coin auction houses end Murrle Bennett: the four-year joint venture are nine staff members (the by Laura Chesters Anglo-German style group has a total of 60 staff). It intends to hold its first auction Jewellery by the Anglo-German firm Murrle Bennett, London coin specialists back at 399 Strand in the which thrived for two decades before the First World Baldwin’s and St James’ autumn. War, appeals today for the reasons it did in the early 20th Auctions have ended their St James’ Auctions, founded tie-up after four years. by Stephen Fenton of century. The jewellery is good quality, effortlessly stylish The stopping of the joint dealership Knightsbridge and (in comparison with handmade or precious stone venture was without costs and Coins, will continue to be jewels of the period) relatively affordable. Stanley Gibbons Group based at 10 Charles II Street, St (owner of Baldwin’s) said it was James’s, in London. The Murrle Bennett output, which embraced all flavours a “major milestone” to “bring Alongside Fenton there are of European Art Nouveau, is a focus of this week’s coin auctions back in house nine full-time employees plus jewellery feature on pages 12-18.
    [Show full text]
  • Louis XIV: Art As Persuasion Supporting the Dominance of France in 17Th Century Europe
    Lindenwood University Digital Commons@Lindenwood University Student Research Papers Research, Scholarship, and Resources Fall 11-30-2010 Louis XIV: Art as Persuasion Supporting the Dominance of France in 17th Century Europe Matthew Noblett [email protected] Follow this and additional works at: https://digitalcommons.lindenwood.edu/student-research-papers Part of the Arts and Humanities Commons Recommended Citation Noblett, Matthew, "Louis XIV: Art as Persuasion Supporting the Dominance of France in 17th Century Europe" (2010). Student Research Papers. 1. https://digitalcommons.lindenwood.edu/student-research-papers/1 This Research Paper is brought to you for free and open access by the Research, Scholarship, and Resources at Digital Commons@Lindenwood University. It has been accepted for inclusion in Student Research Papers by an authorized administrator of Digital Commons@Lindenwood University. For more information, please contact [email protected]. Louis XIV: Art as Persuasion Supporting the Dominance of France in 17th Century Europe Matthew D. Noblett 11/30/10 Dr. James Hutson ART 55400.31 Lindenwood University Noblett 1 In 17th century France there was national funding combined with strict controls placed on the arts and all areas of the administration of Louis XIV. This was imperative to present the country as one of the greatest European powers of its time. It was done by creating personas of Louis as the Sun King, sole administrator of France or “'L'etat c' est moi” (I am the State) and conqueror. All were reinforced and often invented in rigid confines through state funded propaganda. His name has become synonymous with the French arts of the 17th century through significant investments in all forms of media, from poetry, music and theatre to painting, sculpture and architecture.
    [Show full text]
  • Statecraft and Insect Oeconomies in the Global French Enlightenment (1670-1815)
    Statecraft and Insect Oeconomies in the Global French Enlightenment (1670-1815) Pierre-Etienne Stockland Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2017 Etienne Stockland All rights reserved ABSTRACT Statecraft and Insect Oeconomies in the Global French Enlightenment (1670-1815) Pierre-Etienne Stockland Naturalists, state administrators and farmers in France and its colonies developed a myriad set of techniques over the course of the long eighteenth century to manage the circulation of useful and harmful insects. The development of normative protocols for classifying, depicting and observing insects provided a set of common tools and techniques for identifying and tracking useful and harmful insects across great distances. Administrative techniques for containing the movement of harmful insects such as quarantine, grain processing and fumigation developed at the intersection of science and statecraft, through the collaborative efforts of diplomats, state administrators, naturalists and chemical practitioners. The introduction of insectivorous animals into French colonies besieged by harmful insects was envisioned as strategy for restoring providential balance within environments suffering from human-induced disequilibria. Naturalists, administrators, and agricultural improvers also collaborated in projects to maximize the production of useful substances secreted by insects, namely silk, dyes and medicines. A study of
    [Show full text]