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Graves of Artists and Architects Buried There
Graves of architects and artists in the Chiswick Churchyard and Old Burial Ground A noteworthy feature of the burial ground associated with St Nicholas, Chiswick, is the remarkable number of graves of artists and architects buried there. This article records the graves of an important eighteenth-century architect and garden designer, a respected bricklayer and site manager, two well-regarded Victorian sculptors, and no fewer than six painters and printmakers. In comparison, I know of only one literary figure who was buried there: the maverick Italian poet and patriot, Ugo Foscolo (1778–1827). But perhaps he does not count, since his bones were exhumed in 1871 and returned to Italy for re-burial in Sta Croce, Florence. The churchyard harbours the tomb of only one theatrical figure, Charles Holland (1733–1769), but – as far as I am aware – of not one single composer. Two possible reasons for this bias in favour of the visual arts may be connected with two leading figures in the British eighteenth-century art world who were associated with St Nicholas, Chiswick. Lord Burlington (1694–1753) and William Hogarth (1697–1764) were close contemporaries, although they seldom if ever saw eye to eye. Lord Burlington was the architect of his ground- breaking Chiswick Villa, and he was also a celebrated aesthete and connoisseur. During highly profitable visits to Italy in the second decade, he amassed an important collection of Italian Renaissance and Baroque paintings. Chiswick Villa was designed in part specifically to display this collection, which enhanced Burlington’s status in the British art scene. His semi-permanent residence at Chiswick in the last 20 or so years of his life, and the inheritance of his estate by the Dukes of Devonshire from 1764, perhaps attracted other artists to the area, seeking aristocratic and royal patronage. -
Westminster World Heritage Site Management Plan Steering Group
WESTMINSTER WORLD HERITAGE SITE MANAGEMENT PLAN Illustration credits and copyright references for photographs, maps and other illustrations are under negotiation with the following organisations: Dean and Chapter of Westminster Westminster School Parliamentary Estates Directorate Westminster City Council English Heritage Greater London Authority Simmons Aerofilms / Atkins Atkins / PLB / Barry Stow 2 WESTMINSTER WORLD HERITAGE SITE MANAGEMENT PLAN The Palace of Westminster and Westminster Abbey including St. Margaret’s Church World Heritage Site Management Plan Prepared on behalf of the Westminster World Heritage Site Management Plan Steering Group, by a consortium led by Atkins, with Barry Stow, conservation architect, and tourism specialists PLB Consulting Ltd. The full steering group chaired by English Heritage comprises representatives of: ICOMOS UK DCMS The Government Office for London The Dean and Chapter of Westminster The Parliamentary Estates Directorate Transport for London The Greater London Authority Westminster School Westminster City Council The London Borough of Lambeth The Royal Parks Agency The Church Commissioners Visit London 3 4 WESTMINSTER WORLD HERITAGE S I T E M ANAGEMENT PLAN FOREWORD by David Lammy MP, Minister for Culture I am delighted to present this Management Plan for the Palace of Westminster, Westminster Abbey and St Margaret’s Church World Heritage Site. For over a thousand years, Westminster has held a unique architectural, historic and symbolic significance where the history of church, monarchy, state and law are inexorably intertwined. As a group, the iconic buildings that form part of the World Heritage Site represent masterpieces of monumental architecture from medieval times on and which draw on the best of historic construction techniques and traditional craftsmanship. -
John Webb Singer and His Wife Sarah, Taken in the 1890S
The Story of J.W. Singer & Sons, Frome John Webb Singer and his wife Sarah, taken in the 1890s Made in Frome rom the humble beginnings of a simple request for a to Frome Museum. There are over 3,000 surviving glass pair of brass candlesticks in 1848, the J.W. Singer & Sons plate negatives and photographs, the earliest of which are F foundry at Waterloo went on to produce some of the collodion negatives dating from the 1860s when Singer most iconic statues around the British Isles and across the moved into his purpose-built foundry at Waterloo. globe, employing at its height a workforce of seven hundred. Through skill and ingenuity, John Webb Singer amassed The archive is evidence that Singer’s were also leaders in knowledge and made use of every opportunity to train their use of photography and, whilst not documented, we himself and his workforce. He was the perfect example of have to assume that this was due to John Webb Singer’s paternalistic Victorian industry and enterprise, and although knowledge and desire to harness this relatively new heavily influenced by his many trips to Europe, he was made technology. Whether it was ecclesiastical, domestic or and shaped in Frome. In turn, Singer shaped, embellished statuary, an example of every piece of work would be and enriched Frome. photographed before it departed the foundry, usually against a movable white backdrop. It is not always the The story we are able to tell here was so nearly lost to object being photographed that is of most interest to us history but for the quick thinking of Singer’s employee now, but the asides at the edge of the frame showing details Steve Francis. -
Nathaniel Hitch and the Making of Church Sculpture Claire Jones
Nathaniel Hitch and the Making of Church Sculpture Claire Jones Housed at the Henry Moore Institute in Leeds is the archive of the now little-known sculptor, architectural sculptor, and sculptor’s modeller, Nathaniel Hitch (1845–1938).1 Unlike the extensive manuscript, printed, and visual material in Hamo Thornycroft’s archive, also held at the Henry Moore Institute, Hitch’s consists of hundreds of photographs pasted into two albums. These demonstrate the range of sculptural activity undertaken by Hitch, including figurative work, architectural sculpture, and anima- lier sculpture. Above all, they represent sculpture intended for Christian places of worship: recumbent effigies; altars; free-standing figures of saints, bishops, and biblical figures; reliefs of biblical scenes; Christ on the cross; Christ in groups; the Virgin Mary and Child; and sculpture for church fur- niture and furnishings. Hitch’s archive therefore offers significant docu- mentation for the study of Victorian sculpture practice outside the more familiar areas of the Academy and ideal classical sculpture: namely, church sculpture. The photographs are taken within Hitch’s studio or workshop. The space itself is only fragmentarily visible, and the sculptor himself is noticea- bly absent from all the photographs. This is distinct to the ‘at home’ and ‘in studio’ photographs of society sculptors such as Thornycroft, which recent scholarship has usefully examined in terms of the private-public domain of the artist’s studio and the role of these studios and photographs in an I would like to thank Claire Mayoh, archivist at the Henry Moore Institute, her maternity cover Janette Martin, and Georgia Goldsmith at the Bulldog Trust for assisting me in my research and for kindly providing the images for this publication. -
The Career Choices of the Victorian Sculptor
The Career Choices of the Victorian Sculptor: Establishing an economic model for the careers of Edward Onslow Ford and Henry Hope- Pinker through their works Department of History of Art University of Leiden Alexandra Nevill 1st reader Professor Jan Teeuwisse S1758829 2nd reader Professor CJ Zijlmans [email protected] Masters in Design and Decorative Arts 11 November 2016 (18,611 words) 1 The career choices of Victorian sculptors: Edward Onslow Ford and Henry Hope-Pinker Abstract ........................................................................................................................................................................... 3 List of Illustrations ...................................................................................................................................................... 4 Introduction................................................................................................................................................................... 6 Chapter 1 Networking: it pays to stay in touch. ......................................................................................... 12 Apprenticeships and the early years: ......................................................................................................... 13 The Royal Academy and the Mass Media: ................................................................................................. 17 The Art Workers Guild: friends and influence: ...................................................................................... -
Victoria Albert &Art & Love Public and Private Aspects of a Royal Sculpture Collection
Victoria Albert &Art & Love Public and private aspects of a royal sculpture collection Philip Ward-Jackson Essays from a study day held at the National Gallery, London on 5 and 6 June 2010 Edited by Susanna Avery-Quash Design by Tom Keates at Mick Keates Design Published by Royal Collection Trust / © HM Queen Elizabeth II 2012. Royal Collection Enterprises Limited St James’s Palace, London SW1A 1JR www.royalcollection.org ISBN 978 1905686 75 9 First published online 23/04/2012 This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for non-commercial, educational purposes only. Please properly attribute the material to its respective authors. For any other uses please contact Royal Collection Enterprises Limited. www.royalcollection.org.uk Victoria Albert &Art & Love Public and private aspects of a royal sculpture collection Philip Ward-Jackson The mid-nineteenth century saw sculpture spectacularly brought out of the closet by an educated and cosmopolitan elite for the public’s improvement – and, incidentally, also of course for its entertainment. From the 1850s it began to be hard for private collectors to keep up with the displays available at international exhibitions. This was something that came about partly through the agency of Prince Albert, and after the closure of the Great Exhibition by far the largest collection of sculpture ever seen in this country was assembled at Sydenham by the Crystal Palace Company, admittedly consisting mostly of plaster casts.1 The burning down of the Sydenham Crystal Palace in 1936 and the dispersal of several important early Victorian sculpture collections have left Victoria and Albert’s collection of contemporary sculpture to enjoy unchallenged pre-eminence. -
Late-Victorian Artists Presented As Strand Celebrities Type Article
Title "Peeps" or "Smatter and Chatter": Late-Victorian Artists Presented as Strand Celebrities Type Article URL https://ualresearchonline.arts.ac.uk/id/eprint/14210/ Dat e 2 0 1 9 Citation Dakers, Caroline (2019) "Peeps" or "Smatter and Chatter": Late-Victorian Artists Presented as Strand Celebrities. Victorian Periodicals Review. pp. 311-338. ISSN 0709-4698 Cr e a to rs Dakers, Caroline Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author “Peeps,” or “Smatter and Chatter”: Late-Victorian Artists Presented as Strand Celebrities CAROLINE DAKERS I had not been at the hotel [in Switzerland] two hours before the parson put it [the Strand] into my hands. Certainly every person in the hotel had read it. It is true that some parts have a sickly flavour, perhaps only to us! I heard many remarks such as, “Oh! How interesting!” The rapture was general concerning your house. Such a house could scarcely have been imagined in London.1 Harry How’s “Illustrated Interview” with the Royal Academician Luke Fildes in his luxurious studio house in London’s Holland Park may have seemed a little “sickly” to Fildes and his brother-in-law Henry Woods, but such publicity was always welcome in an age when celebrity sold paintings. As Julie Codell demonstrates in The Victorian Artist: Artists’ Lifewritings in Britain ca. 1870–1910, late nineteenth-century art periodicals played an important role in building and maintaining the public’s interest in living artists. -
Westminster Lions Cycle Ride
WESTMINSTER Lions CYCLe ride I N W E S T MCYC I N S T E R A seven mile ride, best done on a END Sunday morning as much of the ride is on major streets, observing a few L of Westminster’s lions. More can be ING found in START ‘London Pride, the 10,000 Lions of London’ by Valerie Colin-Russ. A Lion-head mooring rings aLong the Victoria embankment. Designed by the sculptor Gilbert Bayes, the lions are considered to mark the point of a dangerously high tide, ‘When the lions drink, London will sink’. B south bank Lion At the south end of Westminster Bridge, visible from the Victoria Embankment, this 1837 Lion by W.F. Woodington originally stood atop the Red Lion Brewery on the South Bank site. When the brewery was demolished for the 1951 Festival of Britain, the lion was moved to Station Approach Waterloo - British Rail had a Lion logo at this time. In 1966 the lion was moved to its present location, the red paint having been Mooring rings removed to reveal the statue is made from Coade Stone, a tough, artificial stone that several lions on this trip are made from. Mrs Coade’s factory was also on the South Bank. C roof of oLd home office buiLding, Whitehall (just by the Cenotaph) Queen Victoria sits atop the building with a lion to one side and a unicorn to the other D red Lion pub While this building is Victorian there has been a tavern on this site since 1434, though it has not always been the Red Lion. -
Great Britain
Modern Dime Size Silver Coins of the World GREAT BRITAIN ====================================================================== ====================================================================== GREAT BRITAIN, KINGDOM of Young head portrait of Queen Victoria by LONDON MINT William Wyon ====================================================================== 4 PENCE MAUNDY 17.63 MM .925 FINE 1.89 GRAMS ====================================================================== 1838 4,158 1839 4,125 1840 4,125 1841 2,574 1842 4,125 1843 4,158 1844 4,158 1845 4,158 1846 4,158 1847 4,488 1848 4,488 1849 4,158 1850 4,158 1851 4,158 1852 4,488 1853 4,158 1854 4,158 1855 4,158 1856 4,158 1857 4,158 1858 4,158 1859 4,158 1860 4,158 1861 4,158 1862 4,158 1863 4,158 1864 4,158 4 PENCE MAUNDY -1866 - OBVERSE 1865 4,158 1866 4,158 ====================================================================== 1867 4,158 1868 4,158 1869 4,488 1870 4,569 1871 4,627 1872 4,119 1873 4,162 1874 5,578 1875 4,154 1876 4,862 1877 4,850 1878 5,735 1879 5,202 1880 5,199 1881 6,001 1882 4,146 1883 5,096 1884 3,353 1885 5,791 1886 6,785 1887 1,888 ====================================================================== FOOTNOTE: Fourpence, twopence, and onepence, are now only struck in very small quantities as Maundy money, which, after being distributed by the Queen annually in alms, appears to find its way into numismatic cabinets or to be melted down. Money and Mechanism of Exchange by W.Stanley Jevons, Manchester, 1876. 1866 - 4 PENCE MAUNDY - REVERSE ====================================================================== ENCYCLOPEDIA OF SMALL SILVER COINS - GREAT BRITAIN - PAGE 248 ====================================================================== ¿OV: Young head of Victoria, facing left VICTORIA D:G:BRITANNIAR:REGINA F:D: (Victoria Dei Gratia Britanniar Regina Fidei Defensor = Victoria by the grace of God Queen of Britain Defender of the Faith) around. -
Rajgor Auction 54 Inside DR
Highlights of the Auction 11 93 43 94 53 306 Bidding Methods Internet Bids - Get Registered on www.Rajgors.com (Internet Bidding closes on 23 September 2016 at 1:00 pm onwards) Fax Bids to +91-22-23870 647 (must be received on or before 23September by 2:00 pm) Postal Bids to the Regd. Office (must be received on or before 23 September by 2:00 pm) SMS Bids on +91 90040 82585 (must be received on or before 23 September by 2:00 pm) Email Bids to [email protected] (must be received on or before 23 September by 2:00 pm) Rajgor’s Upcoming Auctions Rajgor’s Auction 55 Rajgor’s Auction 56 Friday, 28 October 2016 Saturday, 5 November 2016 Dhan Teras Auction 6:00 pm onwards Internet Indore Maha-Mudra Utsav 2016 3:00 pm onwards Sajan Prabha Garden, Vijaynagar Square, Indore Auction 54 Nudes & Crowns The Manoranjan Mahapatra Collection of Artistic Nudes & Old World Crowns Part 2 Friday, 23rd September 2016 3.00 pm onwards In association with 14th Annual Coin, Banknote & Philately Fair 2016 VIEWING Monday 19 September 2016 11:00 am - 6:00 pm at Expo Center, Arcade, Tuesday 20 September 2016 11:00 am - 6:00 pm World Trade Center Wednesday 21 September 2016 11:00 am - 6:00 pm Cuffe Parade, Thursday 22 September 2016 11:00 am - 6:00 pm Mumbai 400005 At Rajgor’s SaleRoom Category Lots 605 Majestic Shopping Centre, Near Church, 144 JSS Road, (A) Artistic Nudes 1-361 Opera House, Mumbai 400004 Ancient Coins 1-16 Modern World Coins 17-239 Friday 23 September 2016 11:00 am - 2:00 pm Tokens 240-254 At the World Trade Centre, Mumbai Medals 255-307 Paper Money 308-361 DELIVERY OF LOTS Delivery of Auction Lots will be done from the Mumbai Office of the Rajgor’s. -
The Role of the Royal Academy in English Art 1918-1930. COWDELL, Theophilus P
The role of the Royal Academy in English art 1918-1930. COWDELL, Theophilus P. Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20673/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version COWDELL, Theophilus P. (1980). The role of the Royal Academy in English art 1918-1930. Doctoral, Sheffield Hallam University (United Kingdom).. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk onemeia u-ny roiyiecnmc 100185400 4 Mill CC rJ o x n n Author Class Title Sheffield Hallam University Learning and IT Services Adsetts Centre City Campus Sheffield S1 1WB NOT FOR LOAN Return to Learning Centre of issue Fines are charged at 50p per hour Sheffield Haller* University Learning snd »T Services Adsetts Centre City Csmous Sheffield SI 1WB ^ AUG 2008 S I2 J T 1 REFERENCE ProQuest Number: 10702010 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10702010 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. -
Sculpture Victorious: Art in an Age of Invention, 1837–1901
Roberto C. Ferrari exhibition review of Sculpture Victorious: Art in an Age of Invention, 1837–1901 Nineteenth-Century Art Worldwide 14, no. 1 (Spring 2015) Citation: Roberto C. Ferrari, exhibition review of “Sculpture Victorious: Art in an Age of Invention, 1837–1901,” Nineteenth-Century Art Worldwide 14, no. 1 (Spring 2015), http:// www.19thc-artworldwide.org/spring15/ferrari-reviews-sculpture-victorious-art-in-an-age-of- invention. 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. Ferrari: Sculpture Victorious: Art in an Age of Invention, 1837–1901 Nineteenth-Century Art Worldwide 14, no. 1 (Spring 2015) Sculpture Victorious: Art in an Age of Invention, 1837–1901 Yale Center for British Art, New Haven, Connecticut September 11 – November 30, 2014 Catalogue: Sculpture Victorious: Art in an Age of Invention, 1837–1901 Edited by Martina Droth, Jason Edwards, and Michael Hatt New Haven: Yale University Press, 2014. 448 pp.; 303 color illustrations; biographies, bibliography, index. $80.00 ISBN: 978-0-300-20803-0 For modernists, the phrase “Victorian sculpture” likely conjures images of decaying monuments with historicized figures, or sentimental statuettes bordering on domestic kitsch. Art history has not helped this perception, as exemplified by the words of H. W. Janson, writing about sculpture produced in England during the reign of Victoria: “There can be no doubt that the