2013-2018 Collections Development Policy
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Soho Depicted: Prints, Drawings and Watercolours of Matthew Boulton, His Manufactory and Estate, 1760-1809
SOHO DEPICTED: PRINTS, DRAWINGS AND WATERCOLOURS OF MATTHEW BOULTON, HIS MANUFACTORY AND ESTATE, 1760-1809 by VALERIE ANN LOGGIE A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham January 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis explores the ways in which the industrialist Matthew Boulton (1728-1809) used images of his manufactory and of himself to help develop what would now be considered a ‘brand’. The argument draws heavily on archival research into the commissioning process, authorship and reception of these depictions. Such information is rarely available when studying prints and allows consideration of these images in a new light but also contributes to a wider debate on British eighteenth-century print culture. The first chapter argues that Boulton used images to convey messages about the output of his businesses, to draw together a diverse range of products and associate them with one site. Chapter two explores the setting of the manufactory and the surrounding estate, outlining Boulton’s motivation for creating the parkland and considering the ways in which it was depicted. -
Matthew Boutlon and Francis Eginton's Mechanical
CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Birmingham Research Archive, E-theses Repository MATTHEW BOULTON AND FRANCIS EGINTON’S MECHANICAL PAINTINGS: PRODUCTION AND CONSUMPTION 1777 TO 1781 by BARBARA FOGARTY A thesis submitted to The University of Birmingham For the degree of MASTER OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham June 2010 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The mechanical paintings of Matthew Boulton and Francis Eginton have been the subject of few scholarly publications since their invention in the 1770s. Such interest as there has been has focussed on the unknown process, and the lack of scientific material analysis has resulted in several confusing theories of production. This thesis’s use of the Archives of Soho, containing Boulton’s business papers, has cast light on the production and consumption of mechanical paintings, while collaboration with the British Museum, and their new scientific evidence, have both supported and challenged the archival evidence. This thesis seeks to prove various propositions about authenticity, the role of class and taste in the selection of artists and subjects for mechanical painting reproduction, and the role played by the reproductive process’s ingenuity in marketing the finished product. -
Cat Talogu E 61
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 61 [The Alternative of Williams Burg.] A New Method of Macarony Making, as Item 288 practiced at Boston. Item 289 All items listed are illustrated on our web site: www.grosvenorprints.com Registered in England No. 1305630 Registered Office: 2, Castle Business Villlage, Station Roaad, Hampton, Middlesex. TW12 2BX. Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Rayment. C.E. Elliis. E&OE VAT No. 217 6907 49 1. Drawings from Original Pictures of Boswell and Dr.Johnson. While Cox's name is on Philip Reinagle, Esq. R.A. No. 2. Mrs these pieces he would have had to depend on skilled Wrightson (subscriber's name in craftsmen to produce the elaborate exhibition pieces contemporary ink mss]. that can now be seen in the Metropolitan Museum of By an Amateur. [n.d., c.1826.] Art. A spectacular survivor of Cox's Museum is a Imperial folio, original printed wrappers, four Peacock that was taken to St. Petersburg in 1781 and is lithographic plates on india, stitched. Wear to edges. now in the Hermitage. British Library: 000807157 Stock: 40010 £280 Four untitled British landscape scenes presented in their original wrapper, apparently the complete second 4. The Duke of Bedford's Stables, with the installment of what became a series of 16 plates after New Tennis-Court & Riding-House at Woburn Reinagle. We have seen another wrapper with the Abbey subscriber's same in the same handwriting, suggesting [Anon, c.1750] it was written by the anonymous 'Amateur'. -
Wolverhampton Arts and Museums Service
Agenda Item: 5F Wolverhampton City Council OPEN EXECUTIVE DECISION ITEM (AMBER) CABINET Date 25 MAY 2011 Portfolio(s) LEISURE & COMMUNITIES / COUNCILLOR MATTU Originating Service Group(s) EDUCATION & ENTERPRISE Contact Officer(s)/ CORINNE MILLER Telephone Number(s) EXT 2050 KEY DECISION: YES/NO IN FORWARD PLAN: YES/NO Title DESIGNATION - WOLVERHAMPTON ARTS + HERITAGE ACQUISITIONS AND DISPOSALS POLICY AND MANAGEMENT AND CARE OF COLLECTIONS STRATEGY RECOMMENDATION That Cabinet ratify the policy documents in support of the application of Wolverhampton Arts + Heritage to the Museums Libraries and Archives Council (MLA) to designate the Northern Ireland Collection as a collection of national importance. 1 1. PURPOSE 1.1 To ratify the Acquisitions and Disposals Policy and the Management and Care of Collections Strategy and the Documentation and Cataloguing Plan. 2. BACKGROUND 2.1 In 1997 the government launched a scheme to recognise organisations that care for pre-eminent collections of national importance in non national museums. These collections represent a significant part of England’s cultural heritage. There are currently 131 collections recognised under scheme. 2.2 The Scheme allows organisations to include a Designation logo in their promotional material and can be a deciding factor in gaining approval for grant applications such as the Designated Challenge Fund. Designation can be influential in attracting gifts and bequests as the award requires museums to meet professional standards of collections care and management. 2.3 Wolverhampton has an exceptional collection of works relating to the Troubles in Northern Ireland; the product of courageous and enlightened collecting since the 1980s which has recently been further supported with a grant of £199,000 from the Heritage Lottery Fund. -