Britain on the High Seas – Trafalgar, Trophies and Trade
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A Silver Tankard with a Waterloo Connexion for a Client in New Jersey, U.S.A
A silver tankard with a Waterloo connexion for a client in New Jersey, U.S.A. Hallmarked for London, 1721, the tankard was acquired at auction with a speculative attribution to ‘the family of the Duke of Wellington’. The principal identifying feature is an engraved crest on the body, well worn, but still with sufficient detail to facilitate identification. The most obvious characteristics are five lions on a cross, between four displayed eagles. The shield of Arms is surmounted by a coronet and a crest (now virtually indecipherable), and the supporters, drawn almost dog-like, are each gorged with a coronet. ¶ The Arms, like most simple coats, are easily identified; they belong to the Paget family ‘of Staffordshire’. In the form depicted on the tankard, they were granted to William Paget (c. 1506–63), son of William Paget ‘of Wednesbury, Staffordshire, of humble beginnings’. The younger Paget was educated in Trinity Hall, Cambridge, and the University of Paris, rising in due course to a series of government posts. Described as ‘of Bromley, County Stafford’, he was knighted in January 1544, installed as a knight of the Order of the Garter on 17th February 1547, and became ‘Baron Paget of Beaudesert in the County of Staffordshire’ on 3rd December 1549. ¶ William Paget married Anne Preston c. 1530 and had ten children.[1] His later career was mired in controversy, and he was ‘degraded’ from the Order of the Garter in September 1552 only to be re-admitted a year later (replacing the attainted Earl of Essex). ¶ The Paget Arms and title descended to his eldest son Henry, and then on his death intestate to the next son Thomas (c. -
The Turtle Free
FREE THE TURTLE PDF Cynthia Rylant,Preston McDaniels | 48 pages | 01 Apr 2006 | Beach Lane Books | 9780689863127 | English | New York, NY, United Kingdom Turtle (submersible) - Wikipedia They scored their biggest and best-known hit in with the song " Happy Together " [2]. The band broke up in Adhering to the prevailing musical trend, they rebranded themselves as a folk rock group under the name The Tyrtlesan intentionally stylized misspelling inspired by The The Turtle and The Beatles. However, the trendy spelling did not survive long. As with the Byrds, the Turtles achieved breakthrough success with a cover of a Bob The Turtle song. One single, the tough "Outside Chance", written by Warren Zevon and featuring guitar work in the The Turtle of The Beatles' " Taxman ", did not chart. At the start ofdrummer Don Murray and bassist Chuck Portz quit the group. The first of several key Turtles singles co-written by Garry Bonner and Alan Gordon" Happy Together " had already been rejected by countless performers. The Turtles' only No. An album of the same name followed and peaked at No. Impressed by Chip Douglas's studio arrangements, Michael Nesmith approached him after a Turtles show at the Whisky a Go Go and invited him to become The Monkees ' new producer, as that band wanted to break out of their "manufactured" studio mold. Douglas was replaced by Jim Pons on bass. Nineteen sixty-seven proved to be the Turtles' most successful year on the music charts. Both 45s signaled a certain shift in the band's style. Golden Hits was released later The Turtle year, charting in the top The similar album covers for The Turtle Turtles! Inrhythm guitarist Jim Tucker left the band citing the pressure of touring and recording new material. -
Horatio Nelson, Biography Page 1
Horatio Nelson, biography Page 1 frigate Dolphin, emaciated and depressed, to learn Horatio Nelson (1758–1805), by Sir William that his professional prospects had strikingly Beechey, 1800 improved: his uncle had become controller of the Nelson, Horatio, Viscount Nelson (1758–1805), navy. Immediately he was appointed acting naval officer, third surviving son (out of a family lieutenant of the Worcester. In April 1777 he of eleven) of the Revd Edmund Nelson (1722– passed his examination for lieutenant at the Navy 1802), rector of Burnham, and his wife, Catherine Office—the controller, as usual, presiding at the (1725–1767), daughter of Maurice Suckling, examining board. Next day he received his prebendary of Westminster, was born at Burnham commission as second lieutenant of the frigate Thorpe, Norfolk, on 29 September 1758. His Lowestoffe (Captain William Locker), bound for father's family were Norfolk clergymen; his Jamaica. Locker was a pupil of Sir Edward Hawke mother was a great-niece of Sir Robert Walpole and an admirer of his bold and aggressive tactics. and a cousin of Horatio, second Lord Walpole, He and Nelson became warm friends, and in later who was the boy's godfather. She died when he life Nelson acknowledged Locker as his formative was nine, leaving his father to bring up eight professional influence. children on a small income. Horace, as he was The Lowestoffe's initial task in the West Indies called at home, went to the Royal Grammar was to enforce the blockade of the rebellious School at Norwich, then Sir John Paston's School American colonies, but in February 1778 war at North Walsham. -
Discover the Styles and Techniques of French Master Carvers and Gilders
LOUIS STYLE rench rames F 1610–1792F SEPTEMBER 15, 2015–JANUARY 3, 2016 What makes a frame French? Discover the styles and techniques of French master carvers and gilders. This magnificent frame, a work of art in its own right, weighing 297 pounds, exemplifies French style under Louis XV (reigned 1723–1774). Fashioned by an unknown designer, perhaps after designs by Juste-Aurèle Meissonnier (French, 1695–1750), and several specialist craftsmen in Paris about 1740, it was commissioned by Gabriel Bernard de Rieux, a powerful French legal official, to accentuate his exceptionally large pastel portrait and its heavy sheet of protective glass. On this grand scale, the sweeping contours and luxuriously carved ornaments in the corners and at the center of each side achieve the thrilling effect of sculpture. At the top, a spectacular cartouche between festoons of flowers surmounted by a plume of foliage contains attributes symbolizing the fair judgment of the sitter: justice (represented by a scale and a book of laws) and prudence (a snake and a mirror). PA.205 The J. Paul Getty Museum © 2015 J. Paul Getty Trust LOUIS STYLE rench rames F 1610–1792F Frames are essential to the presentation of paintings. They protect the image and permit its attachment to the wall. Through the powerful combination of form and finish, frames profoundly enhance (or detract) from a painting’s visual impact. The early 1600s through the 1700s was a golden age for frame making in Paris during which functional surrounds for paintings became expressions of artistry, innovation, taste, and wealth. The primary stylistic trendsetter was the sovereign, whose desire for increas- ingly opulent forms of display spurred the creative Fig. -
Chian Relief Pottery and Its Relationship to Chian and East Greek Architectural Terracottas
CHIAN RELIEF POTTERY AND ITS RELATIONSHIP TO CHIAN AND EAST GREEK ARCHITECTURAL TERRACOTTAS (PLATES23, 24) rT HE RELATIONSHIP between the relief decorationof temple entablaturesand relief potteryhas been discussedmany times in the past.1Scholars have suggestedsome pos- sible ways that architecturalreliefs might have affectedthe arrangementof the decoration on relief pottery (i.e., compositionin metopes or in a continuous band2),but for the most part they have focusedon the analogies existing between the moldings of temple simas and the formationof the lip of some Cretan relief pithoi, especially those from Arkades. Fea- tures such as the strongly flaring lip of these pithoi, the decorationof the rim with molded tori or with other patternswhich was currentas early as the first half of the 7th century,and particularlythe ridged protrusionshanging from the lip, frequentlyin the form of the head of a lion, bull, panther, or horse, have led many scholarsto comparethe design of these lips with the similar arrangementof the temple sima and to correlatethe protrusionsand the heads with the water spouts of the sima.3 l Some of the problems set forward here were outlined briefly in Simantoni-Bournias,1987. In the paper which follows, comparisonswith Chian material are limited for the most part to parallels from the realm of East Greek art, since influenceis more likely to come from a culturallyrelated area. I am grateful to Dr. M. E. Caskey, who read a draft of this paper and polished my English. I also wish to express my thanks to the Ephor of Chios-Mytilene, Mrs. A. Archontidou,for facilitatingmy study of the material in the Museum of Chios and kindly giving me permissionto present the perirrhanterionstand from the Attaliotis'plot. -
K a L L O S G a L L E R
KALLOS GALLERY 4 Kallos Gallery – 2019 No.1 Cover.qxp_Layout 1 25/02/2019 14:46 Page 1 Kallos Gallery – 2019 No.1.qxp_Layout 1 21/02/2019 08:01 Page 1 catalogue 4 14-16 Davies Street london W1K 3Dr telephone +44 (0)20 7493 0806 e-mail [email protected] WWW.KalloSgallery.coM 9 27 june – 3 july 16–24 March Kallos Gallery – 2019 No.1.qxp_Layout 1 21/02/2019 08:01 Page 2 Kallos Gallery – 2019 No.1.qxp_Layout 1 21/02/2019 08:01 Page 3 Kallos Gallery – 2019 No.1.qxp_Layout 1 21/02/2019 08:01 Page 4 1 | A CYPRIOT BLACK ON RED WARE POTTERY OINOCHOE cyPro-archaIc, cIrca 750 – 600 Bc height: 20.2cm e deep reddish ground decorated with concentric circles, with a trefoil mouth and a double strip handle. ProVenance luigi Palma di cesnola collection, 1865 – 1876, inventory no. c.P.563, duplicates, Stanford Metropolitan Museum of art, new york Purchased in 1884 by governor leland Stanford of california (1824 – 1893) and sent in 1893 to the leland Stanford Museum cyprus Museum, jacksonville lIterature For the type, see V. Karageorghis, Ancient Art from Cyprus, e Cesnola Collection in e Metropolitan Museum of Art, new york, 2000, p. 92. 4 Kallos Gallery – 2019 No.1.qxp_Layout 1 21/02/2019 08:01 Page 5 2 | A GREEK GEOMETRIC POTTERY KANTHAROS attIc, late 8th century Bc Width: 15 cm With twin high-arching handles, decorated with rectangular geometric patterns. e body on both sides has been separated into two scenes by parallel lines and zig-zags. -
Sails of Glory Battle for the Seas a Sails of Glory Campaign
Sails Of Glory Battle for the Seas A Sails of Glory Campaign Time Sometime during the Napoleonic Wars 1803-1805. Info about the Campaign After Napoleon had won many great victories on land in Europe, and crushed every country in battle. France was the dominating power in Europe on land and the English were masters of the sea. Behind their wooden wall of ships, they were relatively safe from any invasion force. Napoleon wanted to change this and invade England. In March 1802 a peace treaty was signed between France and England in Amiens, France. But both countries were irritated and angry with each other’s actions in the aftermath of the peace treaty, and it was an uneasy peace. And after some diplomatic quarrels England declared war on France again in May 1803. After war broke out again, Napoleon started preparation for invasion of England – but to have success, he needed to take out the English fleet that protected the English Channel. From 1803 to 1805 a new army of 150 000-200,000 men, known as the Armée des côtes de l'Océan (Army of the Ocean Coasts) or the Armée d'Angleterre (Army of England), was gathered and trained at camps at Boulogne, Bruges and Montreuil. A large "National Flotilla" of invasion barges was built in Channel ports along the coasts of France and the Netherlands. A fleet of nearly 2000 craft. At the same time he made plans with the Spanish to assemble a large fleet, which was strong enough to challenge the English Navy, and make it possible for Napoleon to invade England. -
Planters - Traditional WHY HADDONSTONE?
Planters - Traditional WHY HADDONSTONE? Haddonstone is a unique form of cast limestone with a surface texture similar to Portland stone. The material matures and weathers like natural stone yet, piece for piece, normally costs significantly less than quarried stone. The ability to mould the Haddonstone material into almost any shape ~ faithfully reproducing new designs or producing replicas that are virtually indistinguishable from an antique original ~ has won the company numerous contracts ranging from leading international hotels and retail developments to listed National Trust properties and prestige residential projects. The material used in every design, from the smallest planter to the largest Corinthian column, exceeds the compressive cube VISIT US strength requirements of the United Kingdom Cast Stone Association and complies with all relevant UK and European At East Haddon, in the rolling countryside of Northamptonshire standards, whilst TecStone also meets the requirements of in England, Haddonstone has beautiful show gardens and an all US standards. interior showroom where visitors can see many of the designs illustrated in this catalogue in their proper settings, see opposite. Each design is hand made by Haddonstone in the UK or USA The garden and showroom are open every week from Monday using moulds created within the company’s extensive mould to Friday ~ public holidays and Christmas period excepted shops and studios. Using these same facilities Haddonstone can ~ between the hours of 9.00 am and 5.00 pm. The gardens even manufacture non-standard architectural stone pieces to are also open on occasional weekends as part of the National practically any shape, size or colour. -
London Gazette
. 1S828. [ 1501 ] London Gazette. TUESDAY, JULY 26, 1831. By the KING. Vaux, our Chancellor of Great Britain; the Most Reverend Father in God Our right trusty and right A PROCLAMATION, entirely-beloved Councillor Edward Archbishop of Dedaring His Majesty's Pleasure touching His Royal York, Primate of England and Metropolitan ; Our Coronation, and the Solemnity thereof. right trusty and entirely-beloved Cousin and Coun- cillor Henry Marquess of Lansdowne, President of WILLIAM, R, Our Council; Our right trusty and well-beloved 'HEREAS We have resblved, by the favour Councillor John George Lord Durham, Keeper of and blessing of Almighty God, to celebrate the Onr Privy Seal; Our right trusty and right entirely- solemnity of Our Royal Coronation, and of the Co- beloved Cousins and Councillors Bernard Edward ronation of Our dearly-beloved Consort the Queen, Duke of Norfolk, Hereditary Earl Marshal of upon Thursday the eighth day of September England ; William Spencer Duke of Devonshire, next, at Our Palace at Westminster; and forasmuch Lord Chamberlain of Our Household ; Charles Duke as by ancient customs and usages of this realm, as of Richmond, Our Postmaster-General; George also in regard of divers tenures of sundry manors, Duke of Gordon ; George William Frederick Duke lands, and otheV'aereditaiuents, many of Our loving of Leeds j John Duke of Bedford; James Duke subjects do claim, and are bound to do and perform of Montrose ; Alexander Duke of Hamilton ; Wil- divers services on the said day and at the time of the liam Henry Duke of Portland; -
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JOURNAL OF WORLD-SYSTEMS RESEARCH ISSN: 1076-156X | Vol. 26 Issue 1 | DOI 10.5195/JWSR.2020.917 | jwsr.pitt.edu Coppering the Industrial Revolution History, Materiality and Culture in the Making of an Ecological Regime Daniel Cunha Binghamton University [email protected] Abstract No copper, no Industrial Revolution. Although accountants listed it in the very last position in the table of “value added” per sector in 1831, the British copper industry was essential for the Industrial Revolution, the period of British hegemony over the world-economy. In this article, I use the figure-ground method proposed by Terence K. Hopkins to show that the copper industry played key roles in the ecological regime of the 1700-1840 period, due to its material properties and related historical contingencies and cultural valuations. By focusing in on particular production processes, historical contingencies, and cultural phenomena in which copper played an important and unique role, and then zooming out again to the world-economy as a whole, I show that an Industrial Revolution would not have happened without copper. From sugar production in the Caribbean to textile printing, from the slave trade to the Battle of the Saintes, from the development of the steam engine to gin and rum production, from the telegraph to buckles and buttons, copper was conspicuous. This demonstrates the ecological regime of the period, in which the removal of a single commodity from the picture—i.e., copper—disrupts the whole constellation of relations. This study also shows that a “copper boom” immediately before and at the start of the Industrial Revolution (~1700-1800), instrumental in the British struggle against France for the hegemony over the world- economy, has been overlooked in the literature. -
Lot Description LOW Estimate HIGH Estimate 2000 German Rococo Style Silvered Wall Mirror, of Oval Form with a Wide Repoussé F
LOW HIGH Lot Description Estimate Estimate German Rococo style silvered wall mirror, of oval form with a wide repoussé frame having 2000 'C' scroll cartouches, with floral accents and putti, 27"h x 20.5"w $ 300 - 500 Polychrome Murano style art glass vase, of tear drop form with a stick neck, bulbous body, and resting on a circular foot, executed in cobalt, red, orange, white, and yellow 2001 wtih pulled lines on the neck and large mille fleur designs on the body, the whole cased in clear glass, 16"h x 6.75"w $ 200 - 400 Bird's nest bubble bowl by Cristy Aloysi and Scott Graham, executed in aubergine glass 2002 with slate blue veining, of circular form, blown with a double wall and resting on a circular foot, signed Aloysi & Graham, 6"h x 12"dia $ 300 - 500 Monumental Murano centerpiece vase by Seguso Viro, executed in gold flecked clear 2003 glass, having an inverted bell form with a flared rim and twisting ribbed body, resting on a ribbed knop rising on a circular foot, signed Seguso Viro, 20"h x 11"w $ 600 - 900 2004 No Lot (lot of 2) Art glass group, consisting of a low bowl, having an orange rim surmounting the 2005 blue to green swirl decorated body 3"h x 11"w, together with a French art glass bowl, having a pulled design, 2.5"h x 6"w $ 300 - 500 Archimede Seguso (Italian, 1909-1999) art glass sculpture, depicting the head of a lady, 2006 gazing at a stylized geometric arch in blue, and rising on an oval glass base, edition 7 of 7, signed and numbered to underside, 7"h x 19"w $ 1,500 - 2,500 Rene Lalique "Tortues" amber glass vase, introduced 1926, having a globular form with a 2007 flared mouth, the surface covered with tortoises, underside with molded "R. -
The Admirals'
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