DOCSLIB.ORG

Cat Talogu E 58

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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 58 Item 50: Edward Julius Detmold The Captive 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. [Woman holding a bird and cherries] After Adam Buck (1759 - 1833), draughtsman and Sunt Oculi Scopuli, quos parat illa Venus specialist in watercolours. E. Back a H. sc. Jeremias Wolff excud . Aug. Vind. Stock: 40031 Engraving, platemark 300 x 190mm (11¾ x 7½") very large margins. £160 6. [Adrian von Seumenicht] Hadrianus, a One of a series of engravings by Augsburg printmaker Minsicht, Germanus, Com: Pal: Phil: Et Med: Jeremias Wolff after Elias Bäck (1679-1747), also of D: P.L. Caes: Nec Non Diver: S.R. Prin. Consil Augsburg. Et Arch: Stock: 40173 D. Diricksen Hamburg sculpt [in image] [n.d., c.1685.] Rare engraving, sheet 175 x 130mm (7 x 5"). Trimmed 2. [Sleeping woman] ____praestat si talia and glued to album sheet. £160 somnus, Blandimenta vigil quae dare posse Adrien von Seumenicht (1588-1638), alchemist best putas? known for his work 'Aureum Saeculum Redivivum' E. Back a H. sc. Jeremias Wolff excud . Aug. Vind. (The Golden Age Restored). In an oval frame Engraving, platemark 300 x 190mm (11¾ x 7½") very surrounded by alchemical and mathematical large margins. £140 instruments, two of which supported by angels, with One of a series of engravings by Augsburg printmaker six lines of Latin text by Jonas Angelus in cartouche Jeremias Wolff after Elias Bäck (1679-1747), also of below. Augsburg. Probably a frontispiece to a volume of his works. Stock: 40174 Wellcome Library no. 7128i; for another portrait of Seumenicht see ref. 13322. 3. [Woman sealing a letter] Tertius haud Stock: 39754 penetrat Veneris mysteria testis, Et sunt clausa aslys Cordaq charta simul. 7. [Inscription, in Greek, in honour of the E. Back a H. sc. Jeremias Wolff excud . Aug. Vind. musician Crato]. Marmori antiquo sub Engraving, platemark 300 x 190mm (11¾ x 7½") very Eumene Pergami rege ante Christianam aeram large margins. £160 plus CLannis in Cratonis [...] One of a series of engravings by Augsburg printmaker [c.1737] Jeremias Wolff after Elias Bäck (1679-1747), also of Rare engraving, 18th century watermark; platemark Augsburg. 525 x 420mm (20¾ x 16½"), very large margins. £290 Stock: 40175 Engraving, on a scale one third of the original, of a Greek inscription in honour of Crato, the musician of 4. Basle. Pergamus. It was erected in the reign of Eumenes in Drawn & Etched by J.M.W. Turner R.A. Engraved by the pre-Christian era and brought from the village of C. Turner. Published as the Act directs by J.M.W. Segucque (between Smyrna [now Izmir] and Ephesus) Turner, Harley Street [n.d., c.1807]. by Captain Thomas Morley. The plate was engraved at Mezzotint and etching. Plate: 280 x 210mm, (11 x the expense of the antiquary Joseph Ames, and 8¼"), very large margins. £260 dedicated to the Society of Antiquaries (to which Ames View of the town of Basel (Basle) in north-west had been admitted in 1736). See Ames, 'Typographical Switzerland on the river Rhine, with the Cathedral on Antiquities'. the right behind tall houses. The sun is breaking Stock: 39684 through clouds. A collaboration between the draughtsmanship and 8. Society for the Encouragement of Arts, etching of J.M.W. Turner and the considerable skills of &c. Adelphi. engraving in mezzotint provided by Charles Turner Pugin & Rowlandson del.t et sculp.t J.Bluck, aqua.t. (1773 - 1857). For the artist's 'Liber Studiorum', a London. Pub. July 1st, 1809 at R. Ackermann’s series of compositional studies for various types of Repository of Arts 101, Strand. landscape painting, which he published in 14 parts at Coloured aquatint. 235 x 275mm (9¼ x 10½") very irregular intervals between 1807 and 1819. large margins. £180 Incribed with the initial 'A' 4mm above the image. Founded in 1754 by William Shipley as the Society for Finberg: 5,state III of VI. Rawlinson: 5, state III of V. the Encouragement of Arts, the RSA moved into a Stock: 40055 purpose-built building designed by the Adam Brothers (James and Robert Adam) in their Adelphi 5. Jessica. development,. This scene shows the Great Room, with Adam Buck del.t Rich.d Reeve sculp. London, its sequence of six paintings by Irish artist James Published Jan.y 1.st 1808 by R. Reeve 7 Vere Street. Barry: called "The progress of human knowledge and Hand coloured aquatint with stipple. Very rare, 'Proof' culture". inscribed lower right. Sheet size: 420 x 335mm (16½ x Plate from Ackermann's 'Microcosm of London' (1808- 13¼"). Repaired damage to right edge of sheet. 9) was a landmark publication in the documentation of Trimmed inside plate. Loss left bottom. £220 London, bringing together two specialist artists, An unidentified young lady with a flowing shawl Thomas Rowlandson to design the figures and posing in a landscape in front of an urn on a pedestal; Augustus Pugin to provide the architectural she holds a book in her left hand. draughtsmanship. The result was a series of scenes unprecedented in their combination of vivid activity battles during the War of the Austrian Succession and architectual accuracy. Abbey, Scenery: 212. which he intended to depict in a series of pictures for Stock: 39725 the chateau of Choisy (although he only completed two, now at Versailles). 9. Society for the Encouragement of Arts, Stock: 40289 &c. Adelphi. Pugin & Rowlandson del.t et sculp.t J.Bluck, aqua.t. 12. Reitres et Lansquenets Dédiés à London. Pub. July 1st, 1809 at R. Ackermann’s Monsieur Wasserschlebe Premier Secretaire Repository of Arts 101, Strand. des affaires Etrangeres de S.M. le Roi de Coloured aquatint. Platemark: 235 x 275mm (9¼ x Dannemark et de Norwege, par son Ami et 10¼") very large margins. £180 très-humble Serviteur Will. Founded in 1754 by William Shipley as the Society for C. Parrocel inv. J.G. Will fecit. A Paris, Chez l'Auteur, the Encouragement of Arts, the RSA moved into a Quay des Augustines, à côté de l'Hotel d'Augurgne. purpose-built building designed by the Adam Brothers [c.1753.] (James and Robert Adam) in their Adelphi Complete set of 12 numbered etchings. Each sheet c. development,. This scene shows the Great Room, with 190 x 140mm (7½ x 5½"). Trimmed within plate, its sequence of six paintings by Irish artist James mounted on album paper, a few signs of wear. £480 Barry: called "The progress of human knowledge and Twelve plates of 'ruffian soldiers', etched by Johann culture". Georg Will after Charles Parrocel (1688 - 1752). The A plate from Ackermann's 'Microcosm of London' second plate is dated 1753. (1808-9), a landmark publication in the documentation Stock: 40310 of London, bringing together two specialist artists, Thomas Rowlandson to design the figures and 13. [Sight.] Augustus Pugin to provide the architectural [after Hendrick Goltzius.] [n.d., c.1620.] draughtsmanship. The result was a series of scenes Etching. Sheet 200 x 140mm (8 x 5½"). Trimmed, unprecedented in their combination of vivid activity lacking top right corner, laid on album sheet. £80 and architectual accuracy. Abbey, Scenery: 212. 'Sight', from a series of the five senses by Goltzius. A Stock: 40125 man touches a woman's breast as she looks at her reflection in a mirror. A lynx peers past the couple. 10. Opera House. Plate 59. Goltzius (1558-1617) was the first artist to portray the Rowlandson & Pugin delt. et sculpt. J. Bluck, aquat. senses as pairs of contemporary lovers with the lynx London Pub. 1st. March 1809, at R. Ackermann’s being a more traditional symbol for sight. Repository of Arts 101 Strand. Stock: 40315 Hand-coloured aquatint. Plate: 235 x 266mm (9¼ x 10½") large margins. £320 14. Epicurus, on Onyx, Dr. Chauncey. Her (or His) Majesty's Theatre, Haymarket. After 1709, T. Worlidge sc. According to Act of Parliam.t [n.d., the theatre was devoted to Italian opera and was c.1760] sometimes known informally as The Haymarket Opera Etching, platemark 80 x 70mm (3 x 2½") very large House. The theatre was established by architect and margins. £65 playwright John Vanbrugh, in 1705, as the Queen's A cameo of ancient philosopher Epicurus, founder of Theatre. This is the interior of the second theatre which Epicureanism, a school of philosophy holding that hosted performances between 1791 and 1867. pleasure is the greatest good (although obtained Plate from Ackermann's 'Microcosm of London', one through living modestly and gaining knowledge of the of the key visual sources for London in the late workings of the world). Georgian period. Abbey, Scenery: 212. From a collection of 180 prints the 'English Rembrandt' Stock: 39911 Thomas Worlidge (1700-66) made from antique gems. For another print from the same collection see refl. 11. [19 military subjects by and after 32584. Charles Parrocel] Stock: 39758 Parrossel Pinx Sculp A Paris chez M.me Marel Rue St Jacques 39 [c.1740] 15. Siquis est Parwlus Veniat ad Me. Prov. Nineteen etchings with original stitching, each sheet 9.V.4. 305 x 225mm (12 x 9). Mint condition, very large S. Françoys Turonen inve. et pinx. N. Pitau sculp. cum margins. Mint condition. £750 privil.
Recommended publications
  • The Death of Captain Cook in Theatre 224

    The Death of Captain Cook in Theatre 224

    The Many Deaths of Captain Cook A Study in Metropolitan Mass Culture, 1780-1810 Ruth Scobie PhD University of York Department of English April 2013 i Ruth Scobie The Many Deaths of Captain Cook Abstract This thesis traces metropolitan representations, between 1780 and 1810, of the violent death of Captain James Cook at Kealakekua Bay in Hawaii. It takes an interdisciplinary approach to these representations, in order to show how the interlinked texts of a nascent commercial culture initiated the creation of a colonial character, identified by Epeli Hau’ofa as the looming “ghost of Captain Cook.” The introduction sets out the circumstances of Cook’s death and existing metropolitan reputation in 1779. It situates the figure of Cook within contemporary mechanisms of ‘celebrity,’ related to notions of mass metropolitan culture. It argues that previous accounts of Cook’s fame have tended to overemphasise the immediacy and unanimity with which the dead Cook was adopted as an imperialist hero; with the result that the role of the scene within colonialist histories can appear inevitable, even natural. In response, I show that a contested mythology around Cook’s death was gradually constructed over the three decades after the incident took place, and was the contingent product of a range of texts, places, events, and individuals. The first section examines responses to the news of Cook’s death in January 1780, focusing on the way that the story was mediated by, first, its status as ‘news,’ created by newspapers; and second, the effects on Londoners of the Gordon riots in June of the same year.
  • Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ

    Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ

    MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as
  • Download (2216Kb)

    Download (2216Kb)

    A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/150023 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications ‘AN ENDLESS VARIETY OF FORMS AND PROPORTIONS’: INDIAN INFLUENCE ON BRITISH GARDENS AND GARDEN BUILDINGS, c.1760-c.1865 Two Volumes: Volume I Text Diane Evelyn Trenchard James A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy University of Warwick, Department of History of Art September, 2019 Table of Contents Acknowledgements ………………………………………………………………. iv Abstract …………………………………………………………………………… vi Abbreviations ……………………………………………………………………. viii . Glossary of Indian Terms ……………………………………………………....... ix List of Illustrations ……………………………………………………………... xvii Introduction ……………………………………………………………………….. 1 1. Chapter 1: Country Estates and the Politics of the Nabob ………................ 30 Case Study 1: The Indian and British Mansions and Experimental Gardens of Warren Hastings, Governor-General of Bengal …………………………………… 48 Case Study 2: Innovations and improvements established by Sir Hector Munro, Royal, Bengal, and Madras Armies, on the Novar Estate, Inverness, Scotland …… 74 Case Study 3: Sir William Paxton’s Garden Houses in Calcutta, and his Pleasure Garden at Middleton Hall, Llanarthne, South Wales ……………………………… 91 2. Chapter 2: The Indian Experience: Engagement with Indian Art and Religion ……………………………………………………………………….. 117 Case Study 4: A Fairy Palace in Devon: Redcliffe Towers built by Colonel Robert Smith, Bengal Engineers ……………………………………………………..….
  • Reflecting Antiquity Explores the Rediscovery of Roman Glass and Its Influence on Modern Glass Production

    Reflecting Antiquity Explores the Rediscovery of Roman Glass and Its Influence on Modern Glass Production

    Reflecting Antiquity explores the rediscovery of Roman glass and its influence on modern glass production. It brings together 112 objects from more than 24 lenders, featuring ancient Roman originals as well as the modern replicas they inspired. Following are some of the highlights on view in the exhibition. Portland Vase Base Disk The Portland Vase is the most important and famous work of cameo glass to have survived from ancient Rome. Modern analysis of the vase, with special attention to the elongation of the bubbles preserved in the lower body, suggest that it was originally shaped as an amphora (storage vessel) with a pointed base. At some point in antiquity, the vessel suffered some damage and acquired this replacement disk. The male figure and the foliage on the disk were not carved by the same Unknown artist that created the mythological frieze on the vase. Wearing a Phrygian cap Portland Vase Base Disk Roman, 25 B.C.–A.D. 25 and pointing to his mouth in a gesture of uncertainty, the young man is Paris, a Glass Object: Diam.: 12.2 cm (4 13/16 in.) prince of Troy who chose Aphrodite over Hera and Athena as the most beautiful British Museum. London, England GR1945.9-27.2 goddess on Mount Olympus. It is clear from the way the image is truncated that VEX.2007.3.1 it was cut from a larger composition, presumably depicting the Judgment of Paris. The Great Tazza A masterpiece of cameo-glass carving, this footed bowl (tazza) consists of five layers of glass: semiopaque green encased in opaque white, green, a second white, and pink.
  • John Vanderbank, Was the Son of a Tapestry Weaver of Dutch Origins

    John Vanderbank, Was the Son of a Tapestry Weaver of Dutch Origins

    Neil Jeffares, Dictionary of pastellists before 1800 Online edition VANDERBANK, John London 9.IX.1694–23.XII.1739 Johann van der Banck, known as John Vanderbank, was the son of a tapestry weaver of Dutch origins. From 1711 he was a pupil at Kneller’s academy, but in 1720 he joined Louis Chéron (q.v.) in establishing the first St Martin’s Lane academy; there were 33 subscribers, including established artists such as Louis Laguerre, William Kent and Giuseppe Grisoni; younger artists included Joseph Highmore, Bartholomew Dandridge, George Knapton and William Hogarth, with Arthur Pond one of the youngest and least prepared. Leading an extravagant lifestyle, Vanderbank was forced to quit England in 1724 to avoid his creditors, but returned by 1727 and resumed his career as a history painter, portraitist and illustrator. On 23.VI.1737 he took on John Robinson as an apprentice for five years for a premium of £157 10s. He normally worked in oil but produced many drawings; however virtually no pastels survive. His painting technique has been described as “lively”, in the sense of a Hogarthian lack of finish; the portraits are brightly, sometimes crudely lit. Bibliography Bénézit, s.v. Banck; Lippincott 1983; New Haven 1979; Oxford DNB; Walpole 1828, p. 53f; Waterhouse 1981; Wright 2006; Register of duties paid for apprentices’ indentures, 1710– 1811 Pastels J.7414.101 ?SELF-PORTRAIT in red coat, white wig, pstl, 58.5x43 (Sir Edward Coates; London, Sotheby’s, 22.VI.1922, Lot 2 n.r., 40 gns; Newstead) J.7414.106 Man in a brown coat, pstl/ppr, 57x42.5 (Barnard Castle, Bowes Museum, inv.
  • History Timeline from 13.7 Billion Years Ago to August 2013. 1 of 588 Pages This PDF History Timeline Has Been Extracted

    History Timeline from 13.7 Billion Years Ago to August 2013. 1 of 588 Pages This PDF History Timeline Has Been Extracted

    History Timeline from 13.7 Billion Years ago to August 2013. 1 of 588 pages This PDF History Timeline has been extracted from the History World web site's time line. The PDF is a very simplified version of the History World timeline. The PDF is stripped of all the links found on that timeline. If an entry attracts your interest and you want further detail, click on the link at the foot of each of the PDF pages and query the subject or the PDF entry on the web site, or simply do an internet search. When I saw the History World timeline I wanted a copy of it for myself and my family in a form that we could access off-line, on demand, on the device of our choice. This PDF is the result. What attracted me particularly about the History World timeline is that each event, which might be earth shattering in itself with a wealth of detail sufficient to write volumes on, and indeed many such events have had volumes written on them, is presented as a sort of pared down news head-line. Basic unadorned fact. Also, the History World timeline is multi-faceted. Most historic works focus on their own area of interest and ignore seemingly unrelated events, but this timeline offers glimpses of cross-sections of history for any given time, embracing art, politics, war, nations, religions, cultures and science, just to mention a few elements covered. The view is fascinating. Then there is always the question of what should be included and what excluded.
  • Rembrandt, Vermeer and Other Masters of the Dutch Golden Age at Louvre Abu Dhabi

    Rembrandt, Vermeer and Other Masters of the Dutch Golden Age at Louvre Abu Dhabi

    REMBRANDT, VERMEER AND OTHER MASTERS OF THE DUTCH GOLDEN AGE AT LOUVRE ABU DHABI SOCIAL DIARY | FEBRUARY, 2019 From 14 February to 18 May 2018, Louvre Abu Dhabi will present Rembrandt, Vermeer and The Dutch Golden Age: Masterpieces from The Leiden Collection and the Musée du Louvre. Jan Lievens (1607-1674) Boy in a Cape and Turban (Portrait of Prince Rupert of the Palatinate) ca. 1631 Oil on panel New York, The Leiden Collection Image courtesy of The Leiden Collection, New York. Marking the 350th anniversary of Rembrandt’s death, this new exhibition at Louvre Abu Dhabi is the largest showing to date in the Gulf Region of works by Dutch 17th-Century masters. This exhibition is the result of a remarkable collaboration of Louvre Abu Dhabi, The Leiden Collection, The Musée du Louvre and Agence France-Museums who have worked very closely to showcase this extraordinary assemblage of 95 paintings, drawings and objects. Also a rare opportunity to see 16 remarkable paintings by Rembrandt van Rijn, along with rare pieces by Johannes Vermeer, Jan Lievens or Carel Fabritius. Not familiar with The Dutch Golden Age? It was a brief period during the 17th century when the Dutch Republic, newly independent from the Spanish Crown, established itself as a world leader in trade, science and the arts, and was regarded as the most prosperous state in Europe. During this period, Rembrandt and Vermeer established themselves at the forefront of a new artistic movement characterized by a deep interest in humanity and daily life. This exhibition is drawn primarily from The Leiden Collection, one of the largest and most significant private collections of artworks from the Dutch Golden Age.
  • Philipp Von Stosch (1691–1757) and the Study of Engraved Gems Paweł Gołyzniaḱ *

    Philipp Von Stosch (1691–1757) and the Study of Engraved Gems Paweł Gołyzniaḱ *

    Antiquity 2021 page 1 of 9 https://doi.org/10.15184/aqy.2021.112 Project Gallery From antiquarianism to proto-archaeology: Philipp von Stosch (1691–1757) and the study of engraved gems Paweł Gołyzniaḱ * * Institute of Archaeology, Jagiellonian University, Poland (✉ [email protected]) Examination of Philipp von Stosch’s documentation of engraved gems, discovered in previously unknown archival sources in the Princes Czartoryski Museum in Krakow and other public and private collections, considerably advances our understanding of the move from antiquarianism to proto-archaeology in the eighteenth century. Keywords: antiquarianism, proto-archaeology, archiving, engraved gems, history of archaeology, Philipp von Stosch Introduction Philipp von Stosch (1691–1757) (Figure 1) is regarded as one of the most instrumental figures in eighteenth-century antiquarianism (Hansson 2014). While previous research has focused on his life and role as a collector (Lewis 1967; Zazoff & Zazoff 1983:3–67), the production of his outstanding book on gems (signed by ancient masters and published in 1724 (Heringa 1976; Zazoff & Zazoff 1983:24–50; Whiteley 1999)) and his collection of engraved gems published by Winckelmann in 1760 (Borbein et al. 2019), his other con- tributions to academia have been overlooked. This article considers his skill in building and managing collections and, perhaps most importantly, his collaboration with numerous artists who produced drawings apparently intended as illustrations for his virtually unrecognised scholarly projects. The Stosch Project An extensive collection of unpublished drawings of engraved gems discovered in the Princes Czartoryski Museum in Krakow provided an opportunity to explore Stosch’s scholarly activ- ities. The drawings record small objects made of precious stones used in antiquity as seals, amulets or as personal adornments.
  • Arts Books & Ephemera

    Arts Books & Ephemera

    Arts 5. Dom Gusman vole les Confitures chez le Cardinal, dont il est reconnu. Tome 2, 1. Adoration Des Mages. Tableau peint Chap. 6. par Eugene Deveria pour l'Eglise de St. Le Mesle inv. Dupin Sculp. A Paris chez Dupin rue St. Jacques A.P.D.R. [n.d., c.1730.] Leonard de Fougeres. Engraving, 320 x 375mm. 12½ x 14¾". Slightly soiled A. Deveria. Lith. de Lemercier. [n.d., c.1840.] and stained. £160 Lithograph, sheet 285 x 210mm. 11¼ x 8¼". Lightly Illustration of a scene from Dom Juan or The Feast foxed. £80 with the Statue (Dom Juan ou le Festin de pierre), a The Adoration of the Magi is the name traditionally play by Jean-Baptiste Poquelin, known by his stage given to the representation in Christian art of the three name Molière (1622 - 1673). It is based on the kings laying gifts of gold, frankincense, and myrrh legendary fictional libertine Don Juan. before the infant Jesus, and worshiping Him. This Engraved and published in Paris by Pierre Dupin interpretation by Eugene Deveria (French, 1808 - (c.1690 - c.1751). 1865). From the Capper Album. Plate to 'Revue des Peintres' by his brother Achille Stock: 10988 Devéria (1800 - 1857). As well as a painter and lithographer, Deveria was a stained-glass designer. Numbered 'Pl 1.' upper right. Books & Ephemera Stock: 11084 6. Publicola's Postscript to the People of 2. Vauxhall Garden. England. ... If you suppose that Rowlandson & Pugin delt. et sculpt. J. Bluck, aquat. Buonaparte will not attempt Invasion, you London Pub. Octr. 1st. 1809, at R.
  • HO160210 Sale

    HO160210 Sale

    For Sale by Auction to be held at Dowell Street, Honiton Tel 01404 510000 Fax 01404 44165 th Tuesday 16 February 2010 Silver, Silver Plate, Coins, Jewellery Ceramics, Glass & Orientals Works of Art & Collectors’ Items Pictures and Furniture yeer SALE COMMENCES AT10.00am Buyers are reminded to check the ‘Saleroom Notice’ for information regarding WITHDRAWN LOTS and EXTRA LOTS SALE REFERENCE HO01 Catalogues £1.50 Silver & Silver Plate Lots 1 – 165 On View: Coins – Lots 200 - 247 Jewellery Lots 250 - 360 th Saturday 13 February 9.00am – 12.00 Ceramics, Glass & Oriental Monday 15th February 9.00am – 7.00pm Lots 361 - 497 Works of Art & Collectables Morning of Sale from 9.00am Lots 500 – 559 Pictures Lots 560 - 619 Carpets, Rugs & Furniture Lots 620 - 723 TUESDAY 16TH FEBRUARY 2010 Sale commences at 10am SILVER AND SILVER PLATE 1. A set of six silver cocktail sticks with cockerel finials, Birmingham 1931, cased, together with a silver cigarette case with engine turned decoration, total weight 6ozs. (2). 2. A silver pepper mill, Birmingham 1934, height 8.5cm, together with a late Victorian silver replica of a late 17th Century bleeding bowl, London 1900, by George Jackson & David Fullerton, weighing 2.5ozs (2) 3. A silver four division bachelor toast rack, Sheffield 1927, also a silver desk or bedroom candlestick, with reeded column, Birmingham 1903, loaded, 11cm high and a silver bachelor cream jug, of an oval half fluted form, Birmingham 1901, weighable silver 3.5ozs (3). 4. A pair of late Victorian silver bachelor salts in the form of porringers, London 1896, by Mappin and Webb, with blue glass liners and non matching spoons, 2.5cm high, also a pair of cut glass salts with silver rims, Birmingham 1906, an eastern silver pepper with foliate spray decoration and a plated acorn shaped pepper.
  • List of Notable Freemasons List of Notable Freemasons

    List of Notable Freemasons List of Notable Freemasons

    List of notable freemasons ---2-222---- • Wyatt Earp , American Lawman. • Hubert Eaton , American chemist, Euclid Lodge, No. 58, Great Falls, Montana . • John David Eaton , President of the Canadian based T. Eaton Company . Assiniboine, No. 114, G.R.M., Winnipeg. • Duke of Edinburgh, see Prince Philip , For Prince Philip • Prince Edward, Duke of Kent , (Prince Edward George Nicholas Paul Patrick), member of the British Royal Family, Grand Master of the United Grand Lodge of England , member of various lodges including Grand Master's Lodge No 1 and Royal Alpha Lodge No 16 (both English Constitution). • Prince Edward, Duke of York and Albany (25 March 1739 – 17 September 1767), Younger brother of George III of the United Kingdom. Initiated in the Lodge of Friendship (later known as Royal York Lodge of Friendship) Berlin, Germany on July 27, 1765. • Edward VII , King of Great Britain . • Edward VIII , King of Great Britain . • Gustave Eiffel , Designer and architect of the Eiffel Tower. • Duke Ellington , Musician, Social Lodge No. 1, Washington, D.C., Prince Hall Affiliation • William Ellison-Macartney , British politician, Member of Parliament (1885–1903), Grand Master of Western Australia . • Oliver Ellsworth , Chief Justice of the United States (1796–1800) . • John Elway , Hall of Fame Quarterback for Denver Broncos (1983–1998), South Denver- Lodge No. 93, Denver, Colorado . • John Entwistle , Rock and Roll Hall of Fame Member of the Who . • David Erskine, 11th Earl of Buchan , Scottish socialite, Grand Master of Scotland (1782–1784). • Thomas Erskine, 6th Earl of Kellie , Scottish musician, Grand Master of Scotland (1763–1765. • Sam Ervin , US Senator. • Ben Espy , American politician, served in the Ohio Senate.
  • Double Vision: Woman As Image and Imagemaker

    Double Vision: Woman As Image and Imagemaker

    double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond.