A Catalogue of the Miniatures
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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. -
Chasing Eliza: Shifting and Static Women in Elizabeth Craven's the Miniature Picture
ABO: Interactive Journal for Women in the Arts, 1640-1830 Volume 6 Issue 1 Volume 6.1 (Spring 2016) Article 2 2016 Chasing Eliza: Shifting and Static Women in Elizabeth Craven's The Miniature Picture Heather A. Ladd University of Lethbridge, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/abo Part of the Dramatic Literature, Criticism and Theory Commons, English Language and Literature Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Ladd, Heather A. (2016) "Chasing Eliza: Shifting and Static Women in Elizabeth Craven's The Miniature Picture," ABO: Interactive Journal for Women in the Arts, 1640-1830: Vol. 6 : Iss. 1 , Article 2. https://www.doi.org/http://dx.doi.org/10.5038/2157-7129.6.1.2 Available at: https://scholarcommons.usf.edu/abo/vol6/iss1/2 This Scholarship is brought to you for free and open access by Scholar Commons. It has been accepted for inclusion in ABO: Interactive Journal for Women in the Arts, 1640-1830 by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Chasing Eliza: Shifting and Static Women in Elizabeth Craven's The Miniature Picture Abstract Georgian actress and author Mary Robinson famously wore a miniature portrait of her royal lover, the Prince of Wales, whom she captivated in the Shakespearean breaches role of Perdita. Intriguingly, Robinson’s final stage appearance was as the cross-dressing heroine of The Miniature Picture (1781), a three-act comedy penned by writer and socialite Lady Elizabeth Craven, later Baroness Craven and Margravine of Brandenburg-Ansbach. -
OLD MASTER PAINTINGS Wednesday 4 July 2018
OLD MASTER PAINTINGS Wednesday 4 July 2018 BONHAMS OLD MASTERS DEPARTMENT Andrew McKenzie Caroline Oliphant Lisa Greaves Director, Head of Department, Group Head of Pictures Department Director London London and Head of Sale London – – – Poppy Harvey-Jones Brian Koetser Bun Boisseau Junior Specialist Consultant Junior Cataloguer, London London London – – – Mark Fisher Madalina Lazen Director, European Paintings, Senior Specialist, European Paintings Los Angeles New York Bonhams 1793 Limited Bonhams International Board Bonhams UK Ltd Directors – – Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Gordon McFarlan, Andrew McKenzie, Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Harvey Cammell Deputy Chairman, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Antony Bennett, Matthew Bradbury, Charlie O’Brien, Giles Peppiatt, India Phillips, Matthew Girling CEO, Lucinda Bredin, Simon Cottle, Andrew Currie, Peter Rees, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Patrick Meade Group Vice Chairman, Jean Ghika, Charles Graham-Campbell, Veronique Scorer, Robert Smith, James Stratton, +44 (0) 20 7393 3905 fax Jon Baddeley, Rupert Banner, Geoffrey Davies, Matthew Haley, Richard Harvey, Robin Hereford, Ralph Taylor, Charlie Thomas, David Williams, Jonathan Fairhurst, Asaph Hyman, James Knight, David Johnson, Charles Lanning, Grant MacDougall Michael Wynell-Mayow, Suzannah Yip. Caroline Oliphant, Shahin Virani, Edward Wilkinson, Leslie Wright. OLD MASTER -
Heir of the Month: May 2016
HEIR OF THE MONTH: MAY 2016 Princess Victoria of Kent How to educate a last minute heir: The Duchess of Kent and the Kensington System Jennifer Henderson Crane In 1861 Queen Victoria suffered a devastating loss that brought her to the brink of collapse. “The dreaded calamity has befallen us,” she recorded in her journal at Windsor Castle, “which seems like an awful dream, from which I cannot recover.” For those even remotely familiar with Queen Victoria, the image of the black-draped monarch is immediately evoked, a wife in perpetual mourning for the beloved husband she lost in 1861. However, the quoted line does not refer to the passing of Albert the Prince Consort, but instead to that of his paternal aunt and mother-in-law, Victoire, the Duchess of Kent, who passed away in March of the same year. Henry Bone: The duchess of Kent with her daughter, the future queen Victoria (c. 1824/25) Victoria had an at times fraught relationship with her mother, but Victoire’s death appeared to erase the past difficulties and animosities, leaving her daughter feeling like a bereft child. She opened herself fully to her grief, so much so that her obsessive hold onto mourning protocol provoked much commentary even outside of court circles. In her work, Magnificent Obsession, Helen Rappaport quotes an American diplomat lamenting that, “‘the Queen carries her sorrow at her mother’s death to an absurd extent… There are no balls this season and in lieu 1 HEIR OF THE MONTH: MAY 2016 thereof but one concert, and to this only the Ministers, and their Ladies and Chief Secretaries only are to be invited’.” Just as Victoria held varying emotions for her mother, so too have historians held variant stances on Victoire, as well as on her perceived motives and ambition. -
Drawing After the Antique at the British Museum
Drawing after the Antique at the British Museum Supplementary Materials: Biographies of Students Admitted to Draw in the Townley Gallery, British Museum, with Facsimiles of the Gallery Register Pages (1809 – 1817) Essay by Martin Myrone Contents Facsimile, Transcription and Biographies • Page 1 • Page 2 • Page 3 • Page 4 • Page 5 • Page 6 • Page 7 Sources and Abbreviations • Manuscript Sources • Abbreviations for Online Resources • Further Online Resources • Abbreviations for Printed Sources • Further Printed Sources 1 of 120 Jan. 14 Mr Ralph Irvine, no.8 Gt. Howland St. [recommended by] Mr Planta/ 6 months This is probably intended for the Scottish landscape painter Hugh Irvine (1782– 1829), who exhibited from 8 Howland Street in 1809. “This young gentleman, at an early period of life, manifested a strong inclination for the study of art, and for several years his application has been unremitting. For some time he was a pupil of Mr Reinagle of London, whose merit as an artist is well known; and he has long been a close student in landscape afer Nature” (Thom, History of Aberdeen, 1: 198). He was the third son of Alexander Irvine, 18th laird of Drum, Aberdeenshire (1754–1844), and his wife Jean (Forbes; d.1786). His uncle was the artist and art dealer James Irvine (1757–1831). Alexander Irvine had four sons and a daughter; Alexander (b.1777), Charles (b.1780), Hugh, Francis, and daughter Christian. There is no record of a Ralph Irvine among the Irvines of Drum (Wimberley, Short Account), nor was there a Royal Academy student or exhibiting or listed artist of this name, so this was surely a clerical error or misunderstanding. -
Dispelling the Myths Surrounding Nineteenth-Century British
• I will begin by briefly describing the social changes that took place during the period 1660 to 1800 as they form the background and influences on artists. • I will then summarise the eight talks that cover the major artists and art movements. • But first let us look at the entire period from 1500 to 1800... 1 • The period from 1500 to 1660 saw the country emerging from feudalism. Medieval practices were referenced allegorically in the sense that they were not being used as originally intended but to convey an idea. For example, the great hall was no longer where a noble would eat but was recreated to impress. Crenulations were no longer added to building as a form of defence but to suggest the building and the family had ancient origins. • 1400s. Revolution on the battlefield. Richard III (2 October 1452 – 22 August 1485) was the last king to die in battle, at the age of 32, in the Battle of Bosworth Field. He was the last king of the House of York and the last of the Plantagenet dynasty. It was the beginning of the Italian Renaissance but the changes taking place in Italy filtered into English art and architecture very slowly and it took place through Italian and Northern European artists visiting and sometimes remaining to work in England. • 1500s. Social revolution. Although earlier kings, such as Henry I, promoted competent men from lowly backgrounds it was not until the Tudor period that a new class of lawyers and administrators from lowly backgrounds achieved powerful positions and became wealthy. -
An Exhibition of Miniatures by Celebrated Masters of the 16Th, 17Th
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London | 24 March 2021 March | 24 London
LONDON | 24 MARCH 2021 MARCH | 24 LONDON LONDON THE FAMILY COLLECTION OF THE LATE COUNTESS MOUNTBATTEN OF BURMA 24 MARCH 2021 L21300 AUCTION IN LONDON ALL EXHIBITIONS FREE 24 MARCH 2021 AND OPEN TO THE PUBLIC 10 AM Saturday 20 March 12 NOON–5 PM 34-35 New Bond Street Sunday 21 March London, W1A 2AA 12 NOON–5 PM +44 (0)20 7293 5000 sothebys.com Monday 22 March FOLLOW US @SOTHEBYS 10 AM–5 PM #SothebysMountbatten Tuesday 23 March 10 AM–5 PM TO LEARN MORE ABOUT THE PROPERTY IN THIS SALE, PLEASE VISIT This page SOTHEBYS.COM/L21300 LOT XXX UNIQUE COLLECTIONS SPECIALISTS ENQUIRIES FURNITURE & DECORATIVE ART MIDDLE EAST & INDIAN SALE NUMBER David Macdonald Alexandra Roy L21300 “BURM” [email protected] [email protected] +44 20 7293 5107 +44 20 7293 5507 BIDS DEPARTMENT Thomas Williams MODERN & POST-WAR BRITISH ART +44 (0)20 7293 5283 Mario Tavella Harry Dalmeny Henry House [email protected] Thomas Podd fax +44 (0)20 7293 6255 +44 20 7293 6211 Chairman, Sotheby’s Europe, Chairman, UK & Ireland Senior Director [email protected] [email protected] +44 20 7293 5497 Chairman Private European +44 (0)20 7293 5848 Head of Furniture & Decorative Arts ANCIENT SCULPTURE & WORKS Collections and Decorative Arts [email protected] +44 (0)20 7293 5486 OF ART Telephone bid requests should OLD MASTER PAINTINGS be received 24 hours prior +44 (0)20 7293 5052 [email protected] Florent Heintz Julian Gascoigne to the sale. This service is [email protected] [email protected] [email protected] offered for lots with a low estimate +44 20 7293 5526 +44 20 7293 5482 of £3,000 and above. -
Large Text Labels
Large Text Labels George IV Art & Spectacle 1 Welcome to the Chambers Gallery The label text follows the order in which works are displayed in the gallery. Please ask a warden for assistance if you have any difficulty. 2 George IV (1762–1830) had a lifelong fascination with art and architecture and formed one of the greatest collections of paintings and decorative arts in Europe. The eldest child of George III and Queen Charlotte, George was clever and wilful, and railed against his parents’ authority. As a young man he became known for his mistresses, drinking and his dandyish clothes. Satirists issued prints which criticised his lifestyle, and his exploits were recounted with horror in newspapers. In 1811, when his father became unable to rule through mental illness, George was appointed Prince Regent. He became King on his father’s death in 1820. He was an unpopular monarch, whose lavish lifestyle was out of touch with a country suffering from economic hardship and political turmoil. 3 George’s collection of art furnished his residences, which themselves were masterpieces designed by leading architects. His carefully choreographed spectacles displayed the magnificence of monarchy, chief among them his coronation. George’s purchases remain some of the greatest works in the Royal Collection. His architectural vision created the palaces in London and Windsor still used today. William Heath, All the World’s a Stage, and one man in his time plays many parts, 1824 © Royal Pavilion & Museums, Brighton & Hove 4 Robert Seymour (1798–1836) The Great Joss and his Playthings c.1829 Etching with hand colouring Seymour’s satirical print was made at the end of George’s life to criticise his extravagant expenditure and love of ‘oriental’-style art and architecture. -
Portrait Miniatures from the Time of Holbein 1531 to That of Sir Wilhelm Roso 1860
THE C ONNOISSEUR SERIES. Editedy b Gleeson White. PORTRAIT M INIATURES. THE C ONNOISSEUR SERIES. Edited ky Gleeson White. PORTRAIT M INIATURES: from the time of Holbein, 1 531, to that of Sir William Ross, i860. By GEORGE С Williamson, Lilt.D. With numerous Illustrations. Demy 8vo. 12s. bd. net. HISTORICAL P ORTRAITS: some Notes on the P ainted Portraits of Celebrated Characters of England, Scotland and Ireland. By H. B. Wheatley, F.S.A. Wilh Seventy-four Illustrations taken direct from the originals. Demy 8vo. lew. bd. net. JAPANESE I LLUSTRATION : being a History of t he Arts of Wood-cutting anil Colour Printing in Japan. By Edward F. Strange, M J. S. With Eight coloured and Eighty- eight Black-and-Wliite Illustrations. Deiny.8vo. \2s. (xi. net. RTTHE A OF THE HOUSE. By Rosamund Marriott W atson. With numerous Illustrations. Demy 8vo. (1>. net. PICTURE P OSTERS. By Charles Hiatt. With O ne Hundred and Fifty Reproductions of the most Artistic Examples of all Countries. Demy 8vo. 12s. bd. net. LONDON: G EORGE BELL AND SONS. ANDREW P LIMER. 1763-1837. LADY R AVENSWORTH, LADY PAUL, AND MISS SIMPSON. Ownhr C. J Wertheimer, Esq. PORTRAIT MINIATURES FROMHE T TIME OF HOLBEIN 13 5 1 TO THAT OF SIR WILLIAM ROSS i 860. A HANDBOOK FOR C OLLECTORS BY GEORGE С W ILLIAMSON, Litt.D. LONDON: G EORGE BELL AND SONS YORK S TREET, COVENT GARDEN, MDCCCXCVII CIIISWICK P RESS :—CHARLES WHITUNGHAXI AND CO. TOOKS COURT, CHANCERY LANE, LONDON, л/ PREFACE. In t reating of miniatures it is impossible to avoid reference to the standard book on the subject, — Dr. -
British Miniature Painters and Their Works
DUKE UNIVERSITY LIBRARY Treasure %Qom # : ^25 Copies of this book have been printed for sale, of which 12^ are on large paper. No. /a: Vlottingbam Printed by R. B. Earp & Sons, Ltd., Goldsmith Street. -* # *: « ' '^ ! ^H MINIAi PAINTEko AND THEIR \ RKS, BY J. J FOSTER, Asti-iUift 'istft'iKsijiCl at-aiyv n\iS\K .oi;8i ,f;noJyiV naaup ifJasjfiM lyH Xonfcon SAMPSON LOW, MARSTOxN St. Dunstan's House, Fet. DICKINSONS , ,fT W -^y:im ir Portrait. Her Majesty Queen Victoria, 1870. After Messrs. Dickinsons' : BRITISH MINIATURE PAINTERS AND THEIR WORKS, BY J. J. FOSTER. Xonbon SAMPSON LOW, MARSTON & COMPANY, Limited, St. Dunstan's House, Fetter Lane, E.G. AND DICKINSONS, 114, New Bond Street, W. 1898. m. Iber fIDost (5raciou6 flDajest^ IDictotia, of tbe •Clnite^ •RiiiQ&om of (great IBritain anb 5relanb> an& of tbe Colonteg an& Dependencies tbereot Empress of 5n&ia, tbis worft is, bg special permls* IV. Tfar-igrncr-JTiiriinincrir'.j-'.iij TinaTTi FTt'-nTj-iQ niun£TTjj~.irar^riLn^n^ri^nrriitn!r'.L^ PREFACE. HE follotving lines should be called, perhaps, an acknowledgment rather than a Preface, inasmuch as what I have to say in them is mainly to express gratittide for favours received. First then, let me record my sense of the honour and the favour done me by Her Majesty The Queen, in giving Her gracious permission to reproduce such miniatures as I might select from the Royal Library. The like acknowledgment is due to many noble and private owners (too numerous to mention here) of similar treasures. I have appended their names in the list of Illustrations, and to each and to all I beg to offer most sincere thanks for their courtesy. -
Kew Gardens Painted by T
KEW GARDENS PAINTED BY T. MOWER MARTIN DESCRIBED BYAR'HOPEMONCRIEFF Ex Libris C. K. OGDEN THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES V UNIFORM WITH THIS VOLUME THE COTSWOLDS By G. F. NICHOLLS and FRANCIS DUCKWORTH NORTH DEVON By HENRY B. WIMBUSH and F. J. SNELL SOUTH DEVON By C. B. HANNAFORD and CHARLES ROWE, M. J.I. GALLOWAY By JAMES FAED, Jun., and J. M. SLOAN IRELAND By FRANCIS S. WALKER, R.H.A., and FRANK MATHEW LIVERPOOL By J. HAMILTON HAY and DIXON SCOTT THE PEAK COUNTRY By W. BISCOMBE GARDNER and A. R. HOPE MONCRIEFK KEW GARDENS AGENTS AMERICA . THE MACMILLAN COMPANY 64 & 66 FIFTH AVENUE, NEW YORK AUSTRALASIA THE OXFORD UNIVERSITY PRESS, MELBOURNE CANADA . THE MACMILLAN COMPANY OF CANADA, LTD. 27 RICHMOND STREET WEST, TORONTO INDIA . MACMILLAN & COMPANY, LTD. MACMILLAN BUILDING, BOMBAY 309 Bow BAZAAR STREET, CALCUTTA THE RHODODENDRON KEW GARDENS PAINTED BY T. MOWER MARTIN, R.C.A. DESCRIBED BY A. R. HOPE MONCRIEFF WITH 24 FULL-PAGE ILLUSTRATIONS IN COLOUR LONDON ADAM AND CHARLES BLACK 1908 73 K51M7 PREFACE KEW GARDENS contain what seems the com- pletest botanical collection in the world, handi- capped as it is by a climate at the antipodes of Eden, and by a soil that owes less to Nature than to patient art. Before being given up to public pleasure and instruction, this demesne was a royal country seat, specially favoured by George III. That homely King had two houses here and began to build a more pretentious palace, a design cut short by his infirmities, but for which Kew might have usurped the place of Windsor.