DOCSLIB.ORG

James II And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
James II And 02/08/2021 James VII and II New York named after James as Duke of York Queen Henrietta Maria by unknown Charles I 1631 by Daniel Mytens, artist, National Portrait Gallery National Portrait Gallery 1 2 James with his older siblings, Charles and Mary c. 1624 by Sir Anthony van Dyck , Turin James with his older siblings, Charles and Mary by Sir Anthony van Dyck , Royal Collection 3 4 Charles II as Prince of Wales by Sir Anthony van Dyck 1632-5 and 1637-8 Five children of Charles I 1637 by Sir Anthony van Dyck (Charles, Mary, James, Elizabeth & Anne) 5 6 1 02/08/2021 St James’s Palace where James was born in 1633 and designated as duke of York. He returned in 1646 when captured at the fall of Oxford Charles and James 1639 by Cornelius Johnson, Queen’s House Greenwich 7 8 William Laud archbishop of Canterbury who baptised James Princess Mary 1639 by Cornelius as an Anglican Johnson, Queen’s House Greenwich 9 10 Princess Mary c. 1636 by Sir Princess Mary’s betrothal with her Anthony van Dyck, Boston future husband William II of Orange 1641 by Sir Anthony van Dyck, Rijksmuseum 11 12 2 02/08/2021 Princess Mary and William II of Orange 1647 by Gerard von Honthorst, Rijksmuseum James with his younger siblings Elizabeth and Henry 1647 by Sir Peter Lely, Petworth 13 14 Princess Elizabeth, National Portrait Gallery Princesses Elizabeth and Anne 1637 by Sir Anthony van Dyck, Scottish National Portrait Gallery 15 16 Prince Henry Duke of Gloucester c. 1653 by Adriaen Hanneman, National Gallery Princess Henrietta Anne, Duchess of Washington Orleans c. 1665-70 by Pierre Mignard, National Portrait Gallery 17 18 3 02/08/2021 George and Francis Villiers 1635 by Sir Anthony van Dyck, Royal Collection Radhill Tower near site of Battle of Edgehill 1642 where James narrowly escaped capture by Parliament 19 20 Charles II 1642 by William Dobson, Scottish National Portrait Gallery Oxford 1642 where James gained his MA and was created KG 21 22 James c. 1644-5 by William Dobson, Royal Collection Algernon Percy, 10th Earl of Northumberland and his first wife Anne and daughter Catherine James’s warders 1646-8, c. 1637 after Sir Anthony van Dyck 23 24 4 02/08/2021 The Hague where James escaped to in 1648 from a painting by Sybrand van Beest c 1650 James with his father 1647 studio of Sir Peter Lely 25 26 Louis XIV who welcomed James in 1649 shortly after the execution of Charles I and shortly before the news reached France. Portrait by Charles Le Brun c 1661 James joined his mother’s court in exile in France 27 28 Henri de la Tour d'Auvergne, Vicomte de Turenne c. 1670 by Circle of Philippe de Champaigne. James served under him in French wars Episode of the Fronde at the Faubourg Saint-Antoine by the Walls of the Bastille in 1652 by unknown artist 29 30 5 02/08/2021 Charles handing prize to James with Henry in the Schuttershof Bruges in October 1656 when James shot the papegay by Jan Baptist van Meunincxhove 1671 Dinner for the royal borthers by the guild of St Barbara 1656 by Jan Baptist van Meunincxhove 1671 31 32 James’s brother Henry whom he joined in Bruges in 1656 to fight for the Spanish against the French Louis Grand Condé c. 1670 by Justus van Egmont, Condé Museum. James served under him for Spain fighting the French 33 34 Richard Talbot earl of Tyrconnell, the Irish Frances Jennings, sister of Sarah later Duchess Catholic who with his brother Peter of Marlborough, became Tyrconnell’s second befriended James in exile. Peter was Battle of the Dunes 1658, a French victory over Spain in which James fought on the losing side wife in 1681 archbishop of Dublin 1669-80 but led several charges and was commended for his bravery 35 36 6 02/08/2021 Diamond Point Etching on Glass of James c. 1660 English Treaty of the Pyrenees 1659 where Louis XIV of France and Philip IV of Spain ended the war that had lasted since 1635. James was offered a position as admiral by Philip 37 38 Procession from the Tower to Westminster for Charles II’s Coronation 23 April 1661, the Duke of York on the left having gone through the next arch 39 40 Henrietta Anne as Minerva holding a painting of her husband Philippe Duke of Orleans by Antoine Mathieu. Married in 1661 cementing close friendship between Stuarts and French monarchy 41 42 7 02/08/2021 The Second Dutch War 1665-7 43 44 Battle of Lowestoft 3 June 1665 showing the Royal Charles and the Eendracht by Hendrik van Minderhout, National Maritime Museum 45 46 James dressed Mars after his victory at Lowestoft by Henri Gascar Battle of Lowestoft 3 June 1665 Burning of the Dutch Flagship by van Dierst 47 48 8 02/08/2021 James’s Seal St James’s Day Battle August 1666 49 50 Samuel Pepys Secretary to the Navy and diarist who knew James and described the Plague, the Fire and the Dutch raid on Chatham 51 52 London before the fire c 1665 including Old St Paul’s 53 54 9 02/08/2021 The Great Fire of London 1666 by unknown artist c. 1700 55 56 57 58 59 60 10 02/08/2021 61 62 Dutch attack on Sheerness Chatham 63 64 Burning of British Ships in the Medway 20 June 1667 by Jan van Leyden 65 66 11 02/08/2021 German Print of de Ruyter’s raid in the Medway 67 68 Royal Coat of Arms from the Royal Charles in the Rijksmuseum Drawing of the Royal Charles by van der Velde New fortifications at Plymouth by Hendrik Danckerts 69 70 Congress of Breda 1667 French Royal Family c 1669 by Jean Nocret 71 72 12 02/08/2021 Louis XIV after Lefebvre 1673 Louis XIV crossing the Rhine 12 June 1672 by Adam Frans van der Meulen 73 74 The Burning of HMS Royal James at the Battle of Solebay 28 May 1672 by Peter Monamy, The Third Dutch War 1672-4 National Maritime Museum 75 76 The Burning of HMS Royal James at the Battle of Solebay 28 May 1672 by Willem van de Velde, National Maritime Museum 77 78 13 02/08/2021 The Gouden Leeuw at the Battle of Texel 21 August 1673 by Willem van de Velde, National Lord Shaftesbury and Duke of Buckingham, leaders of the Exclusionist Faction in Parliament Maritime Museum 79 80 1673 Test Act which forced James Titus Oates by Godfrey Kneller to resign all his offices 81 82 Pickerin attempts to kill the Pickerin executed King in St James’s Park Captain Bedlow the discoverer of the plot Captain Bedlow examined by the Secret Committee of the House of Commons Sir William Meller burning The Popish Plot on Delft Tiles by Jan Ariens van Hamme produced at Lambeth c. 1679-80, Popish books images and Victoria and Albert Museum relics 83 84 14 02/08/2021 Mr Edward Coleman as he was drawn on a sledge to execution December 4th 1678 for high treason against his Majesty’s sacred person and endeavouring the alteration of the Protestant religion and subversion of the government, woodcut broadsheet Edward Coleman, James’s secretary, dragged to execution after the Popish Plot in 1678, woodcut broadsheet 85 86 Satire on the Popish Plot 1681 Broadside on the Popish Plot with twelve scenes mocking the account given by Titus Oates and his associates of the death of Sir Edmund Berry Godfrey, British Museum 87 88 George of Hanover in 1680 the year he came to England Satire of 1680 on the prospects of Popish successor 89 90 15 02/08/2021 Marquis of Powis, one of the five William Howard, Lord Stafford indicted Lords who spent 6 years in executed 1680 on false evidence of the Tower but became one of James’s Titus Oates, witnessed by George I, Privy Councillors and followed him painted by Van Dyck 1638. James into exile restored his widow’s and son’s titles when he became king 91 92 Artist’s impression of a conventicle Holyrood House Edinburgh 1649 93 94 Oates in the pillory 1681 95 96 16 02/08/2021 Newmarket Palace House built by James I and used by Charles and James when at the races Rye House by Turner 1793 97 98 The Plotters Armstrong, Argyll, Arthur Capell Earl of Essex who Essex, Cornish, Russell, Monmouth committed suicide in the Tower and Sidney, all dead by 1685 after the Rye House Plot 1683, painted by Lely 1672 99 100 The last woman executed Execution of Thomas Armstrong MP, for a political crime for one of the Rye House Plotters helping James Burton to escape to Amsterdam. He was pardoned. 101 102 17 02/08/2021 William Lord Russell beheaded for his part in the plot, painted by Gerard Soest Trial of Lord Russell as imagined by George Hayter in 1825 103 104 Rye House Plot Broadsheet Titus Oates indicted for perjury, imprisoned and flogged in the pillory at Westminster Hall May 1685 by Jan Wyck, Museum of London 105 106 Warrant 12 June 1685 by Mary of Modena to the Mint asking for her great seal Embassy from the Pope to James disembarking at Somerset House November 1685 107 108 18 02/08/2021 Ferdinando d’Adda Papal Nuncio to James Archibald Campbell 9th Earl of Argyll 1680 by David Loggan 109 110 Duke of Monmouth 1672 by Henri Gascar, Boughton Hall Duke of Monmouth 1672 in battle with the Dutch by Jan van Wyck, National Portrait Gallery 111 112 James Scott Duke of Monmouth 1683 after William Wissing, National Portrait Gallery Act of Attainder for Monmouth 113 114 19 02/08/2021 Battle of Sedgemoor 5 July 1685 with king’s army commanded by Louis de Duras 2nd Earl of Feversham and Sir Francis Compton with John Churchill 115 116 John Baron Churchill Scythes used as weapons by Monmouths’ supporters 117 118 The late Duke of Monmouth beheaded on George Lord Jeffreys (Judge Tower Hill 15 July 1685 on a playing card, seven Jeffreys) c.
Load more

Recommended publications
  • Old Master Paintings Wednesday 5 December 2012, at 2Pm New Bond Street, London
    Old Master Paintings Wednesday 5 December 2012, at 2pm New Bond Street, London Old Master Paintings Wednesday 5 December 2012, at 2pm New Bond Street, London Bonhams Bids Enquiries Customer Services 101 New Bond Street +44 (0) 20 7447 7448 +44 (0) 20 7468 8307 Monday to Friday 8.30am to 6pm London W1S 1SR +44 (0) 20 7447 7401 fax [email protected] +44 (0) 20 7447 7447 www.bonhams.com To bid via the internet please visit www.bonhams.com Specialists Please see back of catalogue Viewing Andrew McKenzie for important notice to bidders Sunday 2 Dec 2012 Please note that bids should be +44 (0) 20 7468 8261 11am to 3pm submitted no later than 24 hours [email protected] Illustrations Monday 3 Dec 2012 before the sale. New bidders Front cover: 103 9am to 4.30pm must also provide proof of identity Caroline Oliphant Back cover: 55 Tuesday 4 Dec 2012 when submitting bids. Failure to do +44 (0) 20 7468 8271 Inside front cover: 40 (one of a pair) 9am to 4.30pm this may result in your bids not [email protected] Inside back cover: 40 (one of a pair) Wednesday 5 Dec 2012 being processed. 9am to 12pm Carlotta Mascherpa +44 (0) 20 7468 8307 [email protected] Sale number: 20030 Live online bidding is available for this sale Poppy Harvey-Jones Catalogue: £25 Please email [email protected] with “Live bidding” in the subject +44 (0) 20 7468 8308 line 48 hours before the auction [email protected] to register for this service.
    [Show full text]
  • Britain's Political, Cultural & Industrial Revolutions: As Seen by Eighteenth
    Britain’s Political, Cultural & Industrial Revolutions: As Seen by Eighteenth-Century Observers and Later Historians By: Penelope J. Corfield, Prof. Emeritus ISECS Vice President Affiliation: Royal Holloway University of London and Newcastle University UK October 2013 © Penelope J. Corfield (2013) For publication in web-journal Current Research: Literature, Culture and Media (Syddansk University, Odense, Denmark, 2014): ISSN 1903 5705 and on PJC personal website www.penelopejcorfield.co.uk as Pdf31 This essay is expanded text of a seminar presentation with Powerpoint, given at the International Society for Eighteenth-Century Studies Special Conference, hosted by Erasmus University, Rotterdam, on Wednesday 28 August 2013.1 1 With thanks for stimulating discussions from panel chair Annelien de Dijn, fellow panellist Hanca Jürgens, and all ISECS seminar participants; to Anne-Marie Mai for the invitation to publish; and to Tony Belton for his as-ever critical reading of the text. 1 Summary Using previously unknown evidence from contemporary onlookers (both famous and little-known), this essay identifies and classifies the major references to ‘Revolution’ in eighteenth-century Britain. At the start, the most common category of comments referred to abrupt political-regime change. The ‘Happy Revolution’ or what became later known as ‘the Glorious Revolution’ of 1688/9 was the prototype. This political terminology was revived in the 1770s, to denote, whether in praise or blame, the American colonists’ revolt and, after 1789, the massive upheavals in France. Alongside that, a much less well known strand of commentary referred to social and cultural change in terms of ‘revolution’ or ‘the world turned upside down’.
    [Show full text]
  • 'This Made Me a Painter!'
    ‘THIS MADE ME A PAINTER!’ J.M.W. Turner and the perception of Holland and Dutch art in Romantic Britain Quirine van der Meer Mohr RMA Thesis Art History of the Low Countries in its European Context Utrecht University Prof. Dr. Peter Hecht 1 THIS MADE ME A PAINTER’. J.M.W. Turner and the perception of Holland and Dutch art in Romantic Britain Table of Contents Introduction 3 Chapter 1 Beautiful, Sublime and Picturesque 11 The reception of Dutch Art in Romantic Britain Chapter 2 Waterways and neat cities 25 Holland through the eyes of the British traveller Chapter 3 ‘Quite a Cuyp’ 36 Turner in Holland Chapter 4 The ‘Dutchness’ of Turner’s art 56 A reflection of the artistic results of Turner’s Dutch journeys Chapter 5 Made in Holland 82 English artists painting Holland Conclusion 100 Bibliography 104 List of Resources 109 List of Images 110 2 Introduction In 1842, the British painter Joseph Mallord William Turner (1775-1851) exhibited a painting at London’s Royal Academy that went beyond everyone’s imagination. Exploring the effects of an elemental vortex, Snow Storm - Steam Boat off a Harbour’s Mouth (Tate), shows a swift suggestion of a steam-ferry in the heart of the composition. The vessel is heavily suffering under the rough weather conditions of a snowstorm at sea, which, by an eruption of swirls of paint onto the canvas, denies the viewer the possibility to fully survey the entire episode. Instead, the viewer is swept away into the vortex, leaving him nothing else but the terrifying sensation of mankind’s futility opposed to the tempestuous forces of nature.
    [Show full text]
  • New Stock for October 2009
    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 New Stock for October 2009 Herbert Dicksee, Item 279 Stock 12055 Registered in England No. 1305630 Registered Office: 2, Castle Business Village, Station Road, Hampton, Middlesex. TW1 Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Rayment. C.E. Ellis. E&OE VAT No. 217 6907 49 Arts 5. Le Marchand De Village. Mon prix est decisif il est de votre gloire...[etc.] 1. [A sleeping child.] Peint par J.C. Seekaz. Grave a Bale par Romanet. A [Thomas Phillips R.A.] [n.d., c.1815.] Paris ches Buldet rue des Gesvres au grand Coeur Soft ground etching, 150 x 205mm. 6 x 8". £450 1766. A Bale ches Ch. de Mechel graveur. A charmingly intimate and rare plate, according to a Engraving, 300 x 215mm. 11¾ x 8½". £110 pencil note below image etched by Thomas Phillips A family inspects the wares of an itinerant print seller. R.A (1770 - 1845), portrait painter, after his own His dog stands obediently behind his master, a roll of design. Phillips was a Royal Academy student from prints around his neck. One villager's interest is taken February 1791, then briefly assistant to Benjamin by a portrait inscribed 'Frederic Roy de Prusse'. West. He was elected R.A on 10th February 1808 and Stock: 12238 became Professor of Painting 1825-1832. Probably this is one of the artist's children. He had two 6.
    [Show full text]
  • Ham House the Green Closet Miniatures and Cabinet Pictures Ham House the Green Closet Miniatures and Cabinet Pictures a HISTORIC HANG REVIVED
    Ham House The Green Closet miniatures and cabinet pictures Ham House The Green Closet miniatures and cabinet pictures A HISTORIC HANG REVIVED The collection of miniatures at Ham House is one of the largest accumulations of miniatures by one family to have remained substantially intact. Its display with small paintings and other images in an early 17th-century picture closet is without surviving parallel in England. By 1990, however, almost all the pictures and miniatures were displayed elsewhere, and the original purpose of the Green Closet was no longer evident. The substantial restoration of the historic groupings on its walls, with the kind agreement of the Victoria & Albert Museum, has revived the spirit, and much of the appearance, of the traditional arrangement. Designed to display both cabinet fring’d’ hanging from ‘guilt Curtaine rods dismantled) that extended even to the pictures and miniatures on an intimate round the roome’,which could be drawn sides of the chimneybreast. This was the scale, in contrast to the arrays of three- to protect the paintings from light and arrangement in 1844, when 97 pictures quarter-length portraits in the adjoining dust. The table and green-upholstered were listed, a considerable increase on Long Gallery, the Green Closet is of the seat furniture were also provided with 1677, when there were 57, but the spirit greatest rarity, not only as – in its core – sarsenet case-covers. Modern copies of all of the 17th-century room was a survival from the reign of Charles I these decorative and practical furnishings undoubtedly preserved. It may be that (whose own closets for the display of and fittings have recently been provided.
    [Show full text]
  • James II And
    01/09/2018 James VII and II New York named after James as Duke of York Queen Henrietta Maria by unknown Charles I 1631 by Daniel Mytens, artist, National Portrait Gallery National Portrait Gallery James with his older siblings, Charles and Mary c. 1624 by Sir Anthony van Dyck , Turin James with his older siblings, Charles and Mary by Sir Anthony van Dyck , Royal Collection Charles II as Prince of Wales by Sir Anthony van Dyck 1632-5 and 1637-8 Five children of Charles I 1637 by Sir Anthony van Dyck (Charles, Mary, James, Elizabeth & Anne) 1 01/09/2018 Princess Mary 1639 by Cornelius Johnson, Queen’s House Greenwich Charles and James 1639 by Cornelius Johnson, Queen’s House Greenwich Princess Mary c. 1636 by Sir Princess Mary’s betrothal with her Anthony van Dyck, Boston future husband William II of Orange 1641 by Sir Anthony van Dyck, Rijksmuseum Princess Mary and William II of Orange 1647 by Gerard von Honthorst, Rijksmuseum James with his younger siblings Elizabeth and Henry 1647 by Sir Peter Lely, Petworth 2 01/09/2018 Princess Elizabeth, National Portrait Gallery Princesses Elizabeth and Anne 1637 by Sir Anthony van Dyck, Scottish National Portrait Gallery Prince Henry Duke of Gloucester c. 1653 by Adriaen Hanneman, National Gallery Princess Henrietta Anne, Duchess of Washington Orleans c. 1665-70 by Pierre Mignard, National Portrait Gallery Henrietta Anne as Minerva holding a painting of her husband Philippe Duke George and Francis Villiers 1635 of Orleans by Antoine Mathieu by Sir Anthony van Dyck, Royal Collection 3 01/09/2018 Charles II 1642 by William Dobson, Scottish National Portrait Gallery James with his father 1647 studio of Sir Peter Lely James c.
    [Show full text]
  • Ground Layers in European Painting 1550–1750
    Ground Layers in European Painting 1550–1750 CATS Proceedings, V, 2019 Edited by Anne Haack Christensen, Angela Jager and Joyce H. Townsend GROUND LAYERS IN EUROPEAN PAINTING 1550–1750 GROUND LAYERS IN EUROPEAN PAINTING 1550–1750 CATS Proceedings, V, 2019 Edited by Anne Haack Christensen, Angela Jager and Joyce H. Townsend Archetype Publications www.archetype.co.uk in association with First published 2020 by Archetype Publications Ltd in association with CATS, Copenhagen Archetype Publications Ltd c/o International Academic Projects 1 Birdcage Walk London SW1H 9JJ www.archetype.co.uk © 2020 CATS, Copenhagen The Centre for Art Technological Studies and Conservation (CATS) was made possible by a substantial donation by the Villum Foundation and the Velux Foundation, and is a collabora- tive research venture between the National Gallery of Denmark (SMK), the National Museum of Denmark (NMD) and the School of Conservation (SoC) at the Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation. ISBN: 978-1-909492-79-0 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Every effort has been made to trace copyright holders and to obtain their permission for the use of copyright material. The publisher would be pleased to rectify any omissions in future reprints. Front cover illustration: Luca Giordano, The Flight into Egypt, c.1700, oil on canvas, 61.5 × 48.9 cm, The Metropolitan Museum of Art, New York City, inv.
    [Show full text]
  • 6. William III: of News – and of Fabricated Stories
    UvA-DARE (Digital Academic Repository) Nassau on horseback: Meaning, form and function of Nassau equestrian imagery in the Netherlands since the 16th century Rijkens, P.R. Publication date 2015 Document Version Final published version Link to publication Citation for published version (APA): Rijkens, P. R. (2015). Nassau on horseback: Meaning, form and function of Nassau equestrian imagery in the Netherlands since the 16th century. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:24 Sep 2021 6. William III: of news – and of fabricated stories It is not without irony to note that William III did not die in heroic action, but by the stumbling of his horse over a molehill. More than any other ruler in Dutch history, he benefited from the equestrian image as an ex- plicit representation of authority.
    [Show full text]
  • The Print Depiction of King William III's Masculinity
    1 The Print Depiction of King William III’s Masculinity Famous for his work on military subjects, Jan Wyck’s use of symbolism and imagery in his portrait William III at the Battle of the Boyne (c.1690-1695) connotes overt messages about the recently crowned king’s qualities. The portrait (Figure 1) depicts William III flourishing his sword while riding a white horse as the battle ensues around him. In the background, the clouds and smoke are just beginning to part as cavalry charge down the hill. The blue sash of the Order of the Garter, the highest order of chivalry in England, can be seen across his chest. Wyck presents William as a brave, hardy, and heroic British commander. His calm expression astride the rearing white horse (a common trope for heroic princes and chivalric knights) suggests a natural authority and ease. Portraits such as this depicting scenes of William’s military glory and feats of arms presented William as an overtly masculine military hero. It celebrates the masculine qualities that his military prowess conveyed. Even more accessible depictions of William’s character came in the form of the burgeoning medium of print. As much a function of easily applicable norms as a reflection of actual agency, Williamite writers, usually Whigs, deliberately fashioned him as England’s Protestant warrior-king and a constitutional monarch.1 Investigating the importance of public image and its connection to monarchical power in his seminal text, Rebranding Rule: The Restoration and Revolution Monarchy, 1660-1714 (2013), Kevin Sharpe argued that Williamite propaganda was crucial to his regime.
    [Show full text]
  • 1- Collecting Seventeenth-Century Dutch Painting in England 1689
    -1- COLLECTING SEVENTEENTH-CENTURY DUTCH PAINTING IN ENGLAND 1689 - 1760 ANNE MEADOWS A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy t University College London, November, 1988. -2- ABSTIACT This thesis examines the collecting of seventeenth century Dutch painting in England from 1689 marking the beginning of auction sales in England to 1760, Just prior to the beginning of the Royal Academy and the rising patronage for British art. An examination of the composition of English collections centred around the period 1694 when William end Mary passed a law permitting paintings to be imported for public sale for the first time in the history of collecting. Before this date paintings were only permitted entry into English ports for private use and enjoyment. The analysis of sales catalogues examined the periods before and after the 1694 change in the law to determine how political circumstances such as Continental wars and changes in fiscal policy affected the composition of collecting paintings with particular reference to the propensity for acquiring seventeenth century Dutch painting in England Chapter Two examines the notion that paintings were Imported for public sale before 1694, and argues that there had been essentially no change In the law. It considered also Charles It's seizure of the City's Charters relaxing laws protecting freemen of the Guilds from outside competition, and the growth of entrepreneur- auctioneers against the declining power of the Outroper, the official auctioneer elected by the Corporation of City of London. An investigation into the Poll Tax concluded that the boom in auction sales was part of the highly speculative activity which attended Parliament's need to borrow public funds to continue the war with France.
    [Show full text]
  • The Glorious Revolution
    INGLESE - THOMAS HOBBES (BIOGRAPHY) - MOST IMPORTANT THEMES OF HOBBES’ THEORY - LEVIATHAN - DE CIVE - JOHN LOCKE (BIOGRAPHY) - MOST IMPORTANT THEMES OF LOCKE’S THEORY - TWO TREATISES OF GOVERNMENT - A LETTER CONCERNING TOLERATION: EXTRACTS - LOCKE VS HOBBES - THE HISTORICAL BACKGROUND - THE CIVIL WAR - THE GLORIOUS REVOLUTION - HISTORY OF THE BRITISH PARLIAMENT FROM THE BEGINNIG TO THE 14th CENTURY - HISTORY OF THE BRITISH PARLIAMENT FROM THE 15th TO THE 20th CENTURY martedì 6 ottobre 2009 1588 April 5, born in Malmesbury,THOMAS Wiltshire, HOBBES England. His premature birth was hastened by his mother's fear upon hearing of the approach of the Spanish Armada. His father was vicar of Westport but fled to London after being involved in a brawl outside his own church, leaving Thomas to be raised by a wealthy uncle. 1603 Enters Magdalen Hall, Oxford where he studies scholastic philosophy with little enthusiasm but does well in logic. 1608 Receives bachelor's degree and becomes tutor to the son of William Cavendish, earl of Devonshire. 1628 Publication of his English translation of Portrait of Thomas H. by Thucydides through which he intended to show the John Michael Wright English the dangers of democracy. (National Portrait Gallery, London) 1642- Publication of De Cive and First Draught of 1646 the Optiques. 1648 The death of Mersenne. 1651 Publication of Leviathan. 1657 Publication of the second part of his trilogy, De Homine. 1679 December 4, dies at Hardwick Hall. martedì 6 ottobre 2009 Most important themes • The Materialist View of Human Nature Hobbes believedof that all phenomenaHobbes' in the universe can be explained theory in terms of the motions and interactions of material bodies.
    [Show full text]
  • The Spirit & Force Of
    THE SPIRIT &FORCE OF ART Drawing in Britain 1600–1750 THE SPIRIT & FORCE OF ART: DRAWING IN BRITAIN 1600–1750 3 Clifford Street, London 20 June to 6 July 2018 London London Art Week 29 June to 6 July 2018 new york TeFAF New York Fall 27 to 31 October 2018 THE SPIRIT &FORCE OF ART Drawing in Britain 1600–1750 Lowell Libson & Jonny Yarker Ltd London 2018 Contents Index of Artists 6 Foreword Lowell Libson 7 Introduction Jonny Yarker 8 3 Clifford Street · London w1S 2LF +44 (0)20 7734 8686 ‘The spirit and force of art’: [email protected] Defining Drawing in England, 1600–1750 www.libson-yarker.com Richard Stephens 11 Lowell Libson [email protected] A Lost Art? Collecting Early British Drawings Jonny Yarker & their Critical Fate [email protected] Richard Stephens and Jonny Yarker 33 Cressida St Aubyn [email protected] CATALoGUe Published by Lowell Libson & Jonny Yarker Ltd 2018 I Towards an English School 41 Text and publication © Lowell Libson & Jonny Yarker Ltd All rights reserved II Academies 69 ISBn 978 1 9999783 1 0 Designed by Dalrymple III The Rise of the Sketch 85 Set in Mário Feliciano’s Rongel type Photography by Rodney Todd-White & Son Ltd VI From Prospect to Landscape 101 Colour reproduction by Altaimage Ltd Printed in Belgium by Albe De Coker V From Ceiling to Exhibition Room: the Progress of History Painting 127 VI Face Painting 147 VII ‘A noble, delightful and useful art’: Drawings by Antiquarians, Amateurs and Artisans 169 VIII The Age of Hogarth 181 Notes and References 199 Index of Artists Foreword References are to catalogue numbers Laguerre, Louis 47 We are delighted to publish this catalogue which represents the culmination of over ten years of gathering these rare drawings which were created before the ‘Golden Age’ Amigoni, Jacopo 58 Laroon, Marcellus 73 of British watercolours and which demonstrate the formation of an identifiable ‘British’ Baron, Bernard 74 Laroon, Marcellus, the younger 84 School.
    [Show full text]