Etchings of Ancient Ornamental Architecture (1800) E Designs For
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The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): an Exploration Into the Masonic and Occult Imagination of the Late Enlightenment
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2003 The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Terrance Gerard Galvin University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Architecture Commons, European History Commons, Social and Behavioral Sciences Commons, and the Theory and Criticism Commons Recommended Citation Galvin, Terrance Gerard, "The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment" (2003). Publicly Accessible Penn Dissertations. 996. https://repository.upenn.edu/edissertations/996 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/996 For more information, please contact [email protected]. The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Abstract In examining select works of English architects Joseph Michael Gandy and Sir John Soane, this dissertation is intended to bring to light several important parallels between architectural theory and freemasonry during the late Enlightenment. Both architects developed architectural theories regarding the universal origins of architecture in an attempt to establish order as well as transcend the emerging historicism of the early nineteenth century. There are strong parallels between Soane's use of architectural narrative and his discussion of architectural 'model' in relation to Gandy's understanding of 'trans-historical' architecture. The primary textual sources discussed in this thesis include Soane's Lectures on Architecture, delivered at the Royal Academy from 1809 to 1836, and Gandy's unpublished treatise entitled the Art, Philosophy, and Science of Architecture, circa 1826. -
Shearsman 107 & 108
Shearsman 107 & 108 Summer 2016 Editor Tony Frazer This issue is dedicated to the memory of Christopher Middleton (b. Truro, 10 June 1926; d. Austin, TX, 29 November 2015) Shearsman magazine is published in the United Kingdom by Shearsman Books Ltd 50 Westons Hill Drive | Emersons Green | BRISTOL BS16 7DF Registered office: 30-31 St James Place, Mangotsfield, Bristol BS16 9JB (this address not for correspondence) www. shearsman.com ISBN 978-1-84861-478-9 ISSN 0260-8049 This compilation copyright © Shearsman Books Ltd., 2016. All rights in the works printed here revert to their authors, translators or original copyright-holders after publication. Permissions requests may be directed to Shearsman, but they will be forwarded to the copyright-holders. Subscriptions and single copies Current subscriptions—covering two double-issues, with an average length of 108 pages—cost £16 for delivery to U.K. addresses, £18 for the rest of Europe (including the Republic of Ireland), and £21 for the rest of the world. Longer sub- scriptions may be had for a pro-rata higher payment. North American customers will find that buying single copies from online retailers in the U.S.A. will often be cheaper than subscribing. This is because airmail postage rates in the U.K. have risen rapidly, whereas copies of the magazine are printed in the U.S.A. to meet demand from online retailers there, and thus avoid the transatlantic mail. Back issues from nº 63 onwards (uniform with this issue) cost £8.95 / $16 through retail outlets. Single copies can be ordered for £8.95 direct from the press, post-free in the U.K., through the Shearsman Books online store, or from any bookshop. -
Thomas Hope Blue John Atheniennes
A PAIR OF GEORGE III BLUE JOHN PATINATED AND GILT BRONZE ATHENIENNES ATTRIBUTED TO THOMAS HOPE A rare pair of early 19th century patinated and English lacquer gilt bronze atheniennes supporting highly figured solid Derbyshire blue john cups, the flared rims with thumb moulded edges, polished inside and out to reveal the rich translucent crystalline figuring. Each cup supported on parcel gilt bases comprising of three panther monopedia chimeras around a central cabochon of blue john mounted into a bronze circular stylobate and elevated by a gilt ring on stepped slightly canted neo Egyptian square bases separated and supported on four gilt paw feet. Attributed to Thomas Hope (1769-1831) England, circa 1805-10 Height 12 inches Diameter 9 1/2 inches Dating from circa 1805-10, this magnificent pair of gilt and patinated bronze mounted blue john atheniennes incorporate designs by Thomas Hope (1769-1831) and feature bronze work attributed to Alexis Decaix (d. 1811). Hope was an influential patron of the arts, a great collector, connoisseur and a highly original designer of furniture and decorative objects who, as here, favoured the use of contrasting rare blue john and other coloured stone with bold classical ormolu mounts. As a leading arbiter of taste in Regency England, Hope’s designs were widely disseminated through his influential publication Household Furniture and Interior Decoration, (1807), which illustrated and discussed many works of art that he had acquired and designed for his home in Duchess Street, London. A number of items from that publication conform in style to the present works, for instance plate. -
Greenwich Academic Literature Archive (GALA) – the University of Greenwich Open Access Repository
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Greenwich Academic Literature Archive Greenwich Academic Literature Archive (GALA) – the University of Greenwich open access repository http://gala.gre.ac.uk __________________________________________________________________________________________ Citation for published version: Jones, Emrys (2014) [Review] Ruin Lust at Tate Britain. BSECS Criticks Website. Publisher’s version available at: https://www.bsecs.org.uk/criticks/ReviewDetails.aspx?id=211&type=2 __________________________________________________________________________________________ Please note that where the full text version provided on GALA is not the final published version, the version made available will be the most up-to-date full-text (post-print) version as provided by the author(s). Where possible, or if citing, it is recommended that the publisher’s (definitive) version be consulted to ensure any subsequent changes to the text are noted. Citation for this version held on GALA: Jones, Emrys (2014) [Review] Ruin Lust at Tate Britain. London: Greenwich Academic Literature Archive. Available at: http://gala.gre.ac.uk/13788/ __________________________________________________________________________________________ Contact: [email protected] Ruin Lust Review The ruin lies in ruins. Brian Dillon, co-curator of Tate Britain’s Ruin Lust exhibition, admits as much at the start of his accompanying book: “It seems that the harder we think about destruction and decay […] and the further we explore the very idea of ruin itself, the less the whole category holds together.” So while book and exhibition offer numerous valuable thoughts on what the ruin can mean, why it rose to prominence in art and writing of the eighteenth century, and how it persists in the modern imagination, a systematic and unified appreciation of the topic is bound to remain out-of-reach. -
Urban Demolition and the Aesthetics of Recent Ruins In
Urban Demolition and the Aesthetics of Recent Ruins in Experimental Photography from China Xavier Ortells-Nicolau Directors de tesi: Dr. Carles Prado-Fonts i Dr. Joaquín Beltrán Antolín Doctorat en Traducció i Estudis Interculturals Departament de Traducció, Interpretació i d’Estudis de l’Àsia Oriental Universitat Autònoma de Barcelona 2015 ii 工地不知道从哪天起,我们居住的城市 变成了一片名副其实的大工地 这变形记的场京仿佛一场 反复上演的噩梦,时时光顾失眠着 走到睡乡之前的一刻 就好像门面上悬着一快褪色的招牌 “欢迎光临”,太熟识了 以到于她也真的适应了这种的生活 No sé desde cuándo, la ciudad donde vivimos 比起那些在工地中忙碌的人群 se convirtió en un enorme sitio de obras, digno de ese 她就像一只蜂后,在一间屋子里 nombre, 孵化不知道是什么的后代 este paisaJe metamorfoseado se asemeja a una 哦,写作,生育,繁衍,结果,死去 pesadilla presentada una y otra vez, visitando a menudo el insomnio 但是工地还在运转着,这浩大的工程 de un momento antes de llegar hasta el país del sueño, 简直没有停止的一天,今人绝望 como el descolorido letrero que cuelga en la fachada de 她不得不设想,这能是新一轮 una tienda, 通天塔建造工程:设计师躲在 “honrados por su preferencia”, demasiado familiar, 安全的地下室里,就像卡夫卡的鼹鼠, de modo que para ella también resulta cómodo este modo 或锡安城的心脏,谁在乎呢? de vida, 多少人满怀信心,一致于信心成了目标 en contraste con la multitud aJetreada que se afana en la 工程质量,完成日期倒成了次要的 obra, 我们这个时代,也许只有偶然性突发性 ella parece una abeja reina, en su cuarto propio, incubando quién sabe qué descendencia. 能够结束一切,不会是“哗”的一声。 Ah, escribir, procrear, multipicarse, dar fruto, morir, pero el sitio de obras sigue operando, este vasto proyecto 周瓒 parece casi no tener fecha de entrega, desesperante, ella debe imaginar, esto es un nuevo proyecto, construir una torre de Babel: los ingenieros escondidos en el sótano de seguridad, como el topo de Kafka o el corazón de Sión, a quién le importa cuánta gente se llenó de confianza, de modo que esa confianza se volvió el fin, la calidad y la fecha de entrega, cosas de importancia secundaria. -
Liquid Monumentality: a Search for Meaning
Liquid Monumentality: A Search for Meaning by David Takacs A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Master of Architecture Waterloo, Ontario, Canada, 2011 © David Takacs 2011 AUTHOR’S DECLARATION I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including my required final revisions, as accepted by my examiners. I understand that my thesis may be made available electronically to the public. ii ABSTRACT Contemporary architecture suffers from an acute malaise: it has lost its sense of meaning, and in turn, its sense of significance. In our world of economy and utility—the liquid world—architecture can only allude to a higher purpose, a feigned declaration of its inability to contend with the current state. Yet this was not always the case. For thousands of years everything from the minutest of details to the greatest of narratives found their expression in architecture, and specifically, in a culture’s understanding and application of monumentality. The monument embodied the spirit of its times, and in its near-immortality provided a refuge for the loftiest of hopes and dreams. While it may appear that words like immortality and spirit are at odds with the ceaseless and constant change of the globalized world, change is not a new concept of our era. Since the beginning of history monumental architecture tempered its solidity with an implicit appreciation for the transience it sought to overcome. Liquid Monumentality reconstructs this dialectic of permanence and change in an attempt to answer one question: is the monumental still relevant in our liquid age? iii ACKNOWLEDGEMENTS I initially wrote a few fairly standard paragraphs for my “acknowledgements”. -
Sir John Soane's Museum
SIR JOHN SOANE’S MUSEUM THE ANNUAL REPORT 2006–2007 SIR JOHN SOANE’S MUSEUM THE ANNUAL REPORT FOR THE YEAR 1 APRIL 2006 TO 31 MARCH 2007 PRESENTED PURSUANT TO THE GOVERNMENT RESOURCES AND ACCOUNTS ACT 2000 SECTION 26 (2) ORDERED BY THE HOUSE OF COMMONS TO BE PRINTED 13 DECEMBER 2007 HC 74 LONDON: THE STATIONERY OFFICE £12.85 TRUSTEES OF SIR JOHN SOANE’S MUSEUM LIFE TRUSTEES Richard Griffiths (Chairman) Mrs Bridget Cherry, OBE, FSA Simon Swynfen Jervis, FSA John Studzinski, KSG (to 31 July 2006) REPRESENTATIVE TRUSTEES Dr Timothy Bliss, FRS Representative of the Royal Society David Coombs Representative of the Royal Society of Arts Alderman Alison Gowman Representative of the Court of Aldermen of the City of London Dr Ian Jenkins, FSA Representative of the Society of Antiquaries of London Sir Richard MacCormac, CBE, PPRIBA, RA Representative of the Royal Academy Sub-Committees of the Trustees AUDIT & FINANCE David Coombs Richard Griffiths James Macdonald (co-opted member) BUILDINGS Bridget Cherry Richard Griffiths Simon Swynfen Jervis Sir Richard MacCormac STRATEGY Dr Timothy Bliss David Coombs Alderman Alison Gowman Richard Griffiths Front cover: William Hogarth (1697–1764) An Election : Chairing the Member (detail) Back cover: Royal Academy Lecture illustration of a grove of trees, drawn for Sir John Soane by George Basevi, 1814 Title page: A view in the Dome Area of the Museum. Photograph: Klaus Wehner © Crown Copyright 2007 The text in this document (excluding any Royal Arms and departmental logos) may be reproduced free of charge in any format or medium providing that it is reproduced accurately and not used in a misleading context. -
Angelica Kauffmann, R.A., Her Life and Her Works
EX LlBRl THE GETTY PROVENANCE INDEX This edition is limited to lOOO copies for sale in Great Britain and the United States. I ANGELICA KAUFFMANN, R.A. HER LIFE AND HER WORKS BT DR. G. C. WILLIAMSON THE KEATS LETTERS, PAPERS AND OTHER RELICS Reproduced in facsimile from the late Sir Charles Dilke's Bequest to the Corporation of Hampstead. Foreword by Theodore Watts-Dunton and an Intro- duction by H. Buxton Forman. With 8 Portraits of Keats, and 57 Plates in collotype. Limited to 320 copies. Imperial 4to. OZIAS HUMPHRY: HIS LIFE AND WORKS With numerous Illustrations in colour, photogravure and black and white. Demy 410. MURRAY MARKS AND HIS FRIENDS With numerous Illustrations. Demy 8vo. DANIEL GARDNER Painter in Pastel and Gouache. A Brief Account of His Life and Works. With 9 Plates in colour, 6 photogravures, and very numerous reproductions in half-tone. Demy 4to. THE JOHN KEATS MEMORIAL VOLUME By various distinguished writers. Edited by Dr. G. C. Williamson. Illustrated. Crown 410. Dr. G. C. WILLUMSON and LADY VICTORIA MANNERS THE LIFE AND WORK of JOHN ZOFFANY, R.A. With numerous Illustrations in photogravure, colour and black and white. Limited to 500 copies. Demy 4to. THE BODLEY HEAD Digitized by the Internet Archive in 2013 http://archive.org/details/angelicakauffmanOOmann SELF PORTRAIT OF ANGELICA. From the original painting in the possessio?! of the Duke of Rutland and hanging at Belvoir Castle. The Duke also owns the original sketchfor this portrait. ANGELICA KAUFFMANN, R.A. HER LIFE AND HER WORKS By LADY VICTORIA MANNERS AND Dr. G. -
Self-Portrait in Ruins
Self-portrait in R uins 161 worldly. In his private life, however, he was introspective, VIII melancholy and quarrelsome. Soane was the first architect Self-portrait in Ruins to bring to the world of bricks, mortar and property development the Sturm tmd Drang of the Romantic movement, as personified by the painters Henry Fuseli and Benjamin Robert Haydon. Inspired by Rousseau and by Goethe's Yo ung We1·ther, this generation of artists of the ep~s .Magna is not the only imported Roman ruin in 1780s invented the idea that creative genius was identified Bntam. In London, the catacombs of Sir John with uncompromising self-expression - and that the conse LSoane's Museum display statues, altars and quence of the refusal to compromise was misunderstanding, fragments of architecture, piled in the shadows as if they had persecution and failure. In the painter's garret this idea had been excavated hours before. Light trickles into the its charm, but Soane was architect to the Directors of the subterranean labyrinth from skylights high above; there are Bank of England, t he Lord Chancellor and the Prime no ~indows, so there are no views of the modern city Minister. He had to hang his Romantic cloak in a cupboard. outside. As soon as the front door closes the visitor is no T he tensions between these two sides of his personality longer in central London but, rather, inside the imaginative were expressed through the metaphor of ruin. This first world of the museum's founder. The great architect died in appeared when in 1795 he rebuilt the Stock Exchange, this house at N o. -
Lowell Libson Limited British Art
LOWELL LI BSON LTD 2 0 12 • LOWELL LIBSON LIMITED BRITISH ART 3 Clifford Street · London w1s 2lf +44 (0)20 7734 8686 · [email protected] www.lowell-libson.com LL 2012 text for Alta.indd 1 01/12/2011 13:05 LOWELL LIBSON LTD 2012 LL 2012 text for Alta.indd 2 01/12/2011 13:05 LL 2012 text for Alta.indd 3 01/12/2011 13:05 INDEX OF ARTISTS LOWELL LIBSON LTD Richard Parkes Bonington 96–101 Robert Carpenter 64 3 Clifford Street · London w1s 2lf John Constable 86–95 Telephone: +44 (0)20 7734 8686 Fax: +44 (0)20 7734 9997 David Cox 112–117 Email: [email protected] Richard Earlom 58 Website: www.lowell-libson.com Henry Edridge 73 The gallery is open by appointment, Monday to Friday James Jefferys 56 The entrance is in Old Burlington Street Thomas Gainsborough 18–31 Daniel Gardner 42 In 2012 our exhibition schedule is: Hubert Gravelot 12 Master Drawings New York Valentine Green 60 January 21–28 William Holman Hunt 118 George Lambert 16 TEFAF Maastricht Thomas Lawrence 76–79 March 16–25 John Linnell 102 Master Drawings London Thomas Malton 70 June 27 – July 5 Master of the Giants 56 John Hamilton Mortimer 54 Matthew William Peters 50 George Romney 32–41 Michael Angelo Rooker 68 George Stubbs 52 Peltro William Tomkins 44 Francis Towne 62 William Turner of Oxford 104–111 George Augustus Wallis 80 Cover: a sheet of 18th-century Italian paste paper (collection: Lowell Libson) Richard Westall 48, 84 John Michael Wright 8 Frontispiece: detail from Sir John Morshead George Romney (see pages 38–41) Joseph Wright of Derby 58–61 LL 2012 text for Alta.indd 4 01/12/2011 13:05 LL 2012 text for Alta.indd 5 01/12/2011 13:05 We are delighted to be able to publish some of the acquisitions – paintings, drawings, watercolours, prints and sculpture – which we have made over the last year. -
James Parker Records, 1910-2005
James Parker records, 1910-2005 Finding aid prepared by Sarah Szeliga with the assistance of Alyssa Carver, Allison Cloyd, Phylicia Dolcy, Kara Flanigon, Christine McCluskey Processing of this collection was funded by a generous grant from The James Parker Charitable Foundation This finding aid was generated using Archivists' Toolkit on November 27, 2013 The Metropolitan Museum of Art Archives 1000 Fifth Avenue New York, NY, 10028-0198 212-570-3937 [email protected] James Parker records, 1910-2005 Table of Contents Summary Information .......................................................................................................3 Biographical Note................................................................................................................4 Scope and Contents note.....................................................................................................7 Arrangement note................................................................................................................ 8 Administrative Information .............................................................................................. 9 Related Materials .............................................................................................................. 9 Controlled Access Headings............................................................................................. 10 Collection Inventory..........................................................................................................12 Series I. Research........................................................................................................12 -
GGJ Master Index
GEORGIAN GROUP JOURNAL INDEX 1986 Georgian Group Report & Journal Author Article Pages Charles Hind Sound and Fury – The Early Days of the Georgian Group 45–54 John Harvey The Georgian Garden: Nurseries and Plants 55–66 David Lambert William Shenstone and the Fairy Landscape 67–73 John Redmill Mount Temple, Russborough, Co. Wicklow 74-76 Donal Channer The New Staircase at No. 15 Queen Square, Bath 77–79 1987 Georgian Group Report & Journal Author Article Pages Steven Parissien, John Harris and Narford Hall, Norfolk 49–61 Howard Colvin Christopher Sturman A Lincolnshire Hermit: Wolley Jolland (1745–1831) 62–76 Julia Abel-Smith The Umbrello at Great Saxham, Suffolk 77–87 GG Report & Journal 1988 1988 Georgian Group Report & Journal Author Article Pages Spital Square and the Liberty of Norton Folgate: The Dan Cruickshank 43–47 Development of an 18th Century London Quarter Philip Heath Melbourne Hall Reconsidered 48–60 Elisabeth Hall The Georgian Gardens of the Royal Naval Dockyard at Chatham 61–66 Charles Brooking The Continuing Erosion of Period Detail 67–71 In Search of the Cottage Picturesque: Some Origins and Nigel Temple 72–80 Destinations William Hawkes The Repair of the Museum, Enville, Staffordshire 81–84 1989 Georgian Group Report & Journal Author Article Pages Jane Clark For Kings and Senates Fit 55–63 Charles Hind A Bookplate Designed by William Kent 64–65 Donald Findlay Centralised Plans for Anglican Churches in Georgian England 66–74 Frank Kelsall Cavendish Square 75–79 Andrew Ginger Daylesford House and Warren Hastings 80–102