DOCSLIB.ORG

Deposition-Tom-De-Freston.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Deposition-Tom-De-Freston.Pdf Christ's College Chapel Unveils Its First Commission of Art in 500 Years Easter Sunday (the 24th April) 2011 will be a very special occasion for Christ's College Chapel in Cambridge University, as it unveils a new altar reredos by the current Leverhulme Artist in Residence, Tom de Freston. This will be the fruition of an exciting and developing collaboration, first imagined by Christopher Woods and Pablo de Gandia (Tablo Arts) at the end of 2008. The paintings were conceived to mark the 500th anniversary (2010) of the chapel's consecration. The service will be an Anglican Choral Evensong with special choral music by the College Choir. There will be readings from the Authorized King James Version of the Bible which is 400 years old this year. A sermon will be preached by the College Chaplain. In the course of the service, there will be an unveiling and dedication of the altarpiece and a short conversation between the Chaplain and Tom de Freston about the work of art. This publication provides insight into the making, meaning and wider context of the works, showing de Freston's studies and works on related themes. The range of figures who have contributed writing to this catalogue is testament to the signifi - cance of the project. Nicholas Serota provides a foreword, Rowan Williams considers the spiritual relevance in de Freston's altarpiece paintings, Graham Howes considers their relationship to the context of Christ's Chapel, Ruth Padel puts them into an art historical context and Jaya Savige gives insight into two other paintings of de Freston's which tackle religion in a Miltonic form. Alongside this is a conversation between de Freston and Sir Anthony Caro, two interviews by Pablo de Gandia with de Freston, and a specially-commissioned poem responding to the chapel paintings by Kiran Millwood Hargrave. Tom de Freston is the current Leverhulme Artist in Residence at Cambridge University and Artist in Residence at the Leys. He has previously held the Levy Plumb Award at Christ's College, Cambridge. He is currently working on a body of paintings for the British Shakespeare Association to be exhibited at their annual conference in September 2011. In 2011 Tom will have solo shows with HRL Contemporary and Tablo Arts in London. In addition, Tom will be curating and participating in a show at the RCA. This year Tom has also launched a new academic website: www.tomdefreston.co.uk/tragedy. All works by Tom de Freston unless otherwise stated. © Tom de Freston www.tomdefreston.co.uk [email protected] This Page: Detail of Deposition (a study) , 2009, Oil on Canvas, 72 x 100cm Published by Green Pebble in conjunction with Christ’s College, Cambridge Editor Ruby Ormerod www.greenpebble.co.uk DEPOSITION: A NEW INSTALLATION a t C h r i s t ’ s C o l l e g e , C Nicholas Serota a m Foreword b r i d g Sir Anthony Caro in Conversation e By Tom de Freston Ruth Padel Discusses Tom de Freston’s Deposition Pablo de Gandia Interviews Tom de Freston Graham Howes From Seeing to Believing? Pablo de Gandia Interviews Tom de Freston about death Rowan Williams Spirituality in de Freston’s Deposition Jaya Savige Discusses ‘The Seat of Desolation’ Miltonic depth in the work of Tom de Freston Kiran Millwood Hargrave Surfacing - A Poem Revd Christopher Woods Words of commendation from the Chaplain of Christ's College 69 DEPOSITION: A NEW INSTALLATION a t C h r i s t ’ s C o l l e g e , C a m b r i d g e 70 71 DEPOSITION: A NEW INSTALLATION a t C h r i s t ’ s C o l l e g e , C a m b r i d g e Previous Page, Left Deposition (left hand panel), 2010, oil on canvas, 190 x 115cm Previous Page, Right Deposition (right hand panel), 2010, oil on canvas, 190 x 115cm Left Deposition (insitu at Christ's College Chapel), 2010, oil on canvas, 190 x 115cm This page Deposition (insitu at Christ's College Chapel), 2010, oil on canvas, 190 x 115cm 72 73 DEPOSITION: A NEW INSTALLATION a t C h r i s t ’ s C o l l e g e , C a m b r i d g e Foreword By Nicholas Serota 2010 marked the 500th anniver - such a commission is a huge sary of consecration of the credit to him, his work and the Chapel at Christ's. The anniver - College. The way in which sary is to be celebrated by the Christ's has embraced contempo - installation of two new site- rary art in this manner is unusual, specific altarpiece paintings on but reflects both an understand - the theme of the Deposition made ing of the role art can play in by the young contemporary his - worship and the long history of tory painter, Tom de Freston. the involvement of the College The paintings have been with the visual arts. designed to respond to the unique De Freston's paintings normally spatial, spiritual and aesthetic explore themes of Tragedy in demands of the Chapel and the contemporary painting, with his subject of the Deposition has most recent body of works been chosen to complement the drawing directly from Shake - Opposite page: presence in the antechapel of Sir speare's plays and Milton's Deposition study Anthony Caro's sculpture on the Paradise Lost . In his altarpiece 2009 same theme. paintings, the multiple figures, oil on board 30 x 20cm Caro is one of our country's narrative and interior space seen most admired artists and the in his literary paintings have been This page: College Chapel is a space of sacrificed in order to create a dip - Swimmer of Lethe great importance and history, both tych which responds to the spe - 2010 architecturally and spiritually. For cific challenges of the Chapel oil on canvas a young artist such as Tom de commission. Each painting shows 190 x 130cm Freston to have been afforded a single figure hovering between 74 dark columns. As such, the The responses to the works Study of Falling , 2008 figures seem to exist in direct re - published in this catalogue are Monoprint on paper lation to the space of the Chapel testament to their achievement 30 x 20cm itself. The placing of the figures, in giving eternal questions con - choice of colours and the sense temporary form. of self-reflexive light all disclose This catalogue reveals a de Freston's interest in a history series of conversations; between of images that were also impor - two works of art, between the tant to Caro, notably Rembrandt works and the austere beauty of and Rubens. The solid geometry the Chapel, and between the two of the paintings and the hovering works and earlier works that take forms show an acute understand - the Deposition as their theme. Nicholas Serota ing of the construction of space These conversations provoke Director, Tate and form. De Freston's canvases, a rich engagement with faith whilst structurally similar to each and spirituality. That the 500th Nicholas Serota has been Director of other, are a dialogue of opposi - Anniversary of the Chapel has Tate since 1988. Since then Tate has tions, in which he explores both afforded an opportunity not just opened Tate St Ives (1993) and Tate Modern (2000), redefining the Millbank the fleshy, weighty pathos of the to look back but also to look to the building as Tate Britain (2000). Tate has Deposition, and the ethereal present and the future is an also broadened its field of interest to weightlessness and hope of the impressive achievement. The include twentieth-century photography, Resurrection. installation of de Freston and film, performance and occasionally Caro's sculpture and de Caro's work creates a harmo - architecture, as well as collecting from Freston's paintings are confirma - nious celebration in a Chapel Latin America, Asia and the Middle East. tion that contemporary art is still where art, architecture, prayer As a curator, his most recent exhibitions able to offer a new and engaging and music come together to have been Donald Judd and Cy Twombly reflection on themes that have provide a deeply moving at Tate Modern and Howard Hodgkin at fascinated artists for centuries. spiritual experience. Tate Britain. 75 DEPOSITION: A NEW INSTALLATION a t C h r i s t ’ s C o l l e g e , C a m b r i d g e Sir Anthony Caro in Conversation By Tom de Freston ‘Art is often sourced by religious figuration and towards abstrac - themes. Art is best appreciated in tion. Yet, over the past two quiet contemplative situations, as decades his work has regularly in religion.’ made returns to figuration. The -Sir Anthony Caro (AC) Deposition is one such work. Caro’s sculpture hits you the mo - Sir Anthony Caro’s recent visit ment you enter the antechapel, to Christ’s (in conversation with and I wanted to provide a similar Tim Marlow and Dr. Caroline visual fulcrum to the Chapel. Vout) showed him to be an Gushing writers and artists are articulate, warm and eloquent tiresome, but I cannot overstate speaker, but not one who feels a what a privilege it has been to need to justify his work through make paintings which will exist in loquacious philosophy. direct relation to this great sculpture. ‘Artists make sculptures and paintings.The words about their ‘The Deposition is a tender work and their practice are subject and the sculpture in unnecessary and are best the antechapel speaks in a minor answered by critics and writers key.
Load more

Recommended publications
  • Empirically Identify and Analyze Trained and Untrained Observers
    DOCUMENT RESUME ED 052 219 24 TE 499 825 AUTHOR Hardiman, George W. TITLE Identification and Evaluation of Trained and Untrained Observers' Affective Responses to Art Ob'ects. Final Report. INSTITUTION Illinois Univ., Urbana. Dept. of Art. SPONS AGENCY Office of Education (DREW), Washington, D.C. Bureau of Research. BUREAU NO BR-9-0051 PUB DATE Mar 71 GRANT OEG-5-9-230051-0027 NOTE 113p. EDRS PRICE EDRS Price MF-$0.65 HC-$6.58 DESCRIPTORS *Affective Behavior, *Art Expression, *Color Presentation, *Data Analysis, Factor Analysis, *Measurement Instruments, Rating Scales ABSTRACT The objectives of this study were twofold: (1) to empirically identify and analyze trained and untrained observers affective responses to a representative collection of paintings for the purpose et constructing art differential instruments, and (2) to use these instruments to objectively identify and evaluate the major affective factors and components associated with selected paintings by trained and untrained observers. The first objective was accomplished by having 120 trained and 120 untrained observers elicit a universe of 12,450 adjective qualifiers to a collection of 209 color slides of paintings. Data analyses yielded subsets of adjective qualifiers most characteristic of trained and untrained observers' affective decoding of the 209 slides. These subsets served as a basis for constructing separate art differential instruments for trained and untrained observers' use in subsequent analyses. The second objective was achieved by having 48 trained and 48 untrained observers rate 24 color slides of paintings on 50 scale art differential instruments. Trained and untrained observers' art differential ratings of the 24 paintings were factor analyzed in order to identify the major affective factors associated with the paintings.
    [Show full text]
  • November 2012 Newsletter
    historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 29, No. 2 November 2012 Jan and/or Hubert van Eyck, The Three Marys at the Tomb, c. 1425-1435. Oil on panel. Museum Boijmans Van Beuningen, Rotterdam. In the exhibition “De weg naar Van Eyck,” Museum Boijmans Van Beuningen, October 13, 2012 – February 10, 2013. HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President - Stephanie Dickey (2009–2013) Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny (2009–2013) Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Contents Board Members President's Message .............................................................. 1 Paul Crenshaw (2012-2016) HNA News ............................................................................1 Wayne Franits (2009-2013) Personalia ............................................................................... 2 Martha Hollander (2012-2016) Exhibitions ............................................................................ 3 Henry Luttikhuizen (2009 and 2010-2014)
    [Show full text]
  • Luxury Low Countries
    LUXURY LUXURY in the LOW LUXURY COUNTRIES the in in the e superflu, chose très nécessaire”, wrote Voltaire 1736 in COUNTRIES LOW LOW his poem Le mondain. Needless to say that luxury is much Lmore than merely materialised/solidified redundancy. Offering a first panoramic view on various manifestations of conspicuous material culture in a Netherlandish context from 1500 until the present, this study – rather than investigating self- COUNTRIES evident cases of luxury – aims to explore its boundaries and the different stages in which luxury is fabricated or sometimes only simulated. Thematically, the volume focuses on two major issues, i.e. collections and foodways as means of expression of prosperity and splendour, which will be discussed by an international group of scholars, emanating from disciplines such as archaeology, history, book and media studies, art history, linguistics, and historical (ed.) Rittersma Rengenier ethnology. With an afterword by Maxine Berg. MIScellaneous RefleCtions on NETHERlandish MaTERial CULTURE, 1500 to the PRESENT Rengenier Rittersma (ed.) www.vubpress.be 9 789054 875406 Miscellaneous Reflections on Netherlandish Material Culture, 1500 to the Present Rengenier C. Rittersma (ed.) © 2010 FARO. Flemish interface for cultural heritage Cover image: Adriaan de Lelie, De kunstgalerij van Jan Priemstraat 51, B-1000 Brussels Gildemeester Jansz in zijn huis aan de Herengracht te www.faronet.be Amsterdam, 1794-1795 www.pharopublishing.be © Rijksmuseum Amsterdam Editorial board: Marc Jacobs, Rengenier C. Rittersma, All rights reserved. No part of this book may be Peter Scholliers, Ans Van de Cotte reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, Final editors: Frederik Hautain & Ans Van de Cotte recording, or on any information, storage or retrieval system without permission of the publisher.
    [Show full text]
  • Rembrandt's 1654 Life of Christ Prints
    REMBRANDT’S 1654 LIFE OF CHRIST PRINTS: GRAPHIC CHIAROSCURO, THE NORTHERN PRINT TRADITION, AND THE QUESTION OF SERIES by CATHERINE BAILEY WATKINS Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History CASE WESTERN RESERVE UNIVERSITY May, 2011 ii This dissertation is dedicated with love to my children, Peter and Beatrice. iii Table of Contents List of Images v Acknowledgements xii Abstract xv Introduction 1 Chapter 1: Historiography 13 Chapter 2: Rembrandt’s Graphic Chiaroscuro and the Northern Print Tradition 65 Chapter 3: Rembrandt’s Graphic Chiaroscuro and Seventeenth-Century Dutch Interest in Tone 92 Chapter 4: The Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus and Rembrandt’s Techniques for Producing Chiaroscuro 115 Chapter 5: Technique and Meaning in the Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus 140 Chapter 6: The Question of Series 155 Conclusion 170 Appendix: Images 177 Bibliography 288 iv List of Images Figure 1 Rembrandt, The Presentation in the Temple, c. 1654 178 Chicago, The Art Institute of Chicago, 1950.1508 Figure 2 Rembrandt, Descent from the Cross by Torchlight, 1654 179 Boston, Museum of Fine Arts, P474 Figure 3 Rembrandt, Entombment, c. 1654 180 The Cleveland Museum of Art, 1992.5 Figure 4 Rembrandt, Christ at Emmaus, 1654 181 The Cleveland Museum of Art, 1922.280 Figure 5 Rembrandt, Entombment, c. 1654 182 The Cleveland Museum of Art, 1992.4 Figure 6 Rembrandt, Christ at Emmaus, 1654 183 London, The British Museum, 1973,U.1088 Figure 7 Albrecht Dürer, St.
    [Show full text]
  • Pontormo's Capponi Chapel* Leosteinberg
    385 Pontormo's Capponi Chapel* LeoSteinberg Pontormo's work in the Capponi Chapel in Santa Felicita, as "Christ is taken away from His Mother, towards the Florence, began in I525 with the decoration of its hemis- tomb... the Virgin's gesture... becomes one of farewell." pherical dome, a fresco of God the Father surrounded by Meanwhile, on the vault surface directly opposite, the figure four patriarchs. The fresco was followed by four circular of God the Father (known to us from the Uffizi drawings, panels for the pendentives with bust portraits of the evan- Figs. 4-5) extends his right hand in "a gesture of sublime gelists, partly Bronzino's work,1 and by the great altar- compassion and benediction directed across the Chapel to the piece, variously called Descentfrom the Cross (or Deposition), dead Christ." "The fusion by gesture and emotion of dome Pietd, or Entombment (Fig. I).2 The final work, datable in and altarpiece has the effect that the subject-matter of the 1528, was the fresco of the Annunciationon the window wall. parts also becomes one, and that an action takes place across This last, the four tondi, and the altarpiece in its rich the space of the chapel."6 period frame are intact. The cupola decoration was lost In what follows, I will have to quarrel with almost every when the original dome was destroyed to make way for the detail of Shearman's analysis. But my disagreements, in- present shallower vault; nor do we know whether this oc- stead of invalidating, will, I believe, confirm his essential curred in the sixteenth or the eighteenth century.3 In fact, intuition.
    [Show full text]
  • Caravaggio, Second Revised Edition
    CARAVAGGIO second revised edition John T. Spike with the assistance of Michèle K. Spike cd-rom catalogue Note to the Reader 2 Abbreviations 3 How to Use this CD-ROM 3 Autograph Works 6 Other Works Attributed 412 Lost Works 452 Bibliography 510 Exhibition Catalogues 607 Copyright Notice 624 abbeville press publishers new york london Note to the Reader This CD-ROM contains searchable catalogues of all of the known paintings of Caravaggio, including attributed and lost works. In the autograph works are included all paintings which on documentary or stylistic evidence appear to be by, or partly by, the hand of Caravaggio. The attributed works include all paintings that have been associated with Caravaggio’s name in critical writings but which, in the opinion of the present writer, cannot be fully accepted as his, and those of uncertain attribution which he has not been able to examine personally. Some works listed here as copies are regarded as autograph by other authorities. Lost works, whose catalogue numbers are preceded by “L,” are paintings whose current whereabouts are unknown which are ascribed to Caravaggio in seventeenth-century documents, inventories, and in other sources. The catalogue of lost works describes a wide variety of material, including paintings considered copies of lost originals. Entries for untraced paintings include the city where they were identified in either a seventeenth-century source or inventory (“Inv.”). Most of the inventories have been published in the Getty Provenance Index, Los Angeles. Provenance, documents and sources, inventories and selective bibliographies are provided for the paintings by, after, and attributed to Caravaggio.
    [Show full text]
  • Peter Paul Rubens
    T h e Gre at Masters in P ainting and S c ulpture Will iam n Editedby G . C . so P E T E R PA U L R U BEN S TH E GREAT MASTERS IN PAINTING AND L T R E SCU P U . Tbc ollowin Volumes Izam been issued rice s net at /I f g , p 5 . e . ’ ‘ B T I I E LLI S . O C . By A . TREETER R UN ELLE H I . L B SC By EADER SCOTT . M A E I . I COR R GG O S . By ELWYN BR NTON , M N R US HFO R’P H I LLI . I M . A CR E G . V By C E L , M BI the S B UR LA MA CC II I . DELLA RO B A . By ARCHE A RE DE RTO . SS . AND A L SA By H . GUINNE D N TE LLO . H R EA O A By OPE . W M P h . GER R D DOU . D . A By ARTIN , UDE N! I FER R R I . E T II E L H S GA O A By AL EY . FR N I . G O C. I I S Litt D . C . A A By E RGE W LL AM ON , M A GIOR GION E . H B C . By ER ERT OOK, M S. F. S GIOTTO . By A ON PERKIN M A . FR NS H LS . G S . D V S . A A By ERALD A IE , LUIN I . G C. I S Litt . D . By EORGE WILL AM ON , M R T T wE LL C U .
    [Show full text]
  • Peter Paul Rubens – Cultural Entrepreneur Avant La Lettre
    Erasmus University Rotterdam Faculty of History and Arts Peter Paul Rubens – Cultural Entrepreneur avant la lettre A case study in the economic history of the arts Thesis for the M.A. degree in Art & Cultural Studies Cultural Economics & Cultural Entrepreneurship Fu Lo 314699 [email protected] July 2009 Supervisor: Dr. Filip R. R. Vermeylen Second Reader: Dr. Karolien de Clippel Abstract This thesis is an interdisciplinary research that connects (cultural) economics with history of art through a case study of the great Baroque master Peter Paul Rubens (1577-1640). Rubens has always been a significant icon in history; probably because of his versatile roles during his life. Besides being a genuine artist he was a humanistic scholar and a pacifying diplomat. And as the title of this thesis suggests, Rubens‘s extraordinary awareness and ability towards the business of art is the main focus in this thesis, as he epitomizes the notion of a ‗cultural entrepreneur‘ in the seventeenth century. Using economic theories we can identify Rubens‘s entrepreneurial mind and activities through the way of producing, organizing, transmitting and distributing art. Historical evidence shows that Rubens was indeed very familiar with certain economic concepts, such as division of labor, quality control, market segregation and even customer relationship management. The structure of this thesis can thus be divided into three parts: a literature review on the economic history of the arts, background introduction of Rubens and his time, and finally an economic interpretation of his artistic activities. The main findings of the thesis will be demonstrated in three parts, being the supply, the demand, and the price level of Rubens‘s art, respectively.
    [Show full text]
  • Albrecht Dürer's “Oblong Passion”
    ALBRECHT DÜRER’S “OBLONG PASSION”: THE IMPACT OF THE REFORMATION AND NETHERLANDISH ART ON THE ARTIST’S LATE DRAWINGS by DANA E. COWEN Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY January, 2014 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Dana E. Cowen ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Catherine B. Scallen (signed)_______________________________________________ (chair of the committee) Jon L. Seydl ________________________________________________ Holly Witchey ________________________________________________ Erin Benay ________________________________________________ 4 November 2013 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. This dissertation is dedicated to my parents, Nancy and John, and to my brother Mark Table of Contents Table of Contents i List of Figures ii Acknowledgements xi Introduction 1 Chapter One 23 Albrecht Dürer in the Netherlands, 1520 to 1521: The Diary and Works of Art Chapter 2 58 Dürer and the Passion: The “Oblong Passion” and its Predecessors Chapter 3 111 Dürer, Luther, and the Reformation: The Meaning of the “Oblong Passion” Chapter 4 160 The “Oblong Passion” Drawings and their Relationship to Netherlandish Art Conclusion 198 Appendix 1: 204 Martin Luther. “Ein Sermon von der Betrachtung des heiligen Leidens Christi” (A Sermon on Meditating on the Holy Passion of Christ), 1519 Appendix 2: 209 The Adoration of the Magi Appendix 3: 219 The Progression of Scholarship on Fifteenth- and Sixteenth-Century Netherlandish and German Drawings from the Late Nineteenth-Century to the Present Figures 233 Bibliography 372 i List of Figures Fig.
    [Show full text]
  • The Lebowski Cycle by Joe Forkan
    THE LEBOWSKI CYCLE Joe Forkan THE LEBOWSKI CYCLE Joe Forkan Flecker Gallery Suffolk County Community College, Selden, NY October 17 - December 2, 2013 Curated by Matthew Neil Gehring Essay by Caleb De Jong Oath of the Horatii cover: Jacques-Louis David, 1784 Oath of the Horatii, 2006 - 2010 Oil on canvas, 128 x 170 inches Oil on linen, 72 x 40 inches Musée du Louvre, Paris THE LEBOWSKI CYCLE DIRECTOR’S STATEMENT The Lebowski Cycle is a series of paintings and drawings exploring layered narratives, using masterpieces of European art The paintings in this exhibition by Los Angeles painter Joe Forkan operate as a bridge between and the 1998 Coen Brothers’ flm The Big Lebowski as a starting point. The series is the result of a longstanding interest pop culture and art history and between comedy and tragedy. Mark Rothko’s notion that all in narrative painting, particularly paintings from the Baroque and Neoclassical eras; complex fgurative works that depict great art exhibits a clear preoccupation with death is resonant here. The flm that these works grand story arcs, compressing a multitude of thoughts, ideas and emotions into a singular image. However, it is the human are drawn from, The Big Lebowski, positions its characters, led by the protagonist – the Dude, interactions and conficts, formal qualities, and modes of depiction that were as interesting to me as the specifc stories. within an absurd story arc in which the imminent threat of death, the promise of small, momentary fortune, and a fresh rug propel the decisions and actions that build the plot.
    [Show full text]
  • The Masterpieces of Rubens : Sixty Reproductions of Photographs From
    6^^" S S ART BOORS V'" I i™ MASTERPIECES Of From the Library of Frank Simpson Permanent Reproductions OF THE WORKS O? Sir EDWARD BURNE-JONES, Bart, G F. WATTS, R.A. DANTE GABRIEL ROSSETTI HARRY BATES, R.A., Homer and other* HAGUE GALLERY, a Selection from. By F HoLLYER, Jun. ALBERT MOORE, and other Artist* CAN BE OBTAINED OF FREDK. HOLLYER, 9 PEMBROKE SQUARE, KENSINGTON, LONDON. Illustrated Cataloj^ue^ Post Frett 12 Stamps. THE STUDIOS are open to Visitors daily, from lo a.m. to 6 p.m., and on Mondays, from lo a.m. to 10 p.m. PORTRAITS FROM LIFE are taken on Monday* only. An Appointment is advisable. — Telephone N«. 1117, MAYFAIR. CLAUDE & TREVELYAN, THE CARLTON GALLERY, PALL MALL PLACE, LONDON, S.W. BUYERS AND SELLERS OF FINE PICTURES AND OTHER WORKS OF ART. VALUATIONS MADE FOR PROBATE AND OTHERWISE. From "TJie Connoisseur,** "If you are in London at any time, and are interested in fine Old and Modern Pictures, Antique Furniture, Old Clocks, Watches, and China, try and find the Carlton Gallery; it is somewhat difficult to find, but it is worth your while to find it. You will find the Gallery down a small alley leading from Pall Mall (opposite the Guards' Club) to King Street. You will see two curious old carved wood animals seated at the entrance to the Gallery. There i« no Bhop window. H.M. The King recently honoured the Gallery with a visit, and the visitors' book will show you that nearly everybody of note visits the Gallery. If you want anything valuable restored—be it Pictures or Antiques of any descrip- tion, and of an especially difficult character—send them to the Carlton Gallery if you want them done well and at a reason- able charge." From a note by a Connoisseur.
    [Show full text]
  • Art at Auction in Th Century Amsterdam
    JOHN MICHAEL MONTIAS This book exploits a trove of original documents that have survived on the auctions organized by the Orphan Chamber of Amsterdam in the first half of the seventeenth century. For the first time, the names of some 2000 buyers of works of art at auction in the 29 extant notebooks of the Chamber have been systematically analyzed. On the basis of archival research, data have been assembled on the occupation of these buyers (most of whom were merchants), their origin (Southern Netherlands, Holland, and other), their religion, their year of birth, their date of marriage, the taxes they paid and other indicators of their wealth. Buyers were found to cluster in groups, not only by extended family but by occupation, religion (Remonstrants, Counter-Remonstrants) and avocation (amateurs of tulips and of porcelain, members of Chambers Art at Auction in of Rhetoricians, and so forth). The subjects of the works of art they bought and the artists to which they were attributed are also analyzed. The second part of the book on “Selected Buyers”, is devoted to art dealers who bought at auction and four to buyers who had special connections with artists, including principally Rembrandt. As a whole, the book offers a penetrating insight into the culture of the Amsterdam elite in the seventeenth century. In Art at Auction in 17th Century Amsterdam Montias has created a richly patterned panorama of the interactions between artists, art lovers and art dealers who were active in one of Europe’s most JOHN MICHAEL th Century Amsterdam important art scenes of the 17th century.
    [Show full text]