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Arts Books & Ephemera
Arts 5. Dom Gusman vole les Confitures chez le Cardinal, dont il est reconnu. Tome 2, 1. Adoration Des Mages. Tableau peint Chap. 6. par Eugene Deveria pour l'Eglise de St. Le Mesle inv. Dupin Sculp. A Paris chez Dupin rue St. Jacques A.P.D.R. [n.d., c.1730.] Leonard de Fougeres. Engraving, 320 x 375mm. 12½ x 14¾". Slightly soiled A. Deveria. Lith. de Lemercier. [n.d., c.1840.] and stained. £160 Lithograph, sheet 285 x 210mm. 11¼ x 8¼". Lightly Illustration of a scene from Dom Juan or The Feast foxed. £80 with the Statue (Dom Juan ou le Festin de pierre), a The Adoration of the Magi is the name traditionally play by Jean-Baptiste Poquelin, known by his stage given to the representation in Christian art of the three name Molière (1622 - 1673). It is based on the kings laying gifts of gold, frankincense, and myrrh legendary fictional libertine Don Juan. before the infant Jesus, and worshiping Him. This Engraved and published in Paris by Pierre Dupin interpretation by Eugene Deveria (French, 1808 - (c.1690 - c.1751). 1865). From the Capper Album. Plate to 'Revue des Peintres' by his brother Achille Stock: 10988 Devéria (1800 - 1857). As well as a painter and lithographer, Deveria was a stained-glass designer. Numbered 'Pl 1.' upper right. Books & Ephemera Stock: 11084 6. Publicola's Postscript to the People of 2. Vauxhall Garden. England. ... If you suppose that Rowlandson & Pugin delt. et sculpt. J. Bluck, aquat. Buonaparte will not attempt Invasion, you London Pub. Octr. 1st. 1809, at R. -
Grosvenor Prints February 2009 New Web Listing
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 February 2009 New Web Listing 9723 Pierrot. Numbered '4' upper right. C.P.S. Mai. Mart. Enelbrecht A.V. [n.d., c.1740.] From the collection of Cecil Bisshopp Harmsworth, 1st Original hand coloured etching and engraving, 240 x Baron Harmsworth. 155mm. 9½ x 6". Some soiling; lower right corner of sheet missing. £220 9774 Aquatic Theatre, Sadler's Wells. In the Commedia dell'arte, Pedrolino, or Pierrot in Published Augt. 23, 1813, by Jas. Whittle & Richd. H. French pantomime, is a servant dressed in white. Here Laurie, 53, Fleet Street, London. he carries a musket over his shoulder, some hunting Hand coloured etching and engraving, 300 x 445mm. trophies hanging from his belt. 11¾ x 17½". Age toned; damage to margins. £260 By Martin Engelbrecht (1684 - 1756), engraver and View of Sadler's Wells Theatre, showing a horse- publisher in Augsburg. drawn carriage and figures fishing along the river in Numbered '5' upper right. the foreground. From the collection of Cecil Bisshopp Harmsworth, 1st Sadler's Wells Theatre on Rosebery Avenue, Baron Harmsworth. Clerkenwell. Many famous actors appeared at the theatre, including Edmund Kean, and popular 9721 Scaramouche. comedians such as Joseph Grimaldi (1778 - 1837), C.P.S. Maj. Mart. Engelbrecht A.V [n.d., c.1740.] originator of the painted clown. A tank under the stage Original hand coloured etching and engraving, 235 x could be flooded with water from the New River. -
Animal Painters of England from the Year 1650
JOHN A. SEAVERNS TUFTS UNIVERSITY l-IBRAHIES_^ 3 9090 6'l4 534 073 n i«4 Webster Family Librany of Veterinary/ Medicine Cummings School of Veterinary Medicine at Tuits University 200 Westboro Road ^^ Nortli Grafton, MA 01536 [ t ANIMAL PAINTERS C. Hancock. Piu.xt. r.n^raied on Wood by F. Bablm^e. DEER-STALKING ; ANIMAL PAINTERS OF ENGLAND From the Year 1650. A brief history of their lives and works Illustratid with thirty -one specimens of their paintings^ and portraits chiefly from wood engravings by F. Babbage COMPILED BV SIR WALTER GILBEY, BART. Vol. II. 10116011 VINTOX & CO. 9, NEW BRIDGE STREET, LUDGATE CIRCUS, E.C. I goo Limiiei' CONTENTS. ILLUSTRATIONS. HANCOCK, CHARLES. Deer-Stalking ... ... ... ... ... lo HENDERSON, CHARLES COOPER. Portrait of the Artist ... ... ... i8 HERRING, J. F. Elis ... 26 Portrait of the Artist ... ... ... 32 HOWITT, SAMUEL. The Chase ... ... ... ... ... 38 Taking Wild Horses on the Plains of Moldavia ... ... ... ... ... 42 LANDSEER, SIR EDWIN, R.A. "Toho! " 54 Brutus 70 MARSHALL, BENJAMIN. Portrait of the Artist 94 POLLARD, JAMES. Fly Fishing REINAGLE, PHILIP, R.A. Portrait of Colonel Thornton ... ... ii6 Breaking Cover 120 SARTORIUS, JOHN. Looby at full Stretch 124 SARTORIUS, FRANCIS. Mr. Bishop's Celebrated Trotting Mare ... 128 V i i i. Illustrations PACE SARTORIUS, JOHN F. Coursing at Hatfield Park ... 144 SCOTT, JOHN. Portrait of the Artist ... ... ... 152 Death of the Dove ... ... ... ... 160 SEYMOUR, JAMES. Brushing into Cover ... 168 Sketch for Hunting Picture ... ... 176 STOTHARD, THOMAS, R.A. Portrait of the Artist 190 STUBBS, GEORGE, R.A. Portrait of the Duke of Portland, Welbeck Abbey 200 TILLEMAN, PETER. View of a Horse Match over the Long Course, Newmarket .. -
Rudolph Ackermann
San Jose State University SJSU ScholarWorks Faculty Publications, English and Comparative Literature English and Comparative Literature January 2012 Rudolph Ackermann Katherine D. Harris San Jose State University, [email protected] Follow this and additional works at: https://scholarworks.sjsu.edu/eng_complit_pub Part of the Literature in English, British Isles Commons Recommended Citation Katherine D. Harris. "Rudolph Ackermann" The Encyclopedia of Romantic Literature (2012). This Article is brought to you for free and open access by the English and Comparative Literature at SJSU ScholarWorks. It has been accepted for inclusion in Faculty Publications, English and Comparative Literature by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. Ackermann, Rudolph : The Encyclopedia of Romantic Literature... http://www.literatureencyclopedia.com/subscriber/uid=4743/to... BB ii bb ll ii oo gg rr aa pp hh ii cc DD ee tt aa ii ll ss TT hh ee EE nn cc yy cc ll oo pp ee dd ii aa oo ff RR oo mmaa nn tt ii cc LL ii tt ee rr aa tt uu rr ee EEddiitteedd bbyy:: Frederick Burwick ee I SS BB NN : 9781405188104 PPrriinntt ppuubblliiccaattiioonn ddaattee:: 2012 AA cc kk ee rr mm aa nn nn ,, RR uu dd oo ll pp hh KK AA TT HH EE RR II NN EE DD .. HH AA RR RR II SS SS uu bb j j ee cc t t LL i i t t ee rr aa t t uu rr ee DD OO I : 10.1111/b.9781405188104.2012.x Rudolph Ackermann (1764–1834) – print-seller, bookseller, publisher, inventor, businessman – popularized aquatint, lithography, and illustrated books from his vast London publishing house, R. -
Sarah Siddons and Mary Robinson
Please do not remove this page Working Mothers on the Romantic Stage: Sarah Siddons and Mary Robinson Ledoux, Ellen Malenas https://scholarship.libraries.rutgers.edu/discovery/delivery/01RUT_INST:ResearchRepository/12643459340004646?l#13643538220004646 Ledoux, E. M. (2014). Working Mothers on the Romantic Stage: Sarah Siddons and Mary Robinson. In Stage Mothers: Women, Work, and the Theater, 1660-1830 (pp. 79–101). Rowman & Littlefield. https://doi.org/10.7282/T38G8PKB This work is protected by copyright. You are free to use this resource, with proper attribution, for research and educational purposes. Other uses, such as reproduction or publication, may require the permission of the copyright holder. Downloaded On 2021/09/28 21:58:31 -0400 Working Mothers on the Romantic Stage Sarah Siddons and Mary Robinson Ellen Malenas Ledoux 1 March 2013 A smooth black band drawn over an impossibly white neck, a luminous bust barely concealed under fashionable dishabillé, powdered locks set off by a black hat profuse with feathers--these focal points, and many others, are common to two of the Romantic-era’s most famous celebrity portraits: Sir Joshua Reynolds’s “Mrs. Mary Robinson” (1782) and Thomas Gainsborough’s “Sarah Siddons” (1785). (See figure 1.) Despite both drawing on modish iconography in their choice of composition, pose, and costume, Reynolds and Gainsborough manage to create disparate tones. Siddons awes as a noble matron, whereas Robinson oozes sexuality with a “come hither” stare. The paintings’ contrasting tones reflect and promulgate the popular perceptions of these two Romantic-era actresses from the playhouse and the media. In the early 1780s Siddons was routinely referred to as a “queen” or a “goddess,” whereas Robinson was unceremoniously maligned by her detractors as a “whore.”1 Current scholarship on Siddons and Robinson devotes considerable attention to how these women’s semi-private sexual lives had major influence over their respective characterizations. -
British Humour Satirical Prints of the Eighteenth and Nineteenth Centuries
British Humour Satirical Prints of the Eighteenth and Nineteenth Centuries Comics and caricatures were born in eighteenth-century Europe. While the Enlightenment8 gave rise to a culture of criticism, the bolder art of ridicule can be credited to innovative artists responding to great social changes of the eighteenth and early nineteenth centuries. This exhibition focuses on three generations of British satirists pioneering this new form: William Hogarth, James Gillray and Thomas Rowlandson, and George Cruikshank. Hogarth, the “grandfather of the political cartoon,” lampooned the mores and behaviors of the ruling class, but no class, station, or profession was above his reproach. Following his example, Gillray and Rowlandson became thorns in the sides of aristocratic and public leaders by styling a new form of caricature with exaggerated features and proportions. Cruikshank, from a family of satirists, was able to imitate the style of Gillray so closely that Gillray’s publisher, Hannah Humphrey, hired him to complete projects the older artist left unfinished, and he was hailed in his lifetime as a “Modern Hogarth.” But comedy is serious business, because it speaks truth to power. These artists were at turns threatened, bullied, and bribed; they became part of the very debates they depicted and derided. Each succeeded because they created and then fulfilled the demands of a highly engaged citizenry, which is part of any democratic society valuing freedom of debate and expression. Modern counterparts, from editorial cartoons to The Daily Show, continue their tradition. William Hogarth (British, 1697–1764) The complete series Marriage à la Mode, 1745 Etching and engraving on paper Prints made by Gérard Jean-Baptiste Scotin II Gift of Museum Associates (2008.16.1-6) Hogarth’s Marriage à la Mode was his first series of satirical images that focused on elite British society. -
House of Lords Library: Gillray Collection
Library: Special Collections House of Lords Library: Gillray Collection The House of Lords Library Gillray collection was acquired in 1899 as a bequest from Sir William Augustus Fraser (1826–1898). The collection consists of eleven folio volumes, retaining Fraser’s fine bindings: half red morocco with elaborate gold tooling on the spines. Ownership bookplates on the verso of the front boards show Fraser’s coat of arms and some of the prints bear his “cinquefoil in sunburst” collector’s mark. The volumes are made up of leaves of blue paper, on to which the prints are pasted. Perhaps surprisingly, given the age of the paper and adhesive, there is no evident damage to the prints. Due to the prints being stored within volumes, light damage has been minimised and the colour is still very vibrant. The collection includes a few caricatures by other artists (such as Thomas Rowlandson) but the majority are by Gillray. It is possible that the prints by other artists were mistakenly attributed to Gillray by Fraser. Where Fraser lacked a particular print he pasted a marker at the relevant chronological point in the volume, noting the work he still sought. These markers have been retained in the collection and are listed in the Catalogue. The collection includes some early states of prints, such as Britania in French Stays and a few prints that are not held in the British Museum’s extensive collection. For example, Grattan Addresses the Mob is listed in Dorothy George’s Catalogue as part of the House of Lords Library’s collection only.1 Volume I includes a mezzotint portrait of the author by Charles Turner, and two manuscript letters written by Gillray; one undated and addressed to the artist Benjamin West; the other dated 1797 and addressed to the publisher John Wright. -
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. -
UNIVERSITY of CALIFORNIA RIVERSIDE Aesthetic Intersections
UNIVERSITY OF CALIFORNIA RIVERSIDE Aesthetic Intersections: Portraiture and British Women’s Life Writing in the Long Eighteenth Century A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Flavia Ruzi September 2017 Dissertation Committee: Dr. Adriana Craciun, Chairperson Dr. George Haggerty Dr. Malcolm Baker Copyright by Flavia Ruzi 2017 ii The Dissertation of Flavia Ruzi is approved: Committee Chairperson University of California, Riverside iii Acknowledgments This dissertation would not have been possible without the guidance and support of my committee, who have stood relentlessly beside me through every step of the process. I am immensely grateful to Adriana Craciun for her continued faith in my project and in my capacity to meet her ambitious expectations. She has made me a better writer and a more sophisticated thinker. I would also like to express my gratitude to Malcolm Baker, who has patiently born with my literary propensities through my examination of art historical materials. His dedicated guidance has enabled me to discuss such materials in each chapter with the art historical rigor they deserve. The interdisciplinary impetus of my project would not have been possible without him. And I would like to thank George Haggerty, who has been there for me since the first day of my graduate career and continues to inspire me with his unabating love for eighteenth- century literature. The reading group he organized for me and my friend, Rebecca Addicks-Salerno, was instrumental in the evolution of my project. Our invaluable conversations ensured that my dissertation was not a lonely and isolated process but the product of an eighteenth-century-salon-like culture of enjoyable intellectual exchange. -
British Art Studies November 2016 British Art Studies Issue 4, Published 28 November 2016
British Art Studies November 2016 British Art Studies Issue 4, published 28 November 2016 Cover image: Martin Parr, De La Warr Pavilion, Bexhill on Sea, East Sussex, England, UK, 1978. Digital image courtesy of Martin Parr / © Martin Parr / Magnum Photos (LON28062) PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. A joint publication by Contents Super-size caricature: Thomas Rowlandson's Place des Victoires at the Society of Artists in 1783, Kate Grandjouan Super-size caricature: Thomas Rowlandson's Place des Victoires at the Society of Artists in 1783 Kate Grandjouan Abstract This article re-examines an ambitious caricature of the French that Thomas Rowlandson (1757–1827) exhibited in London in 1783. -
Cat Talogu E 57
Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN Tel: 020 7836 1979 Fax: 020 7379 6695 E-mail: [email protected] www.grosvenorprints.com Dealers in Antique Prints & Books Catalogue 57 Item 50: George Stubbs. Phillis. A Pointer of Lord Clermonts. All items listed are illustrated on our web site: www.grosvenorprints.com Registered in England No. 1305630 Registered Office: 2, Castle Business Villlage, Station Roaad, Hampton, Middlesex. TW12 2BX. Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Rayment. C.E. Elliis. E&OE VAT No. 217 6907 49 ARTS 1. [Shepherd resting in a field.] Engraving, sheet 440 x 550mm (17½ x 21½"). Boyne [by John Boyne, 1806] Trimmed inside platemark; repaired tear at top. Foxed. Pen lithograph, sheet 225 x 310mm (8¾ x 12½"). Celadon at the centre, looking to the heavens with his Glued to original backing sheet at top corners with arms outstretched in disbelief and grief; Amelia lies printed border. Foxing. £450 dead at his feet. In the background a house with a Early lithograph by John Boyne (1750s-1810), Irish shepherd driving his sheep up a hill, on which is a watercolour painter and engraver who lived a colourful fortress. To right, a bay with stormy seas and a broken and varied life. After moving to England at 9 years old bridge. Verse from 'Summer' by James Thomson from and serving an apprenticeship to engraver William his 'The Seasons' below. Byrne, Boyne soon gave up printmaking to join a After an unlocated painting by Richard Wilson (1714 - company of strolling actors in Essex. -
Grosvenor Prints Catalogue
Grosvenor Prints Tel: 020 7836 1979 19 Shelton Street [email protected] Covent Garden www.grosvenorprints.com London WC2H 9JN Catalogue 109 Item 42. ` Cover: Detail of item 81 Back: Detail of Item 172 Registered in England No. 305630 Registered Office: 2, Castle Business Village, Station Road, Hampton, Middlesex. TW12 2BX. Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Rainment. C.E. Ellis. E&OE VAT No. 217 6907 49 1. Blondin's Gigantic Arena. Dimensions. 4. [Satirical frontispiece] Length of Fence 400 English feet. Width of R.W[hite] Sculp Printed for A. Mearne, T. Dring, B. Fence 800 English Feet. Height of Fence 8 Tooke, T. Sawbridge, & C. Mearne [c.1683] English Feet. Length of Tent 250 English Feet. Rare engraving; sheet 300 x 185mm (11¾ x 7¼"). Width of Tent 200 English Feet. Height of Tent Trimmed within plate. £250 50 English Feet. [Accompanying Sheet]: A satirical frontispiece to John Nalson's (1638–1686) "Impartial Collection of the Great Affairs of State" Explanations of further measurements and alluding to the execution of Charles I and the condition details of erecting the tent. of England. A ship is struggling in a stormy sea and the [n.d. c.1860.] crew throw a king overboard while shore standing Very scarce lithograph 265 x 420mm (10½ x 16½"), onlookers watch, some disputing and others in full on and etched sheet folded in half 280 x 256mm (11 x brawls. A church acts as a lighthouse and a beam from 10"). £290 the window projects onto the boat. It is suggested that Jean François Gravelet Blondin (1824-1897) was a the scene depicted is the Royal Sovereign (previously French tight-rope walker and acrobat.