Catalogue 187 Dutch Naval Heroes
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The Professionalisation of the Royal Navy: 1660-1688
The Professionalisation of the Royal Navy: 1660-1688 by Samantha Middleton The thesis is submitted in partial fulfilment of the requirements for the award of the degree of DOCTOR OF PHILOSOPHY of the University of Portsmouth September 2020 Abstract This thesis analyses the developments made between 1660 and 1688 that contributed towards the Royal Navy becoming a more professionalised organisation. It outlines the impact of individuals and their methods towards achieving professionalisation. The political and financial problems facing the navy before the restoration of the monarchy are also addressed. Biographical case studies of three influential naval reformers; James Stewart, The Duke of York; William Coventry; and Samuel Pepys are used to demonstrate the significant influence that they had on the process of professionalization. This thesis ascertains that although the terminology had not been invented at this stage, the principles of Management Control were implemented by Pepys, Coventry and the Duke of York as a method of organizational professionalisation, identifying examples of performance measurement, rewards systems and the implantation of standard operating procedures. An in-depth analysis of the Duke of York’s instructions for the duties of the Principal Officers demonstrates that the Duke of York introduced enhanced accounting procedures and additional control mechanisms to reduce abuses and increase administrative efficiency. Additionally, a set of professional responsibilities has been created within this thesis for Coventry, whose role as secretary is absent from the instructions. This shows for the first time, that Coventry identified his professional remit as focusing primarily on retrenchment and the reduction of abuses. This contributed towards wider professionalisation. -
Download Our Battle of Medway Guide
Why did it start ? In the seventeenth century, intensive political and commercial rivalry between the English and the Dutch spilled over repeatedly into war. This was an age of empire. Both powers were determined to grow at the expense of the other and maintain access to the market for the foreign luxury goods that sold so well at home. Maritime security and control of the sea were absolutely paramount. The young Dutch nation had quickly developed with Europe’s most up-to-date fleet of merchant shipping. This enabled them to exploit their military presence in Asia and become a leading commercial power. In contrast, England’s capabilities in the early seventeenth century were in decline. Peace with Spain meant that the navy was run down and money saved. A shortage of available vessels meant that English traders used Dutch ships instead. In 1651 the English government put a stop to this practice and passed the first of a series of Navigation Acts, which stated that all goods bound for England had to be carried in English ships. The navy was encouraged to police the law by attacking and boarding all Dutch vessels. The first Anglo-Dutch War was the result. It lasted two years. An uneasy peace followed, broken by isolated clashes in West Africa and North America. In 1665, a second war began promisingly for the English, with victory at the Battle of Lowestoft. The following year, a controversial action known as ‘Holmes’s Bonfire’ raised the stakes considerably. A small English force under Rear Admiral Robert Holmes destroyed a large Dutch merchant fleet where it lay at anchor and then landed and burnt the town of West-Terschelling. -
Nooms, Called Zeeman, Reinier Also Known As Zeeman, Reinier Zeeman Seeman Nooms, Reinier Dutch, 1623 Or 1624 - 1664
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Nooms, called Zeeman, Reinier Also known as Zeeman, Reinier Zeeman Seeman Nooms, Reinier Dutch, 1623 or 1624 - 1664 BIOGRAPHY Reinier Nooms was a highly respected painter, draftsman, and internationally renowned graphic artist who specialized in maritime subjects during a period when the Dutch commercial empire spanned the globe. He was born in either 1623 or 1624, presumably in Amsterdam, to parents whose names are unknown.[1] Nooms probably received his artistic training in Amsterdam, but we do not know the name of his teacher. His earliest known work is a drawing dated 1643 made at the age of 19 or 20 that depicts the rear of Amsterdam’s Old City Hall (Hamburger Kunsthalle, Hamburg).[2] Nooms’s artistic speciality and the fact that he signed his paintings R. Zeeman or Reinier Zeeman (zeeman = sailor or seaman) make it virtually certain that he was both a professional sailor and an artist. Nooms drew on his intimate knowledge of ships to create images that are so accurate that settings, specific vessels, and the activities taking place in ports and aboard ships can be exactly identified. His paintings usually have a blue-gray tonality that he enlivened with a sensitive use of light and a restrained use of bright colors, including occasional touches of gold on his ships. White highlights animate his figures and activate the undulating surfaces of water. Nooms also preserved an overall clarity of form while subtly drawing the eye to a painting’s focal point. -
Enemy, Rival, Frog
Enemy, Rival, Frog The influence of history on the portrayal of the Dutch in late seventeenth- century English literature BA Thesis Anna Zweers Supervisor: Dr. M. Corporaal Date: 15 June, 2017 Zweers - 1 Abstract: This thesis will look at the way the Dutch are represented in English literature from the Restoration in 1660, taking 1672 as a turning point and looking at texts up to 1685. The focus will be on war, trade and gender, and how Dutch people are portrayed with regards to these three areas. It argues that trade is a theme that is present in all texts written about the Dutch, while the other two themes depend on the subject of the texts. Keywords: seventeenth century, Anglo-Dutch relations, English literature, war, trade, gender Zweers - 2 Contents Introduction ............................................................................................................................................. 3 Chapter 1 – Historical background .......................................................................................................... 7 1.1 – Introduction ................................................................................................................................ 7 1.2 – War & Trade since Restoration .................................................................................................. 7 1.3 – 1672 – 1674 ................................................................................................................................ 9 1.4 – After 1672: War & Trade ........................................................................................................ -
Jesper Just Biography
JESPER JUST BIOGRAPHY Jesper Just Born in 1974 in Copenhagen, Denmark. Lives and works in New York EDUCATION 1997-2003 The Royal Danish Academy of Fine Arts. REPRESENTED BY Galleri Nicolai Wallner, Copenhagen Galerie Emmanuel Perrotin, Paris James Cohan Gallery, New York SOLO EXHIBITIONS 2011 ––– This Nameless Spectacle, MAC/VAL, Vitry-sur-Seine, France A Vicious Undertow, Single-Chanel Series, Des Moines Art Center, Des Moines, IA, USA John Curtin Gallery, Perth, Australia This Nameless Spectacle, BALTIC Centre for Contemporary Art, Gateshead, UK Photo Spring, Beijing, China MAP, Mobile Art Production, Stockholm, Sweden Le Mois de la Photo à Montréal, Montréal, Canada 2010 ––– ARTscape: Denmark – Jesper Just, Galerija VARTAI, Vilnius, Lithuania Jesper Just: Romantic Delusions, Tampa Museum of Art, Tampa, FL, USA 2009 ––– Invitation to Love, Kunstnernes Hus, Oslo, Norway Jesper Just, Centro de Arte Moderna José de Azeredo Perdigão - Fundação Calouste Gulbenkian, Lisbon, Portugal Tromsø Gallery of Contemporary Art, Norway 2008 ––– Romantic Delusions, Galerie Emmanuel Perrotin, Paris, France Romantic Delusions, Brooklyn Museum of Art, Brooklyn, NY, USA Romantic Delusions, U-turn / Kunsthallen Nikolaj, Copenhagen, Denmark A Voyage in Dwelling, Victoria Miro Gallery, London, England Jesper Just, La Casa Encendida, Madrid, Spain 2007 ––– A Vicious Undertow, Perry Rubenstein Gallery, New York Jesper Just, Kunsthalle Wien (Museumsquartier), Vienna Jesper Just, SMAK Stedelijk Museum voor Actuele Kunst, Gent Belgium Jesper Just, Witte de With Center -
1.1. the Dutch Republic
Cover Page The following handle holds various files of this Leiden University dissertation: http://hdl.handle.net/1887/61008 Author: Tol, J.J.S. van den Title: Lobbying in Company: Mechanisms of political decision-making and economic interests in the history of Dutch Brazil, 1621-1656 Issue Date: 2018-03-20 1. LOBBYING FOR THE CREATION OF THE WIC The Dutch Republic originated from a civl war, masked as a war for independence from the King of Spain, between 1568 and 1648. This Eighty Years’ War united the seven provinces in the northern Low Countries, but the young republic was divided on several issues: Was war better than peace for the Republic? Was a republic the best form of government, or should a prince be the head of state? And, what should be the true Protestant form of religion? All these issues came together in struggles for power. Who held power in the Republic, and who had the power to force which decisions? In order to answer these questions, this chapter investigates the governance structure of the Dutch Republic and answers the question what the circumstances were in which the WIC came into being. This is important to understand the rest of this dissertation as it showcases the political context where lobbying occurred. The chapter is complemented by an introduction of the governance structure of the West India Company (WIC) and a brief introduction to the Dutch presence in Brazil. 1.1. THE DUTCH REPUBLIC 1.1.1. The cities Cities were historically important in the Low Countries. Most had acquired city rights as the result of a bargaining process with an overlord. -
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. -
Divers Things: Collecting the World Under Water
Hist. Sci., xlix (2011) DIVERS THINGS: COLLECTING THE WORLD UNDER WATER James Delbourgo Rutgers University I do not pretend to have been to the bottom of the sea. Robert Boyle, 1670 matter out of place Consider the following object as shown in an early eighteenth-century engraving (Figure 1). It is a piece of wood — not a highly worked thing, not ingeniously wrought, though it is an artefact of human labour rather than a natural body. Or is it? In the engraving, the piece of wood disappears: it is visible towards the bottom of the image, a sober pointed stump, but it is quickly subsumed by a second, enveloping entity that swirls about it in an embroidering corkscrew. What elements are here intertwin- ing? The legend beneath the engraving identifies the artefact thus: “Navis, prope Hispaniolam ann Dom 1659. Naufragium passae, asser, a clavo ferreo transfixus, corallio aspero candicante I. B. Obsitus, & a fundo maris anno 1687 expiscatus.” It describes a stake or spar from a ship wrecked off Hispaniola in 1659, which is transfixed by both an iron bolt and rough whitish coral, fished out of the depths in 1687. This collector’s item is neither the cliché of exemplarily beautiful coral nor straightforwardly a historical relic, but an intertwining of the two: the “transfixing” of a remnant of maritime technology by an aquatic agent. It exhibits the very proc- ess of encrustation. The spar is juxtaposed with the image of a jellyfish, and more proximately, engravings of Spanish silver coins, also encrusted with coral: “Nummus argenteus Hispanicus … incrustatus”, one of the labels reads.1 Still another illustra- tion, in a separate engraving, bears the legend “Frustum ligni e mari atlantico erutum cui adhaerescunt conchae anatiferae margine muricata” — a piece of “drift wood beset with bernecle [sic] shells”. -
DEN HELDER, FORT KIJKDUIN & TEXEL NDS Tour 25–28June 2017 Booking Form & Itinerary This Exclusive Maritime Tour Of
DEN HELDER, FORT KIJKDUIN & TEXEL NDS Tour 25 –28 June 2017 Booking Form & Itinerary This exclusive maritime tour of the Dutch Naval Base at Den Helder, Fort Kijkduin (part of the Dutch Defence Lines) and the award-winning Kaap Skil Maritime Museum on Texel features behind-the-scenes tours with local guides, staying in a mid-price central Den Helder hotel. Getting there: own travel to Amsterdam, group travel to Den Helder and return. Walking will be limited to museums etc, no long hikes! Book early to avoid disappointment – 15 places only. Day 1 Sun 25 June am travel to Den Helder from Amsterdam by train Navy Days Den Helder Marinemuseum • Public events (activities mainly on the dike from 10:00) • Departure Ships (from 12.00) • Parade of SAIL (flagship KM) (from about 15.00) • Sailing Hospitality in Dutch Tall Ships, public sailing (afternoon) Day 2 Mon 26 June morning visit Fort Kijkduin Huisduinen afternoon visit Den Helder Marinemuseum / Willemsoord Day 3 Tues 27 June Ferry to Texel and bus to Kaap Skil, Oudeschild Tues 27 June Return bus to the ferry to Den Helder Day 4 Wed 28 June Return to Amsterdam Accommodation Hotel Wienerhof is located near the main shopping streets and museums of Den Helder and opposite the railway station, which offers good transport links. A range of rooms has been reserved. Standard Tour cost : £150 Early bird cost £130 Single B&B for 3 nights € 317} Select your room below; pay this price Standard twin B&B for 3 nights per room € 347} direct to the hotel when you arrive. -
Edward Hawke Locker and the Foundation of The
EDWARD HAWKE LOCKER AND THE FOUNDATION OF THE NATIONAL GALLERY OF NAVAL ART (c. 1795-1845) CICELY ROBINSON TWO VOLUMES VOLUME II - ILLUSTRATIONS PhD UNIVERSITY OF YORK HISTORY OF ART DECEMBER 2013 2 1. Canaletto, Greenwich Hospital from the North Bank of the Thames, c.1752-3, NMM BHC1827, Greenwich. Oil on canvas, 68.6 x 108.6 cm. 3 2. The Painted Hall, Greenwich Hospital. 4 3. John Scarlett Davis, The Painted Hall, Greenwich, 1830, NMM, Greenwich. Pencil and grey-blue wash, 14¾ x 16¾ in. (37.5 x 42.5 cm). 5 4. James Thornhill, The Main Hall Ceiling of the Painted Hall: King William and Queen Mary attended by Kingly Virtues. 6 5. James Thornhill, Detail of the main hall ceiling: King William and Queen Mary. 7 6. James Thornhill, Detail of the upper hall ceiling: Queen Anne and George, Prince of Denmark. 8 7. James Thornhill, Detail of the south wall of the upper hall: The Arrival of William III at Torbay. 9 8. James Thornhill, Detail of the north wall of the upper hall: The Arrival of George I at Greenwich. 10 9. James Thornhill, West Wall of the Upper Hall: George I receiving the sceptre, with Prince Frederick leaning on his knee, and the three young princesses. 11 10. James Thornhill, Detail of the west wall of the Upper Hall: Personification of Naval Victory 12 11. James Thornhill, Detail of the main hall ceiling: British man-of-war, flying the ensign, at the bottom and a captured Spanish galleon at top. 13 12. ‘The Painted Hall’ published in William Shoberl’s A Summer’s Day at Greenwich, (London, 1840) 14 13. -
Det Kongelige Bibliotek 130021678611
DET KONGELIGE BIBLIOTEK i 130021678611 TT i ‘ " . " 'V ■•-'- ' •’• :-• '. .. v j|E»<8gp*«arsR ? •'■ *fp■'■:'£'*■ ^ y y ■ • y y s . - -V -vV *■ r. '.- . •&. fy jv T 1 .-*,= +'■ - - & ■ ^ ~ v . ^ - fr V K . - , y - ■ S y y v y y c T /• J r , - i" ■ / \ n - * * ■«: . V“C v ' /« ' .. - ’i / i i - * 1 ^ '%). f : - 4„ ? N É f c — ■ V. c ■',-. £' * ''Vn': f '-' . • A ; ~ ’C ,1 • ' ■ r i - . - . i ”’ v ’ H . , *» *;. ; 1 ;*• ' ■;■. J. ‘I f y - --, . ». • . t v '* V . * • . : ' • • • • - y- =i .-■; .--»vt< ,i' y A f ' ■ y y > w t & - im m i i . ' i f • ? •3 * •' r. .-yty •* • w y *• s & S s ? « - * ; £ ' W v : ' ' p»*. • ■•• . '■ •-" » r- ■ - t & F " •V ? V ; X. ^ ..'_ i * ^ v * '* : ■ •;•:%• • ' - y .:.'V .'•. •' • " ' . : * ~ u .;*rr?i; ... .;• -. - *> ' ». * * ->s. .'*> - i / * f ' ■& ^ \. ■ ; v < * - * *•- v > ' <■■:■*. -• V ... .... .■■ i - - v • • V >■ -•. -v. ■: » . '7. ;•* N ; 7 •'••’ : *? '- f y -V ••* y y ; y i ■?; V ■»• .V V ’ ’ ° f J ’* n ,;?r Sf. Jg ; ■ >> f-r H ' ' • J * ■' ■ J«" r ■' * t?" < ' ' -?&. > *r ' .-U- J4- A ,\< 9 - - - ..;-< . ... v : , - ^ a v ^ v ;,-. y . u ' . V . • - * *■ . ' y - ' - ' -y-'t ~ - . '■ V , z * . !-*V .n. • ; ^ ■*.. - ■ A - -' -•• • i r r ». ‘ - > r > s >. ,• • v. ' - r» — „r- -. ... ;^ v - ■•-. , ".- _ ? f ''v : ry. y - . n>-- -'!{ . ‘ y - ■ • - _ - * y . ' V . i ■ ■■■ \ - "c.-... .,.<■-■ ■ ' - ' ":r r ‘ : ' l . :v t - ' i n ^ -s- • ' •<. "■‘■“-1*7 '-y - s - v « , . „ *r .-' '*<» ^ >' M ^ ' \ T r > ■••• - 1 * * >* - V v ' -.V -f: . s y j C ‘ 4 ; y * - •* • A t . - . y ^-i--■■'..yf -y f . A fy ^ c.-■ '"' f..... » --H * 4 y § : v ; u . > - •> *'■■■ •'* ‘ V- ' #■-•' .7 ry* - 'ps£T •>■.■* *':■*-•{- '.- /-,_' . i « : cm :.?;■ ■ . ^ V - ' y \ ~ y - • " f W >• t ^ " -~rf* ■ .« -*.. -V n f. y • s -. .. •; -7 n'. -
ROYAL NAVY LOSS LIST COMPLETE DATABASE LASTUPDATED - 29OCTOBER 2017 Royal Navy Loss List Complete Database Page 2 of 208
ROYAL NAVY LOSS LIST COMPLETE DATABASE LAST UPDATED - 29 OCTOBER 2017 Photo: Swash Channel wreck courtesy of Bournemouth University MAST is a company limited by guarantee, registered in England and Wales, number 07455580 and charity number 1140497 | www.thisismast.org | [email protected] Royal Navy Loss List complete database Page 2 of 208 The Royal Navy (RN) Loss List (LL), from 1512-1947, is compiled from the volumes MAST hopes this will be a powerful research tool, amassing for the first time all RN and websites listed below from the earliest known RN wreck. The accuracy is only as losses in one place. It realises that there will be gaps and would gratefully receive good as these sources which have been thoroughly transcribed and cross-checked. any comments. Equally if researchers have details on any RN ships that are not There will be inevitable transcription errors. The LL includes minimal detail on the listed, or further information to add to the list on any already listed, please contact loss (ie. manner of loss except on the rare occasion that a specific position is known; MAST at [email protected]. MAST also asks that if this resource is used in any also noted is manner of loss, if known ie. if burnt, scuttled, foundered etc.). In most publication and public talk, that it is acknowledged. cases it is unclear from the sources whether the ship was lost in the territorial waters of the country in question, in the EEZ or in international waters. In many cases ships Donations are lost in channels between two countries, eg.