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Book of Abstracts: Studying Old Master Paintings
BOOK OF ABSTRACTS STUDYING OLD MASTER PAINTINGS TECHNOLOGY AND PRACTICE THE NATIONAL GALLERY TECHNICAL BULLETIN 30TH ANNIVERSARY CONFERENCE 1618 September 2009, Sainsbury Wing Theatre, National Gallery, London Supported by The Elizabeth Cayzer Charitable Trust STUDYING OLD MASTER PAINTINGS TECHNOLOGY AND PRACTICE THE NATIONAL GALLERY TECHNICAL BULLETIN 30TH ANNIVERSARY CONFERENCE BOOK OF ABSTRACTS 1618 September 2009 Sainsbury Wing Theatre, National Gallery, London The Proceedings of this Conference will be published by Archetype Publications, London in 2010 Contents Presentations Page Presentations (cont’d) Page The Paliotto by Guido da Siena from the Pinacoteca Nazionale of Siena 3 The rediscovery of sublimated arsenic sulphide pigments in painting 25 Marco Ciatti, Roberto Bellucci, Cecilia Frosinini, Linda Lucarelli, Luciano Sostegni, and polychromy: Applications of Raman microspectroscopy Camilla Fracassi, Carlo Lalli Günter Grundmann, Natalia Ivleva, Mark Richter, Heike Stege, Christoph Haisch Painting on parchment and panels: An exploration of Pacino di 5 The use of blue and green verditer in green colours in seventeenthcentury 27 Bonaguida’s technique Netherlandish painting practice Carole Namowicz, Catherine M. Schmidt, Christine Sciacca, Yvonne Szafran, Annelies van Loon, Lidwein Speleers Karen Trentelman, Nancy Turner Alterations in paintings: From noninvasive insitu assessment to 29 Technical similarities between mural painting and panel painting in 7 laboratory research the works of Giovanni da Milano: The Rinuccini -
Bargain Booze Limited Wine Rack Limited Conviviality Retail
www.pwc.co.uk In accordance with Paragraph 49 of Schedule B1 of the Insolvency Act 1986 and Rule 3.35 of the Insolvency (England and Wales) Rules 2016 Bargain Booze Limited High Court of Justice Business and Property Courts of England and Wales Date 13 April 2018 Insolvency & Companies List (ChD) CR-2018-002928 Anticipated to be delivered on 16 April 2018 Wine Rack Limited High Court of Justice Business and Property Courts of England and Wales Insolvency & Companies List (ChD) CR-2018-002930 Conviviality Retail Logistics Limited High Court of Justice Business and Property Courts of England and Wales Insolvency & Companies List (ChD) CR-2018-002929 (All in administration) Joint administrators’ proposals for achieving the purpose of administration Contents Abbreviations and definitions 1 Why we’ve prepared this document 3 At a glance 4 Brief history of the Companies and why they’re in administration 5 What we’ve done so far and what’s next if our proposals are approved 10 Estimated financial position 15 Statutory and other information 16 Appendix A: Recent Group history 19 Appendix B: Pre-administration costs 20 Appendix C: Copy of the Joint Administrators’ report to creditors on the pre- packaged sale of assets 22 Appendix D: Estimated financial position including creditors’ details 23 Appendix E: Proof of debt 75 Joint Administrators’ proposals for achieving the purpose of administration Joint Administrators’ proposals for achieving the purpose of administration Abbreviations and definitions The following table shows the abbreviations -
The Industrial Revolution: 18-19Th C
The Industrial Revolution: 18-19th c. Displaced from their farms by technological developments, the industrial laborers - many of them women and children – suffered miserable living and working conditions. Romanticism: late 18th c. - mid. 19th c. During the Industrial Revolution an intellectual and artistic hostility towards the new industrialization developed. This was known as the Romantic movement. The movement stressed the importance of nature in art and language, in contrast to machines and factories. • Interest in folk culture, national and ethnic cultural origins, and the medieval era; and a predilection for the exotic, the remote and the mysterious. CASPAR DAVID FRIEDRICH Abbey in the Oak Forest, 1810. The English Landscape Garden Henry Flitcroft and Henry Hoare. The Park at Stourhead. 1743-1765. Wiltshire, England William Kent. Chiswick House Garden. 1724-9 The architectural set- pieces, each in a Picturesque location, include a Temple of Apollo, a Temple of Flora, a Pantheon, and a Palladian bridge. André Le Nôtre. The gardens of Versailles. 1661-1785 Henry Flitcroft and Henry Hoare. The Park at Stourhead. 1743-1765. Wiltshire, England CASPAR DAVID FRIEDRICH, Abbey in the Oak Forest, 1810. Gothic Revival Architectural movement most commonly associated with Romanticism. It drew its inspiration from medieval architecture and competed with the Neoclassical revival TURNER, The Chancel and Crossing of Tintern Abbey. 1794. Horace Walpole by Joshua Reynolds, 1756 Horace Walpole (1717-97), English politician, writer, architectural innovator and collector. In 1747 he bought a small villa that he transformed into a pseudo-Gothic showplace called Strawberry Hill; it was the inspiration for the Gothic Revival in English domestic architecture. -
Museum of Economic Botany, Kew. Specimens Distributed 1901 - 1990
Museum of Economic Botany, Kew. Specimens distributed 1901 - 1990 Page 1 - https://biodiversitylibrary.org/page/57407494 15 July 1901 Dr T Johnson FLS, Science and Art Museum, Dublin Two cases containing the following:- Ackd 20.7.01 1. Wood of Chloroxylon swietenia, Godaveri (2 pieces) Paris Exibition 1900 2. Wood of Chloroxylon swietenia, Godaveri (2 pieces) Paris Exibition 1900 3. Wood of Melia indica, Anantapur, Paris Exhibition 1900 4. Wood of Anogeissus acuminata, Ganjam, Paris Exhibition 1900 5. Wood of Xylia dolabriformis, Godaveri, Paris Exhibition 1900 6. Wood of Pterocarpus Marsupium, Kistna, Paris Exhibition 1900 7. Wood of Lagerstremia parviflora, Godaveri, Paris Exhibition 1900 8. Wood of Anogeissus latifolia , Godaveri, Paris Exhibition 1900 9. Wood of Gyrocarpus jacquini, Kistna, Paris Exhibition 1900 10. Wood of Acrocarpus fraxinifolium, Nilgiris, Paris Exhibition 1900 11. Wood of Ulmus integrifolia, Nilgiris, Paris Exhibition 1900 12. Wood of Phyllanthus emblica, Assam, Paris Exhibition 1900 13. Wood of Adina cordifolia, Godaveri, Paris Exhibition 1900 14. Wood of Melia indica, Anantapur, Paris Exhibition 1900 15. Wood of Cedrela toona, Nilgiris, Paris Exhibition 1900 16. Wood of Premna bengalensis, Assam, Paris Exhibition 1900 17. Wood of Artocarpus chaplasha, Assam, Paris Exhibition 1900 18. Wood of Artocarpus integrifolia, Nilgiris, Paris Exhibition 1900 19. Wood of Ulmus wallichiana, N. India, Paris Exhibition 1900 20. Wood of Diospyros kurzii , India, Paris Exhibition 1900 21. Wood of Hardwickia binata, Kistna, Paris Exhibition 1900 22. Flowers of Heterotheca inuloides, Mexico, Paris Exhibition 1900 23. Leaves of Datura Stramonium, Paris Exhibition 1900 24. Plant of Mentha viridis, Paris Exhibition 1900 25. Plant of Monsonia ovata, S. -
Annual Report 2004/5 Corrected
THE ROYAL COLLECTION TRUST Annual Report 201 0–2011 AIMS OF THE ROYAL COLLECTION TRUST In fulfilling the Trust’s objectives, the Trustees’ aims are to ensure that: • the Royal Collection (being the works of art held by The Queen in right of the crown and held in trust for her successors and for the nation) is subject to proper custodial control and that the works of art remain available to future generations; • the Royal Collection is maintained and conserved to the highest possible standards and that visitors can view the Collection in the best possible condition; • as much of the Royal Collection as possible can be seen by members of the public; • the Royal Collection is presented and interpreted so as to enhance public appreciation and understanding; • access to the Royal Collection is broadened and increased (subject to capacity constraints) to ensure that as many people as possible are able to view the Collection; • appropriate acquisitions are made when resources become available, to enhance the Collection and displays of exhibits for the public. When reviewing future activities, the Trustees ensure that these aims continue to be met and are in line with the Charity Commission’s General Guidance on public benefit. This report looks at the achievements of the previous 12 months and considers the success of each key activity and how it has helped enhance the benefit to the nation. FRONT COVER : Carl Haag (182 0–1915), Morning in the Highlands: the Royal Family ascending Lochnagar , 1853 (detail). A Christmas present from Prince Albert to Queen Victoria, the painting was included in the exhibition Victoria & Albert: Art & Love , at The Queen’s Gallery, Buckingham Palace, from March to December 2010. -
NEWS RELEASE Press Preview: Tues., May 24 9
NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 CONTACT: Katie Ziglar Anne Diamonstein (202) 8*?-6353 Press Preview: Tues., May 24 9:00 a.m. - 2:00 p.m. OLD MASTER PAINTINGS FROM MUNICH ON VIEW IN WASHINGTON Washington, D.C., May 4, 1988 - Sixty-two European masterworks from one of the most distinguished public collections in Europe are featured in an exhibition opening at the National Gallery of Art on May ?9, 1988. Masterworks from Munich: Sixteenth- to Eighteenth- Century Paintings from the Alte Pinakothek is the first major showing in this country of works of art from the renowned Bavarian art museum. Masterworks from Munich highlights examples of all the major schools of baroque painting within the wider context of the style's 16th-century antecedents and 18th-century evolution into the rococo. Included in the exhibition are Rubens' The Rape of the Daughters of Leucippus, Rembrandt's Risen Christ, Titian's Vanity, El Greco's The Disrobing of Christ, and Fragonard's Girl with a Dog as well as important works by Guardi, Tintoretto, Brueghel, Van Dyck, Ruisdael, Elsheimer, Murillo, Velazouez, Poussin, and Boucher. masterworks from Munich ... page two "An extraordinary loan has made this exhibition possible," said J. Carter Brown, director of the National Gallery. "The Alte Pinakothek has been extremely generous in offering works by old masters from its collection illustrating its wealth of northern and southern baroque painting. The quality level is superb. The American public is in for a rare treat." The collection was started by members of the ruling Wittelsbach family, Duke Wilhelm IV of Bavaria (ruled 1508-1550) and his wife Jacobaea of Baden, and augmented by subsequent family members, including Maximilian I (ruled 1597-1651), a passionate collector of Durers, and Max Emanuel (ruled 1679-1726). -
Exhibition of Prints by Acclaimed Abstr...)
Home Visit Exhibitions Collections Events About Membership Charles Loring Elliott, Portrait of Matthew Vassar, 1861 IN THE NEWS About: Home / In The News / 2017‑2018 In the News Publications Exhibition of prints by acclaimed abstract artist Helen Staff Frankenthaler makes its only northeast stop at the Articles Frances Lehman Loeb Art Center, October 6-December Art Department 10, 2017 Art Library Widely known for her iconic “soak‑stain” canvases, acclaimed artist Helen Frankenthaler Share (1928–2011) was an equally inventive printmaker who took risks in a medium not frequently explored by abstract expressionists. Fluid Expressions: The Prints of Helen Frankenthaler, from the Collections of Jordan D. Schnitzer and His Family Foundation highlights Frankenthaler’s often‑overlooked, yet highly original print production. The exhibition will be making its only northeast stop at Vassar College’s Frances Lehman Loeb Art Center October 6‑December 10, 2017. This exhibition is free and open to the public. Frankenthaler became well known through her large, almost 10‑feet‑wide oil painting, Madame Butterfly, 2000 woodcut Mountains and Sea, made in 1952. In a breakthrough development, she poured thinned Collection of Jordan D. Schnitzer oil paints onto raw, unprimed canvas to suggest the Nova Scotia landscape. With an 2003.201 element of chance, the paints bled into the bare cloth in a dramatic play of watercolor‑ © 2017 Helen Frankenthaler Foundation, Inc. / Artists Rights like washes, instinctual shapes, and receding space. Her pioneering, immediate approach Society (ARS), New York /Tyler widened the practices of abstract expressionists and went on to inspire Color Field Graphics Ltd., Mount Kisco, New York abstract painters such as Morris Louis and Kenneth Noland and generations of future artists. -
A Summer of British Festivals Featuring 3 Performances at the the Proms, 2 Operas at Glyndebourne and Shakespeare at Stratford and the Globe
Australian Freephone: 1800 132 385 New Zealand Freephone: 0800 132 385 Email: [email protected] A Summer of British Festivals Featuring 3 performances at the The Proms, 2 operas at Glyndebourne and Shakespeare at Stratford and The Globe As Summer comes to England, our minds turn towards glorious Summer Festivals. The wonderful series of BBC Proms at the Royal Albert Hall, a night out at the opera at Glyndebourne and, in the 450th anniversary year of Shakespeare’s birth, to the Summer performances of the bard at the RSC in Stratford and at the Globe in London. Our 14 night program combines these inspiring events into a summer symphony of culture and allows you to sit back and relax while enjoying some stunning performances of drama and music. However, our musical and dramatic pursuits do not prevent us from enjoying some of the best scenery England has to offer. Naturally, while in London, we enjoy a tour of the National Gallery with a specialist guide, we visit splendid Kew Palace and Gardens, enjoy a day out on the Thames at Windsor and Eton, visit Hampton Court Itinerary at a Glance and take advantage of the special Summer opening of Buckingham Site / Number of Nights Palace. We stay at Brighton, close to Glyndebourne, to visit the London - 4, Royal Pavilion and nearby Sissinghurst Gardens, as well as the Brighton - 3, quaint towns and villages of Kent and East Sussex, such as Stratford – 3, Tenterden and Rye. While in Stratford, not only do we visit the town of the Bard but also immerse ourselves in the history of London – 4. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Transcription of 3D Royal Pavilion Estate Commentary [PDF]
Transcription of 3D and VR Pavilion Estate curatorial commentary Written and voiced by Alexandra Loske URL: http://brightonmuseums.org.uk/3DPavilion/ Royal Pavilion The Royal Pavilion was created between 1785 and 1823 by George, Prince of Wales who would later become Prince Regent and eventually King George IV. George first visited Brighton as a young man aged 21 in 1763 and soon after decided to make the seaside town his playground away from London. He rented a house on the site of the present Pavilion and in 1786 hired the architect Henry Holland to build him a ‘pavilion by the sea’. This first building on this site was a two-storey, symmetrical structure in a neo- classical style. It was elegant and sophisticated, but by no means exotic in appearance. George made alterations and changes to his pleasure palace throughout his life, gradually creating the outlandish and exuberant palace we see today -- although he never called it a palace. He mostly used it for lavish banquets and to stage great balls and concerts, and often spent several months at a time here. The greatest change to the exterior was made between 1815 and 1823, when the famous architect John Nash was hired to transform the neo-classical building into an oriental fantasy. The exterior we can see here was inspired by Indian architecture, with added Gothic elements. Nash added two large state rooms to the Pavilion on the north and south end, with tent-shaped roofs. The onion-shaped domes and ornamental features in the centre of the building were built around and on top of the existing building, using cast iron on a large scale. -
A Tour Through Scotland
M2 . f • • &¥ be &J L~a- nA-cr_ g hgRiw'd &E&m*= it? $- .8 1#-5 -- ./ ~7~ • M33 ;)() LO A Tour Through Scotland: A Finding Aid of Scottish Travel Photography at the Archival & Special Collections, University of Guelph C \ By Danielle McAllister Honours Bachelors of Arts, Studio Art, University of Guelph, 2007" A Thesis Project Presented to Ryerson University. the Art Gallery of Ontario, and the George Eastman House International Museum of Photography and Film In partial fulfillment for the degree of Masters of Arts . In the program of . Photographic Preservation and Collections Management Toronto, Ontario, Canada 2010 © Danielle McAllister PRDPERTYOF RYERSON UNIVERSITY UBRARl ±brSS Author's Declaration I hereby declare that I am the sole author of this thesis. I authorize Ryerson University and George Eastman House International Museum of Photography and Film, to lend this thesis project to other institutions or individuals for the purpose of scholarly research. ,. - I --I I Danielle McAllister , I further authorize Ryerson University and George Eastman House International Museum of Photography and Film to reproduce this thesis project by photocopying or by other means, in total or in part, at the request of other institutions or ~ individuals for the purpose of scholarly research. ii §k 1 I Abstract I i Among the various collections housed in the Archival & Special Collections CASC) at the University of Guelph is a group of photographic material that exhibits the integral role photography played in Scotland's tourism industry from the I nineteenth and early twentieth centuries. Photographic publishing firms such as I G.W. Wilson & Co. -
George Washington Wilson (1823-1893)
George Washington Wilson (1823-1893) Photographically innovative and entrepreneurial in business, Wilson was the most notable, successful and prolific stereo-photographer in Scotland and perhaps the entire UK. Having trained in Edinburgh as an artist, he worked as a miniature portrait painter and art teacher in Aberdeen from 1848. He started experimenting with photography in 1852, probably realising that it could potentially supplant his previous profession. In a short-lived partnership with Hay, he first exhibited stereoviews in 1853 at the Aberdeen Mechanics' Institution. A commission to photograph the construction of Balmoral Castle in 1854-55 led to a long royal association. His photos were used in the form of engravings for Queen Victoria's popular book “My Highland Journal”. His best-selling carte-de-visite of her on a pony held by Brown (judiciously cropped to remove other superfluous retainers) fuelled the gossip surrounding this relationship. His portrait studio in Aberdeen provided steady cashflow and in 1857, to promote his studio, he produced a print grouping together famous Aberdonians, one of the earliest ever examples of a photo-collage. He soon recognised that stereoviews were the key to prosperity and by 1863 had a catalogue of over 400 views from all across the UK, selling them in a wide variety of outlets including railway kiosks and inside cathedrals. His artistic training helped him compose picturesque and beautiful images, but he was also an innovative technician, experimenting on improving photographic techniques, chemistry and apparatus, working closely with camera and lens manufacturers. He was among the very first to publish “instantaneous” views, ranging from a bustling Princes Street, Edinburgh to a charming view of children paddling in the sea, both dating from 1859.