DOCSLIB.ORG

A . Century of Painters

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A . Century of Painters 00080327 S t h e I ASIATIC SOCIETY OP BOMBAY I TOW N HALL, BOMBAY-400 001. Digitized with financial assistance from the Government of Maharashtra on 18 July, 2018 A CENTURY OF PAINTERS OP vaG ENGLISH SCHOOL. V^E. I. A . century of painters OF THE ENGLISH SCHOOL WITH CRITICAL NOTICES OF THEIR WORKS, AKD AK ACCOUNT O'P THfe pr o g ress of art in ENGLAND. Br 80327 RICHARD REDGRAVE, HA! (sunvEYon'op dbb Picronss Ato> utsPEoroBqeneoal for art ), SAMUEL- REDGRAVE. ** THERE ARB NOT 80 MANY VRONG OPINIONS IN THE TTOREH AS IS GENERALLY IMAGINED; FOR MOST PEOPLE HAVE NO OPINION AT ALL, BUT TARE UP WITH THOSE OP OTHERS, OR VITH MERE HEARSAY AND ECHOES.**^Zi0ci*A IN TWO VOLUMES. VOL. I. LONDON: SMITH, ELDER AND CO., *65, OORNHILL. 1866. 00080327 00080327 [ The Right of Translation is reserved.'] CONTENTS. INTRODTJCTOEY CHAPTEB. 1 Absence of any Record of the Early English Artists—Walpole’s Work on Art—Opinions of English Art* by French Artists and German Critics—A British Gallery, a National Want—Hogarth’s depre­ catory Opinions of his Countrymen—State of Art Instruction— Value of Art to Manufacture—Sentiments expressed by Mr. Pitt and by Locke —Little Knowledge of tlie Works of our Early Painters—Destruction and Damage by Repairers and Cleaners— Alteration and Re-christening of Portraits—Fictitious Ancestors —Manufacture of Drawings by the Old Masters— Hogarth’s “ Black Masters ”—Spurious Copies—Langford’s Auctions—Loss of Paintings by Fire, from Fanaticism and Neglect—Multiplication by duplicate Copies and Replicas --------------_................................. CHAPTER I. The Painters who first practised Art in England, not exclusively Foreigners—Influence of Holbein—Excellence of the English Miniature Painters — Encouragement of Art by Charles I.— Rubens and Vandyke—The Native Artists who followed them— Decline and Debasement of Art under Lely and lCneller—^Verrio’s Decorations described—The Historical Portrait Style—Art run mad in Allegory — Native Portrait Painters in George I.’s and George II.’s Reign...............— .......................................................... a<t CHAPTER n . W illiam H ooahth . The great Founder of the English School—His personal Appearance and Character—The true Originality of his Art—^The “ Mamago VI CONTENTS. k la Mode ” described—Its clever Accessaries and Storied Back­ grounds—The First and Last Scenes analysed—His great Merits as an Artist—Invention— Colour and Characterstic Dra^ving— Description of an Interesting Work in Hogarth’s Manner hitherto overlooked............................................................................................ U CHAPTER m . • T he R oyal A cademy. Systems of Art Study—Their Absence in England—^And consequent Bad Art—Early Attempts to found Schools—^Exhibitions at the Foimdhng Hospital and the Society of Arts—^Their Success— Schism among the Artists—Out of which rose the Royal Academy —Its Constitution and Objects—^Its Opponents and their Grie­ vances—The House of Commons’ Inquiry, 1838—The Royal Commission of Inquiry, 1803—Report of the Commissioners^ Opinion upon their Recommendations............................................... 62 CHAPTER IV. R ichabd W ilson , R.A., and his Contemporaries . Eminent Artists who became Members of the New Academy—General State of Art at tlie Time—Both Portrait and Landscape—The Smiths of Chichester—Scott—Brooking—Baton—Serres—Richard Wiison, R.A., Portrait Painter, commences his Landscape Career —His Talent unrecognized and unrewarded—True Aim and Prin­ ciples of his Art—Opinion upon his Choice of Subjects—And upon his great Original Genius—His Materials and Mode of Painting —Elis Followers,George Barret, R.A., Julius 0. Ibhetson ............ 87 CHAPTER V. Sir J oshua R eynolds, P.R.A. His Early Education—Bent upon the Pursuit of Art—Greatly Gifted for this by Nature—Becomes the Pupil of Hudson—Fortunately soon quits his Teaching—After some practice in Devonshire he visits Italy—His First Impressions of Italian Art—The Source of his Future Inspiration—Correggio and Titian—Attempts to Imi­ tate the Colour of the Venetians—But Nature his True School— Untrammelled by Tradition—His Strivings after Excellence— Commences Practice in London—Is soon distinguished—But not Patronized by the Court—Walpole compares him disparagingly CONTENTS. •m with Ktunsay, the Court Painter—Sketch for the Eoyal Marriage —Reynolds’s Historical Paintings, Macbeth, Cardinal Beaufort, XJgolino—The Nativity—Opinion upon these Works—TTia Manner of Painting—^Ehfect npon our School—His Fugitive Colours— Causes of the Failure of his Pictures—^RecoUections of his Modes of Painting—Their Defects—Use of Bitumen and of Wax Mediums —^Reynolds’s Literary Abilities—Friendship with Dr. Johnson— Writhes and Discourses at the Royal Academy—Their True Aim —^And Instructive Value—His earnest Love of Art—Manner of Life—Literary Associates—Amiable Temper— Chosen the first President of the Royal Academy—Successful Life—^Attacked by Paralysis—Death,... ___ ___________________________________ 110 CHAPTER VI. T homas Gaihsboroooh• • , R.A. Bom at Ipswich—Comes to London to study Art—Placed under Gravelotand Hayman, and enters the St. Martin’s Lane Academy —Mode of Study there—Returns to his Country Home—Had not the Advantage of Foreign Study—Its True Value—Copying— Forms his own Style—Its Ease and Facility—Decision and Power —His Works remain Undecayed—His Portraits equal to his Land­ scapes—Their Simplicity and Truth—His Manner and the Prin­ ciples on which he Worked—Description of his Landscapes and Rustic Art.......................................................................................— 164 CHAPTER VII. Foreigners who practised their Art in England in the Middle of the 18th Century—’The History Painters—Cipriani—Angelica Kauff- mann—Zoffany—Their Art described and its Influence on our School—The Landscape Painters— Zuccarelli—His Insipid Stage­ like Nature—Yet Fashion and Success— De Loutherhourg—His Mannered though Powerful Landscapes— His Eidophusicon— Exhibitions and their Teacliiug.... ..........................-........................... 1 7 3 CHAPTER Vm. F irst History P ainters of the E nglish School . Benjamin West, P.R.A.; James Barry, R .A .;and John Singleton Copley, R.A.—Their Art Education and Early Life Compaied— West and his Rehgious Subjects—Their High Contemporary VIU CONTENTS. Reputation and Subsequent Neglect—TJheir Merits and Defects— Bany, his Classic Bias—Study of the Antique and Italian Art— Opinion upon his Merits and Works—Critical Description of his Great Work at the Society of Arts—His Unfortunate Death— Copley—^His Theme the Heroism of liis Own Time—Criticism upon his Death of Lord Chatham—Major Pierson’s Victoiy and Death—^Relief of Gibraltar—His Fortunate Choice of Subjects— Manner of Painting ....................................................................186 CHAPTER IX. Geouoe R omney and J oseph W right (of D erby). Portrait Painting by the History Painters—The School which suc­ ceeded Reynolds—George Bomney—His Introduction to Art— Abandons his Fanuly, and comes to London—His Success as a Painter, and Journey to Rome—Returns and settles in London— Finds full Employment— His Longings after High Art—And Attempts at History—^Want of Perseverance—Due partly to defec­ tive Education—Takes his Stand outside the Royal Academy— Observations on this—His own Reasons for his Isolation—^He is successful and wealthy, but discontented—Lady Hamilton—Her strange History—Return to Ids Family and Death—Estimate of his Character and Art— Joseph Wright—Pupil of Hudson-.- Patronized in his Native County—Marries and visits Italy— Paints Effects of Moonlight and of Fire—Tries Portraiture at Bath—^His Election into the Royal Academy—And Refusal of the Distinction—His Works—And Valetudinarian Character ............ 231 CHAPTER X. P rogress of Historic A rt. Attempts of the Royal Academy to promote Sacred Art—Offer to Decorate Saint Paul’s Catliedral—Rejection of the Plan—Not to be lamented—Boydell’s Shakspeare Gralleiy—Its Origin and Art described—Want of Success—Henry Fuseli, B.A.—^His early Life —Attachment to Art—Dislike to Academies—Their true Uses— His own great Want of Elementary Training—Contributions to the Shakspeare Gallery—Publication of MackUn’s Bible; And Poets’ Gallery—Election of Fuseli into the Academy—^He pro­ jects the Milton Gallery — Its sad Failure: And tlie probable Causes— His Works from Shakspeare and Milton compared — His Genius and Art ........................................................................ 260 CONTENTS. IX CHAPTER XI. T he S uccessors of R eynolds. Nathaniel Dance, R.A.—Travels in Italy—His Portraits—Opinion PAGE upon his Art—Quits the Profession—James Northeote, R.A.— Apprenticed to his Fatlier, a Watchmaker—^Early Love of Art— Commences Portraiture—Introduced to Reynolds—Becomes his Favourite Pupil—^Visits Italy—On his Return has Recourse to Portraits—Then Tries Domestic Subjects—Boydell’s Gallery affords him Subjects in High Art—“ Murder of the Princes in the Tower”—Elected Royal Academician—His “ Wat Tyler" com­ pared with Opie’s “ Rizzio"—Effect of Opie’s Picture upon Northeote—His Pictures for the Shakspeare Gallery—Defective Motmer of Painting—^Absurd Inconsistencies in Costume—Com­ mon tO'tlie Art of the' Time—HiS 'Industrious and Idle Servant Girl—Criticism on tliis Serial Pictiure—His Animal Painting and Fables—^Writings on Art—Personal Character— James Opie R.A. —His Early Life—Connection with Dr. Wolcot—^Who Intro­ duces him in London—Impression made by him—His First Success—Followed
Load more

Recommended publications
  • Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
    MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as
    [Show full text]
  • Shearer West Phd Thesis Vol 1
    THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON (VOL. I) Shearer West A Thesis Submitted for the Degree of PhD at the University of St. Andrews 1986 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/2982 This item is protected by original copyright THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON Ph.D. Thesis St. Andrews University Shearer West VOLUME 1 TEXT In submitting this thesis to the University of St. Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the I work may be made and supplied to any bona fide library or research worker. ABSTRACT A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between ca745 and 1800 : painting, print and book illustration.
    [Show full text]
  • Ruskin and South Kensington: Contrasting Approaches to Art Education
    Ruskin and South Kensington: contrasting approaches to art education Anthony Burton This article deals with Ruskin’s contribution to art education and training, as it can be defined by comparison and contrast with the government-sponsored art training supplied by (to use the handy nickname) ‘South Kensington’. It is tempting to treat this matter, and thus to dramatize it, as a personality clash between Ruskin and Henry Cole – who, ten years older than Ruskin, was the man in charge of the South Kensington system. Robert Hewison has commented that their ‘individual personalities, attitudes and ambitions are so diametrically opposed as to represent the longitude and latitude of Victorian cultural values’. He characterises Cole as ‘utilitarian’ and ‘rationalist’, as against Ruskin, who was a ‘romantic anti-capitalist’ and in favour of the ‘imaginative’.1 This article will set the personality clash in the broader context of Victorian art education.2 Ruskin and Cole develop differing approaches to art education Anyone interested in achieving artistic skill in Victorian England would probably begin by taking private lessons from a practising painter. Both Cole and Ruskin did so. Cole took drawing lessons from Charles Wild and David Cox,3 and Ruskin had art tuition from Charles Runciman and Copley Fielding, ‘the most fashionable drawing master of the day’.4 A few private art schools existed, the most prestigious being that run by Henry Sass (which is commemorated in fictional form, as ‘Gandish’s’, in Thackeray’s novel, The Newcomes).5 Sass’s school aimed to equip 1 Robert Hewison, ‘Straight lines or curved? The Victorian values of John Ruskin and Henry Cole’, in Peggy Deamer, ed, Architecture and capitalism: 1845 to the present, London: Routledge, 2013, 8, 21.
    [Show full text]
  • Victoria Albert &Art & Love ‘Incessant Personal Exertions and Comprehensive Artistic Knowledge’: Prince Albert’S Interest in Early Italian Art
    Victoria Albert &Art & Love ‘Incessant personal exertions and comprehensive artistic knowledge’: Prince Albert’s interest in early Italian art Susanna Avery-Quash Essays from two Study Days held at the National Gallery, London, on 5 and 6 June 2010. Edited by Susanna Avery-Quash Design by Tom Keates at Mick Keates Design Published by Royal Collection Trust / © HM Queen Elizabeth II 2012. Royal Collection Enterprises Limited St James’s Palace, London SW1A 1JR www.royalcollection.org ISBN 978 1905686 75 9 First published online 23/04/2012 This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for non-commercial, educational purposes only. Please properly attribute the material to its respective authors. For any other uses please contact Royal Collection Enterprises Limited. www.royalcollection.org.uk Victoria Albert &Art & Love ‘Incessant personal exertions and comprehensive artistic knowledge’: Prince Albert’s interest in early Italian art Susanna Avery-Quash When an honoured guest visited Osborne House on the Isle of Wight he may have found himself invited by Prince Albert (fig. 1) into his private Dressing and Writing Room. This was Albert’s inner sanctum, a small room barely 17ft square, tucked away on the first floor of the north-west corner of the original square wing known as the Pavilion. Had the visitor seen this room after the Prince’s rearrangement of it in 1847, what a strange but marvellous sight would have greeted his eyes! Quite out of keeping with the taste of every previous English monarch, Albert had adorned this room with some two dozen small, refined early Italian paintings,1 whose bright colours, gilding and stucco ornamentation would have glinted splendidly in the sharp light coming from the Solent and contrasted elegantly with the mahogany furniture.
    [Show full text]
  • Susanna Avery-Quash
    Victoria Albert &Art & Love ‘Incessant personal exertions and comprehensive artistic knowledge’: Prince Albert’s interest in early Italian art Susanna Avery-Quash Essays from a study day held at the National Gallery, London on 5 and 6 June 2010 Edited by Susanna Avery-Quash Design by Tom Keates at Mick Keates Design Published by Royal Collection Trust / © HM Queen Elizabeth II 2012. Royal Collection Enterprises Limited St James’s Palace, London SW1A 1JR www.royalcollection.org ISBN 978 1905686 75 9 First published online 23/04/2012 This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for non-commercial, educational purposes only. Please properly attribute the material to its respective authors. For any other uses please contact Royal Collection Enterprises Limited. www.royalcollection.org.uk Victoria Albert &Art & Love ‘Incessant personal exertions and comprehensive artistic knowledge’: Prince Albert’s interest in early Italian art Susanna Avery-Quash When an honoured guest visited Osborne House on the Isle of Wight he may have found himself invited by Prince Albert (fig. 1) into his private Dressing and Writing Room. This was Albert’s inner sanctum, a small room barely 17ft square, tucked away on the first floor of the north-west corner of the original square wing known as the Pavilion. Had the visitor seen this room after the Prince’s rearrangement of it in 1847, what a strange but marvellous sight would have greeted his eyes! Quite out of keeping with the taste of every previous English monarch, Albert had adorned this room with some two dozen small, refined early Italian paintings,1 whose bright colours, gilding and stucco ornamentation would have glinted splendidly in the sharp light coming from the Solent and contrasted elegantly with the mahogany furniture.
    [Show full text]
  • THE POLITICS of CATASTROPHE in the ART of JOHN MARTIN, FRANCIS DANBY, and DAVID ROBERTS by Christopher J
    APOCALYPTIC PROGRESS: THE POLITICS OF CATASTROPHE IN THE ART OF JOHN MARTIN, FRANCIS DANBY, AND DAVID ROBERTS By Christopher James Coltrin A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in the University of Michigan 2011 Doctoral Committee: Professor Susan L. Siegfried, Chair Professor Alexander D. Potts Associate Professor Howard G. Lay Associate Professor Lucy Hartley ©Christopher James Coltrin 2011 For Elizabeth ii Acknowledgements This dissertation represents the culmination of hundreds of people and thousands of hours spent on my behalf throughout the course of my life. From the individuals who provided the initial seeds of inspiration that fostered my general love of learning, to the scholars who helped with the very specific job of crafting of my argument, I have been the fortunate recipient of many gifts of goodness. In retrospect, it would be both inaccurate and arrogant for me to claim anything more than a minor role in producing this dissertation. Despite the cliché, the individuals that I am most deeply indebted to are my two devoted parents. Both my mother and father spent the majority of their lives setting aside their personal interests to satisfy those of their children. The love, stability, and support that I received from them as a child, and that I continue to receive today, have always been unconditional. When I chose to pursue academic interests that seemingly lead into professional oblivion, I probably should have questioned what my parents would think about my choice, but I never did. Not because their opinions didn‟t matter to me, but because I knew that they would support me regardless.
    [Show full text]
  • 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.
    [Show full text]
  • ROYAL COLLECTION STUDIES 2016 Reading List
    ROYAL COLLECTION STUDIES 2016 Reading list There is a vast literature on the Royal Collection, the royal palaces and the British monarchy. The aim here is to provide references to the works which will be of most use both before and after the course. The first part contains some widely available titles which should ideally be read in advance. The second, longer part is a guide for those who wish to pursue subjects in more depth afterwards. A lengthy bibliography can also be found in the exhibition catalogue Royal Treasures (2002/2008). Titles marked with an asterisk* are current Royal Collection publications, distributed by Thames & Hudson and available from [email protected] or from the on- site shops. See also the Royal Collection website/shop for many of these titles www.royalcollection.org.uk and www.royalcollectionshop.co.uk. PART ONE (Before the course) General titles Christopher Lloyd The Paintings in the Royal Collection London, 1999 Oliver Millar The Queen’s Pictures, The Story of the Royal Collection from Henry VIII to Elizabeth II London, 1977 J.H. Plumb & H. Weldon Royal Heritage. The Story of Britain’s Royal Builders and Collectors London, BBC, 1977 The book which accompanied the BBC television series celebrating the Silver Jubilee, and still a useful tour d’horizon of the collection in its settings. Geoffrey de Bellaigue et al Carlton House: the past glories of George IV’s palace Exh. cat., The Queen’s Gallery, London, 1991 A preliminary read through this authoritative work on Carlton House, perhaps in conjunction with the following title, will prove very helpful at several points in the course.
    [Show full text]
  • British Canvas, Stretcher and Panel Suppliers' Marks. Part 8, Charles
    British canvas, stretcher and panel suppliers’ marks. Part 8, Charles Roberson & Co This resource surveys suppliers’ marks on the reverse of picture supports. This part is devoted to Charles Roberson, a business founded in 1819 and which grew to become one of the leading companies as Charles Roberson & Co from 1855 and Charles Roberson & Co Ltd from 1908 until 1987. The business was a significant supplier of canvas from about the 1820s until the 1980s. For further information, see British artists' suppliers, 1650-1950 - R on this website. The Roberson archive is housed at the Hamilton Kerr Institute, University of Cambridge. Measurements of marks, given where known, are approximate and may vary according to the stretching or later conservation treatment of a canvas or the trimming of a label. Links are given to institutional websites where dimensions of works can be found. Business dates and addresses are usually accurate to within a year. Square brackets are used to indicate indistinct or missing lettering in transcripts, with readings sometimes based on other examples. Compiled by Jacob Simon, September 2017, updated March 2020, and based on the pioneering work of Cathy Proudlove and the suppliers’ database created by Jacob Simon. With thanks to Dr Joyce Townsend for providing information on paintings in Tate, to Nicola Costaras at the Victoria and Albert Museum, to John Payne, National Gallery of Victoria, Melbourne, and to Sally Woodcock at the Hamilton Kerr Institute, University of Cambridge. Arranged in twelve numbered sections according to address, business designation and type of mark, with two appendices. Work details Mark transcripts Product marks (not to uniform scale) 1.
    [Show full text]
  • 2015 · Maastricht TEFAF: the European Fine Art Fair 13–22 March 2015 LONDON MASTERPIECE LONDON 25 June–1 July 2015 London LONDON ART WEEK 3–10 July 2015
    LOWELL LIBSON LTD 2 015 • New York · annual exhibition British Art: Recent Acquisitions at Stellan Holm · 1018 Madison Avenue 23–31 January 2015 · Maastricht TEFAF: The European Fine Art Fair 13–22 March 2015 LONDON MASTERPIECE LONDON 25 June–1 July 2015 London LONDON ART WEEK 3–10 July 2015 [ B ] LOWELL LIBSON LTD 2 015 • INDEX OF ARTISTS George Barret 46 Sir George Beaumont 86 William Blake 64 John Bratby 140 3 Clifford Street · Londonw1s 2lf John Constable 90 Telephone: +44 (0)20 7734 8686 John Singleton Copley 39 Fax: +44 (0)20 7734 9997 Email: [email protected] John Robert Cozens 28, 31 Website: www.lowell-libson.com John Cranch 74 John Flaxman 60 The gallery is open by appointment, Monday to Friday The entrance is in Old Burlington Street Edward Onslow Ford 138 Thomas Gainsborough 14 Lowell Libson [email protected] Daniel Gardner 24 Deborah Greenhalgh [email protected] Thomas Girtin 70 Jonny Yarker [email protected] Hugh Douglas Hamilton 44 Cressida St Aubyn [email protected] Sir Frank Holl 136 Thomas Jones 34 Sir Edwin Landseer 112 Published by Lowell Libson Limited 2015 Richard James Lane 108 Text and publication © Lowell Libson Limited Sir Thomas Lawrence 58, 80 All rights reserved ISBN 978 0 9929096 0 4 Daniel Maclise 106, 110 Designed and typeset in Dante by Dalrymple Samuel Palmer 96, 126 Photography by Rodney Todd-White & Son Ltd Arthur Pond 8 Colour reproduction by Altaimage Printed in Belgium by Albe De Coker Sir Joshua Reynolds 18 Cover: a sheet of 18th-century Italian George Richmond 114 paste paper (collection: Lowell Libson) George Romney 36 Frontispiece: detail from Thomas Rowlandson 52 William Turner of Oxford 1782–1862 The Sands at Barmouth, North Wales Simeon Solomon 130 see pages 116–119 Francis Towne 48 Overleaf: detail from William Turner of Oxford 116 John Robert Cozens 1752–1799, An Alpine Landscape, near Grindelwald, Switzerland J.M.W.
    [Show full text]
  • Issues) and Begin with the Summer Issue
    AN ILLUSTRATED QUARTERLY Merrily Merrily We Welcome in the Checklist for 2008 VOLUME 43 NUMBER 1 SUMMER 2009 AN ILLUSTRATED QUARTERLY www.blakequarterly.org VOLUME 43 NUMBER 1 SUMMER 2009 CONTENTS Article William Blake and His Circle: A Checklist of Publications and Discoveries in 2008 By G. E. Bentley, Jr., with the Assistance ofHikari Sato for Japanese Publications 4 ADVISOADVISORR Y BOARD G. E. Bentley, Jr., University of Toronto, retired Nelson Hilton, University of Georgia Martin Butlin, London Anne K. Mellor, University of California, Los Angeles DetlefW. Dorrbecker, University of Trier Joseph Viscomi, University of North Carolina at Chapel Hill Robert N. Essick, University of California, Riverside David Worrall, The Nottingham Trent University Angela Esterhammer, University of Zurich CONTRIBUTOR David Worrall, Faculty of Humanities, The Nottingham Trent University, Clifton Lane, Nottingham NG11 8NS UK Email: [email protected] G. E. BENTLEY, JR., is working on Blake's patrons and on the cumulation of "William Blake and His Circle," 1992-. INFORMATION BLAKE/AN ILLUSTRATED QUARTERLY is published under the sponsorship of the Department of English, University of Roch• ester. Subscriptions are $60 for institutions, $30 for individu• als. All subscriptions are by the volume (1 year, 4 issues) and begin with the summer issue. Subscription payments received after the summer issue will be applied to the current volume. Addresses outside the US, Canada, and Mexico require a $20 per volume postal surcharge for airmail delivery. Credit card payment is available. Make checks payable to Blake/An Illus• trated Quarterly. Address all subscription orders and related communications to Sarah Jones, Blake, Department of Eng• lish, University of Rochester, Rochester NY 14627-0451.
    [Show full text]
  • William Henry Hunt Country People
    William Henry Hunt Country People In memory of William Oliver Clarke (1943–2010) 2 William Henry Hunt Country People joanna selborne anD christiana payne First published to accompany William Henry Hunt: Country People The Courtauld Gallery, London, 24 June – 17 September 2017 The Courtauld Gallery is supported by the Higher Education Funding Council for England (hefce) Copyright © 2017 Texts copyright © the authors All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any storage or retrieval system, without the prior permission in writing from the copyright holder and publisher. isbn 978 1 911300 23 6 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Produced by Paul Holberton Publishing 89 Borough High Street, London se1 1nl www.paul-holberton.net Designed by Laura Parker Printing by Gomer Press, Llandysul front cover: The Head Gardener (cat. 10), detail back cover: The Poacher (cat. 6), detail frontispiece: The Broom Gatherer (cat. 18), detail page 5: The Gardener (cat. 13), detail page 8: Girl with a Sheaf of Corn (The Gleaner) (cat. 15), detail page 10: The Gamekeeper (cat. 5), detail page 20–21: The Maid and the Gamekeeper (cat. 17), detail 5 Supporters William Henry Hunt: Country People is sponsored by The International Music and Art Foundation Further generous support has been provided by The Richard McDougall Fund The Gilbert and Ildiko Butler Drawings Gallery was made possible by a major grant from Gilbert and Ildiko Butler, with further generous support from: Anonymous, in memory of Melvin R.
    [Show full text]