NGA2 Ralph Nicholson Wornum Papers C1831-C1900
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Nineteenth(Century!British!Perspectives!!
! ! NINETEENTH(CENTURY!BRITISH!PERSPECTIVES!! ON!EARLY!GERMAN!PAINTINGS:! THE!CASE!OF!THE!KRÜGER!COLLECTION! AT!THE!NATIONAL!GALLERY!AND!BEYOND! ! ! TWO!VOLUMES! ! ! VOLUME!I! ! ! ! ! NICOLA!SINCLAIR! ! ! ! PH.D.! ! ! ! UNIVERSITY!OF!YORK! ! ! HISTORY!OF!ART! ! ! MARCH!2016! ! ! ! 1! ABSTRACT' ! ! This!study!examines!the!British!receptiOn!Of!early!German!painting!in!the! nineteenth!century!thrOugh!the!case!study!Of!the!Krüger!acquisitiOn!fOr!the!NatiOnal! Gallery!in!1854.!It!prOvides!new!infOrmatiOn!about!why!this!cOllectiOn!Of! predOminantly!religiOus!fifteenth(!and!sixteenth(century!paintings!frOm!COlOgne!and! Westphalia!was!acquired!and!hOw!it!was!evaluated,!displayed!and!distributed!in!British! public!and!private!cOllections,!against!a!backdrop!of!midcentury!develOpments!in! British!public!displays!Of!art,!art(historical!literature,!private!collecting!and!the!art! market.!!! ! In!light!Of!lOng(held!perceptions!that!the!acquisition!was!a!mistake!and!that!the! paintings!were!inferiOr!to!early!wOrks!frOm!Italy!and!the!Netherlands,!this!study!Offers! an!alternative!perspective!that!it!was!an!enterprising!attempt!tO!implement!new! models!Of!histOrical!display!in!natiOnal!cOllectiOns,!and!tO!ratiOnalise!hOw!suppOsedly! inferior!paintings!cOuld!have!value!in!public!and!private!cOllectiOns.!By!loOking!at!the! way!these!rediscOvered!German!paintings!were!evaluated,!this!study!advances! understanding!Of!hOw!ROmantic,!schOlarly!and!fOrmal!mOdels!fOr!reexamining!early! paintings!Overlapped,!cOnflicted!and!changed!in!the!nineteenth!century.!The!Krüger! -
Victoria Albert &Art & Love Queen Victoria, Prince Albert and Their Relations with Artists
Victoria Albert &Art & Love Queen Victoria, Prince Albert and their relations with artists Vanessa Remington 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 Queen Victoria, Prince Albert and their relations with artists Vanessa Remington Victoria and Albert: Art and Love, a recent exhibition at The Queen’s Gallery, Buckingham Palace, was the first to concentrate on the nature and range of the artistic patronage of Queen Victoria and Prince Albert. This paper is intended to extend this focus to an area which has not been explored in depth, namely the personal relations of Queen Victoria, Prince Albert and the artists who served them at court. Drawing on the wide range of primary material on the subject in the Royal Archive, this paper will explore the nature of that relationship. It will attempt to show how Queen Victoria and Prince Albert operated as patrons, how much discretion they gave to the artists who worked for them, and the extent to which they intervened in the creative process. -
The Connoisseur (Sir Gerald Ryan
1 TheConnoisseur An Illustrated Magazine For Collectors Edited by C. Reginald Grundy Vol. LIX. (JANUARY—APRIL. 1921) LONDON Published by the Proprietor, W. CLAUDE JOHNSON, at tiii., Editorial and Advertisement Okkices of The Connoisskuu, AT I, Duke Street, St. James's, S.W. i 192 1 MROSE AND SONS 1 DERIIY AND I.ONDO 8(i 1)656 NDEX ARTICLES AND NOTES A Beautiful Jacobean Hanging (Note) .Authors and Contributors—coiilinucd. "A Citv Banquet," by Fred Roc, K.I., R.B.C. Richardson, Mrs. Herbert. The Fashion Plates '(Note) of Horace Vernet (Art.) ... ... ... yy Adam and other Furniture (Note) ... Roberts, C. Clifton. Salopian China (Art.) ... 2.( Aitken, John E., Drawings by (Note) Roe. F. Gordon. The Life and Work of F. W. An Outpost of London, by Criticus (Note) Hayes, A.R.C.A., F.R.G.S. (Art.) 103 Angelica Kautfmann and Her .Art. by Lady Victoria Rusconi, Art. Jahn. The Tapestries of Mantua Manners (.\rt.) by Raphael (Art.) 77 Another New Gallery (Note) Williamson, Dr. G. C. Some Notes on the Portraits of Sir Pliilip Sidney (Art) ... Antique Business Extension (Note) 217 Antiques at Waring's (Note) Books Reviewed. Aquatints. Old (Note) A Bookseller's igo Authors and Contributor.s. Catalogue " A Catalogue of Etchings by Augustus John, Andrews, Cyril Bruyn. The Valencia Altar-piece 1901-1914." by Campbell Dodgson ... 5S (Art.) " A Dweller in Mcsnpntamia," by Donald Maxwell 1S7 Brochner, Georg. Old Danish Furniture (.Art.)... " A Hamll.".i. ..I Imlini Art," by E. B. Havell ... 188 Brockwell. Maurice W. Frans Hals Pictures at " Haarlem (Note) A Histiii\ <\ I \ri\,l,iy Things in England," by M. -
The Ottoman Empire at the Great Exhibition of 1851
University of Alberta Print Culture in Victorian England: The Ottoman Empire at the Great Exhibition of 1851 by Tessa Christine Hawkins A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in History of Art, Design, and Visual Culture Department of Art and Design ©Tessa Christine Hawkins Fall 2013 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. This thesis is dedicated to my Nana and Granddad. You gave me a childhood filled with animal-shaped pancakes, and never-ending love and support. You inspire me every day. Abstract This thesis provides a study of the Ottoman Empire’s display and citizens at the Great Exhibition of 1851 as represented by British print culture. Using official and satirical sources, it examines mediated images of the “Turk,” identifying and interpreting differences between English and Turkish cultures as represented before, during, and directly after the exhibition in primary sources such as the Official Descriptive and Illustrated Catalogue and Punch magazine. -
The 1852 National Gallery Acquisition of the Tribute Money by Titian
Art sales and attributions: the 1852 National Gallery acquisition of The Tribute Money by Titian Barbara Pezzini Figure 1 Titian, The Tribute Money, about 1560-8 (perhaps begun in the 1540s) Oil on canvas, 112.2 x 103.2 cm. London: National Gallery. © The National Gallery The evidence presented in this paper aims to complicate one of the core assumptions of cause and effect in art history: that poor quality and uncertain autography of a work of art cause poor critical reception and a poor sale. In fact, the opposite also occurs: a poor sale may contribute to the critical demise of a work of certain autography and, arguably, quality. To demonstrate this, the paper examines how the commercial circumstances around the 1852 acquisition of Titian’s The Tribute Money by the National Gallery [Fig. 1] had a definite impact on its subsequent, and factious, attribution history. The Tribute Money was a controversial purchase that flared up the already heated public debate around the National Gallery’s administration and it contributed to the implementation of the 1853 Parliamentary inquiry, a ‘Select Committee’ that eventually brought to the re- constitution of the museum and the appointment of its former Keeper and Trustee, Charles Lock Eastlake (1793-1865), as its first director.1 Francis Haskell already I wish to thank Susanna Avery-Quash, Lukas Fuchsgruber, Alycen Mitchell and Marie Tavinor who have read earlier drafts of this text and provided many insightful suggestions. Special thanks to Francesco Ventrella, the peer reviewer for the Journal of Art Historiography, who has generously provided many perceptive comments on this text. -
Art History Scholarship Between the 1820S and 1870S: Contextualising the Eastlake Library at the National Gallery, London
Art history scholarship between the 1820s and 1870s: contextualising the Eastlake library at the National Gallery, London Katie Lissamore and Jonathan Franklin Figure 1 Carte de visite photograph of Charles Lock Eastlake, undated. National Gallery Archive NG67/5/1. Photo: The National Gallery, London. The Eastlake Library began life as the personal library of Sir Charles Lock Eastlake (pictured in figure 1).1 He had been a practising painter for a number of years before moving into official roles as Secretary to the Fine Arts Commission that was tasked with overseeing the decoration of the new Houses of Parliament (as of 1841); as Keeper (1843-1847) and then first Director (1855-1865) of the National Gallery; and simultaneously as President of the Royal Academy (1850-1865). At the same time, Eastlake was a researcher and scholar, publishing his pioneering classic of technical art history, Materials for a History of Oil Painting,2 in 1847.3 The Library, numbering 1 The authors would like to thank Dr Susanna Avery-Quash for her kind assistance with this article, which has been adapted and expanded from a presentation with the same title that was delivered in the session ‘Historic Libraries and the Historiography of Art (II)’ at the College Art Association conference in Chicago on Friday, February 14, 2020. The subject of the article arises from a doctoral project which is being co-supervised by Robert Gordon University in Aberdeen, Scotland, and the National Gallery in London, England. Of the two co-authors, Katie Lissamore is the PhD candidate and Jonathan Franklin is one of her three co-supervisors. -
Ornamental Design Is… a Kind of Practical Science’ Theories of Ornament at the London School of Design and Department of Science and Art1
‘Ornamental design is… a kind of practical science’ Theories of ornament at the London School of Design and Department of Science and Art1 Elena Chestnova ‘When Semper came to England he fell in with the wrong people’ – wrote Joseph Rykwert in his commentary to Semper’s first public lecture delivered at the Metropolitan School of Design in Marlborough House.2 The ‘wrong people’ implied those associated with the Department of Science and Art: 3 Henry Cole, Richard Redgrave, the closely connected Owen Jones and Matthew Digby Wyatt, William Dyce, Ralph Wornum and other instructors linked with the controversial Design Reform of the early 1850s. Semper had been employed at the school between 1852 and 1855, and while his time in London generally is considered to have been pivotal for his theoretical work, the impact of his associations at the school has been appraised negatively and the importance of his intellectual links with the Cole circle has been downplayed.4 This approach, however, ignores a host of significant issues that formed the context for the development of Semper’s theory of design as well as 1 This article is an outcome of the workshop ‘Gottfried Semper in London 1850–55’ held at the Accademia di architettura, Università della Svizzera italiana (USI), Mendrisio, on February 26, 2014, as part of the research and edition project ‘Architecture and the Globalization of Knowledge in the 19th Century: Gottfried Semper and the Discipline of Architectural History’ headed by Sonja Hildebrand (USI, responsible) and Philip Ursprung (ETH Zurich, co-responsible) with the support of the Swiss National Science Foundation (SNSF). -
John Platt (1842-1902), a Late Victorian Extra-Illustrator, and His Collection
J. M. W. Turner and his World: John Platt (1842-1902), a Late Victorian Extra-illustrator, and his Collection Felicity Myrone 1. Introduction In August 2007 the British Library Press Office was able to announce the ‘discovery’ of a ‘missing Constable sketch’.1 This had come to light by chance during cataloguing a few months earlier in an extra-illustrated copy of George Walter Thornbury’s The Life of J. M. W. Turner: Founded on letters and papers furnished by his friends and fellow academicians (London: Hurst and Blackett, 1862). The Constable is just one of over 1,600 additions to Thornbury’s text, collected and inserted by a businessman and justice of the peace from Warrington, John Platt (1842-1902). This essay will briefly examine the collection, its collector and his library. Extra-illustration was a popular activity from the mid-eighteenth to the early twentieth century. It involves the embellishing of an existing text with complementary illustrations and documents.2 Thornbury’s biography of Turner is an excellent choice for extra- illustration, as a large number of Turner’s predecessors and contemporaries are mentioned in the text, as well as places Turner visited and painted. Thornbury’s text also relies on quoting long passages from letters by Turner as well as the writings, letters and reminiscences of his friends and acquaintances or their descendants, and Platt collected manuscript material to match. Most accounts of extra-illustration or ‘grangerization’, as it was often known in the past, have concentrated on the extra-illustrator’s use of portraits and topographical images. -
Structural Conservation of Panel Paintings: Proceedings
PART THREE History of the Structural Conservation of Panel Paintings 188 Critical History of Panel Painting Restoration in Italy Andrea Rothe panel conservation techniques are directly related to a long history of panel construction that dates to Mantiquity and flourished from the Middle Ages to the Renaissance (see Uzielli, “Historical Overview,” herein). The ingenuity and intuition of the woodworkers of the past compensated for their lack of scientific understanding of this complex and widely diverse material. Central Italy, in particular, produced a large quantity of paintings on panel. Many of them—such as the Cimabue Crucifix in the Church of Santa Croce in Florence—were constructed to the highest standards of craftsmanship. The early woodworkers often used techniques or methods similar to those applied by modern-day restorers in treating panels—techniques such as movable crossbars (Figs. 1, 2) and coats of gesso, paint, or red lead to seal the backs of panels (Fig. 3). These sealants were probably applied as humidity barriers and protection against wood-boring insects, and panels treated in this manner have often survived better than untreated panels. The large number of panel paintings in Italian churches and muse- ums created the need for appropriate conservation work, particularly in modern times. The state-run centers of Florence and Rome have become the largest and most advanced in Italy and have generated a group of highly qualified experts in this field. The volume of panel work that has been executed in Florence far surpasses that of any other conservation center in the world. Figure 1, right Fra Angelico, Annunciation, ca. -
Cecilia Riva an Art World Insider: Austen Henry Layard and the Nineteenth-Century European Art Trade
ISSN: 2511–7602 Journal for Art Market Studies 2 (2018) Cecilia Riva An Art World Insider: Austen Henry Layard and the Nineteenth-Century European Art Trade ABSTRACT chase a great assortment of art objects, ranging from Cypriot pottery to Renaissance paintings, In the lively context of the European art mar- from Spanish religious artefacts to Burgundian ket of mid-nineteenth century, Austen Henry tapestry. In order to analyse the cultural and Layard (1817-1894) played an active role both economical implications of these relocations, as a private collector and advisor, and equal- this paper examines the relations of this net- ly as a trustee and unofficial travelling agent work within the European connoisseurship, the for London museums. Thanks to his extensive formation of Layard’s personal collection and travels throughout Europe and the Middle East, his contributions to private and public institu- he became acquainted with the most eminent tions. figures of the art world and was able to pur- The memory and reputation of Sir Austen Henry Layard (Paris, 1817 – London, 1894) is mainly connected to his archaeological enterprises at Nineveh and Nimrud, but in fact, as Frank Davis wrote, he “was a man of parts, with a finger in many pies”.1 Compared to the abundance of studies on his archaeological achievements, Layard’s political and diplomatic career has been less explored and accounts of his life lack a com- prehensive record on his commitment to the art world.2 Both his bequest to the National 1 Frank Davis, Pioneer of modern archaeology, in The Illustrated London News (Feb. -
NGA1 Boxall Papers 1723-1966
NGA1 Boxall Papers 1723-1966 GB 345 National Gallery Archive NGA1 Boxall Papers 1723-1966 11 boxes Created by Sir William Boxall and numerous correspondents. Administrative history Boxall was born in Oxfordshire on 29 June 1800, the son of an exciseman. He was educated at Abingdon Grammar School, and entered the Royal Academy NGA1 Schools in 1819. Between 1827 and 1830 he travelled throughout Italy and Sicily studying paintings. Boxall first exhibited paintings at the Royal Academy in 1823, and over the next decade began to forge a successful career as a portrait painter. In 1851 he was elected an Associate of the Royal Academy, and in 1863 a full Academician. Between 1823-1866 he exhibited over 80 works at the Royal Academy. In February 1866, the Trustees of the National Gallery appointed Boxall as the new Director, to succeed Sir Charles Eastlake who had died the previous December. Boxall had not been the first choice for Director: the Prime Minister, Lord John Russell, had favoured Austen Henry Layard (Under Secretary at the Foreign Office), but he declined the post. The Queen suggested J.C. Robinson, Superintendent of Art at South Kensington. Gladstone finally suggested Boxall. The demands of the position were so great that they strained Boxall's health, and he considered resigning after five years. However, the Trustees and Prime Minister prevailed on him to remain, and he continued until 1874. As Director, Boxall travelled throughout Europe to survey pictures for possible acquisition, and to study the management of foreign collections. He visited Italy, France, Belgium, Germany, Spain and Austria-Hungary. -
The London Library and the Intelligentsia of Victorian London
The London Library and the Intelligentsia of Victorian London Helen O’Neill [I]t is clear that the existence of an intelligentsia is more often asserted than it is demonstrated, and more often assumed than it is explored. William Whyte he diplomat, author, and lawyer W. D. Christie articulated the founding principles of the Society of Tthe London Library in a published letter to the Earl of Clarendon. Christie declared that the Library would play a role in the intellectual life of the nation by “guiding and lightening the labours of those who build up the nation’s wisdom and the nation’s fame” (32). Established in 1841 as a lending library for subscribing members nine years after the First Reform Act (1832), nearly a decade before the Public Libraries Act (1850), and more than a quarter century before the Second Reform Act (1867), the London Library provided a singular service in the metropolis offering books “in all departments of knowledge and in all languages” (Christie 34) to subscribing members that were not available from circulating libraries or for loan from the British Museum. Pre-dating the Science Museum, Natural History Museum, National Portrait Gallery, and Victoria and Albert Museum, the London Library remains a subscription lending library today. Its book collections acquired since 1841 by purchase, donation, and bequest number in excess of one million volumes, have not been subject to systematic stock weeding, and remain therefore a remarkably intact collection CSA 31 2015/16 184 CARLYLE STUDIES ANNUAL used and shaped by its Victorian members. In 1841 the Library, capitalizing on advances in rail and post infrastructure, positioned itself as a national institution with international credentials: “The Library will contain books in all departments of literature and philosophy and in all languages.