DOCSLIB.ORG

Kurt F. Pantzer Collecting Papers, 1832-1983 (M007)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kurt F. Pantzer Collecting Papers, 1832-1983 (M007) M007 Kurt F. Pantzer Collecting Papers, 1832-1983, n.d. | Indianapolis Museum of Art Archives By Rebecca Pattillo Collection Overview Title: Kurt F. Pantzer Collecting Papers, 1832-1983, n.d. Collection ID: M007 Primary Creator: Pantzer, Kurt F. (Kurt Friedrich) (1892-1979) Extent: 17.54 linear feet Arrangement: This collection has been divided into seven series and three subseries: Series I: J.M.W. Turner Artwork Series II: Other Artists Series III: Book Collecting Series IV: Exhibitions Series V: Correspondence Series VI: Research Material Subseries a: J.M.W. Turner Subseries b: Catalogs and Publications Subseries c: Places Series VII: Cooper Notebooks **Photographic prints and negatives that were originally filed with the manuscript material have been separated and moved from the document boxes to photo boxes. IMA Archives Separation Sheets have been placed where the photographic material was originally filed in Series V, VI, and VII. Due to the large amount of photographic material contained within Series I, II, and III, individual Separation Sheets were not created at the time of separation. Instead, the photo folders containing separated photographic material have been labeled with titles that match the document folders from which the material was removed. This same procedure was followed when separating oversized items from Series I and II.** Date Acquired by the IMA Archives: October 24, 2014 Languages: English, German, French, Italian IMA Archives Kurt F. Pantzer Collecting Papers, 1832-1983 1 Scope and Contents of the Materials The Kurt F. Pantzer Collecting Papers document the fine art and book collecting of the Indianapolis businessman and civic leader who was known for having the largest collection in America of artworks by British artist Joseph William Mallard (J.M.W.) Turner (1775-1851). The archival collection was given to the Curatorial Department of the Indianapolis Museum of Art with Pantzer’s art collection in the 1970s and was transferred to the archives in October of 2014. The collection has been divided into seven series and three subseries which are described below. Series 1: J.M.W. Turner Artwork, 1895-1983, n.d. includes correspondence, catalogs, clippings, purchase and shipping documents, and other materials related to the acquisition and research of specific Turner works in Pantzer’s collection. Boxes 1 through 7 are arranged alphabetically by title of the artwork. The remaining boxes 8 and 9 are organized chronologically and contain documents pertaining to general collecting, acquisition, and research. Included are folders regarding Dr. Thomas Monro (1759-1833), an early patron of Turner and his fellow artistic contemporaries, known as the “Monro Circle.” Series 2: Other Artists, 1866-1980 contains correspondence, catalogs, clippings, purchase and shipping documents, and other materials related to the acquisition and research of non-Turner artists. Included amongst the artists are Turner contemporaries and copyists, as well as artists not related to Turner. The series is arranged alphabetically by artist. Series 3: Book Collecting, 1949-1975 includes correspondence, purchase documents, and auction catalogs relating to Pantzer’s acquisition of books for his extensive personal library. The series is arranged chronologically. Folder labels include the title of the book and author or the auction sale from which the book was obtained. Folder labels containing the auction title also include the auction’s lot numbers of interest to Pantzer on the physical folder but have been excluded from the finding aid content listing. This series does not include physical copies of books obtained, only the documentation and evidence of his purchases. Many of these books, especially those relating to J.M.W. Turner, were gifted to the IMA Stout Reference Library in 1979. Series 4: Exhibitions, 1946-1977 contains correspondence, exhibition ephemera, loan agreements, and shipping and insurance documents for Turner artworks owned by Pantzer that were loaned to museums for exhibition. It is arranged chronologically by exhibition date. Series 5: Correspondence, 1954-1979 consists of correspondence with various art historians, enthusiasts, curators, museums directors, art dealers, and fellow collectors. It is arranged alphabetically by last name, followed by four folders of general correspondence from 1955-1977. Series 6: Research Material, 1832-1980, n.d. Pantzer amassed a large collection of reference material including clippings, ephemera, court documents, correspondence, travel guides, and publications that he termed “Turnerabilia.” His collection of research material is organized into three subseries: J.M.W. Turner, Catalogs and Publications, and Places. IMA Archives Kurt F. Pantzer Collecting Papers, 1832-1983 2 Subseries a: J.M.W. Turner, 1832-1980, n.d. includes research material relating directly to J.M.W. Turner including estate court documents, 19th century letters between Turner contemporaries, documents about Turner collecting and pricing, ephemera and correspondence regarding the Turner Society in London, notebooks by A.J. Finberg with sketches of Turner works, and research on Turner’s first major patron, Dr. James Monro. Known as a leading expert on Turner, Panzter was often asked to give opinions and editing comments for upcoming Turner scholarship. Within this series are publications by Gerald Wilkinson and George Hardy that Pantzer proofread and annotated for correction. This series is arranged chronologically. Photo Box 4, Folder 20 entitled “Unidentified photographs and negatives, n.d.” has been housed within Series VI, subseries a: J.M.W. Turner, though it likely includes works by other artists. Subseries b: Catalogs and Publications, 1857-1975 consists of catalogs and publications relating to art sales and research. Included are very early auction catalogs used for provenance research. They are arranged chronologically. Subseries c: Places, 1957-1960, n.d. contains Pantzer’s collection of travel ephemera from Europe, most commonly areas that were subjects of Turner’s paintings. Included in this series are postcards, maps, travel guides, and two folders of colored print engravings of views in Switzerland. The folders are arranged alphabetically by location. Series 7: Cooper Notebooks, 1847-1977, n.d. includes the original Cooper Notebooks, correspondence regarding the notebooks, as well as related research. These notebooks, created by Hannah Cooper, were serendipitously discovered by Pantzer in 1968 at a Massachusetts antiquarian book store. Cooper was the niece of Londoner Charles Stokes (1785-1853), a collector and personal acquaintance of J.M.W. Turner. Upon Stokes’ death, he bequeathed his collection of 150 Turner drawings to Cooper. She subsequently exchanged these drawings for eighty-three other drawings done by Turner, transactions which she recorded in the first two volumes of the notebooks. The remaining four volumes are a detailed compilation by Cooper of Stokes’ authoritative catalogue of Turner’s engraved works. Biographical Note Born August 21, 1892, Kurt F. Pantzer was a prominent Indianapolis lawyer heavily involved in public affairs, politics, and cultural humanities. He attended Wabash College and received art and law degrees from Harvard University between 1909 and 1920. His first job as a lawyer was in New York with the firm Winthrop & Stimson from 1920 to 1922. Pantzer returned to Indianapolis where he made a living as a lawyer with the firm Barnes, Hickman, Panzter and Boyd. In 1926 he married Katharine Ferriday, with whom he had three children: Katharine F. Pantzer, Kurt F. Pantzer, Jr., and Eric Pantzer. His success as a lawyer gave him the financial means to become an authoritative collector of works by English artist Joseph Mallord William (J.M.W.) Turner (1775-1851) who produced some 20,000 paintings, drawings, and sketches during his lifetime. Of this vast body of work, Pantzer amassed a collection of 38 Turner watercolors, 3,000 Turner engravings, 7 Turner life portraits, a Turner library of 500 volumes, as well as correspondence of both Turner and his contemporaries. IMA Archives Kurt F. Pantzer Collecting Papers, 1832-1983 3 Pantzer’s collection of supporting Turner items such as letters, manuscripts, and portraits made up what he affectionately called “Turnerabilia.” This included extending his collection beyond Turner; he sought Turner predecessors, contemporaries, and followers. Turner’s principal champion, art critic John Ruskin (1819-1900), was also a collecting interest of Pantzer’s. Included in the Pantzer Collecting Papers are Ruskin letters and research, as well as those of Ruskin’s students, who were instructed as copyists of Turner’s works (Ruskin felt the best way to learn from the then deceased master was to emulate his style). The copies they produced, as well as artworks in the style of Turner, were also of interest to Pantzer. He took particular notice of an especially skilled copyist and student of Ruskin, Isabella Jay (1842/3-1919), after he discovered that a painting he purchased listed as a genuine Turner was actually created by Isabella Jay. Pantzer bought Jay’s original records of her Turner copies that she painted and sold (included in Series II: Other Artists). Jay was not in the business of selling her copies as Turner forgeries, rather they were merely facsimiles of his work; not until later were her pieces sold under the guise of Turner originals. Throughout his collecting, Pantzer corresponded regularly with art dealers, historians, curators,
Load more

Recommended publications
  • Eighteenth-Century English and French Landscape Painting
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2018 Common ground, diverging paths: eighteenth-century English and French landscape painting. Jessica Robins Schumacher University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Schumacher, Jessica Robins, "Common ground, diverging paths: eighteenth-century English and French landscape painting." (2018). Electronic Theses and Dissertations. Paper 3111. https://doi.org/10.18297/etd/3111 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. COMMON GROUND, DIVERGING PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A. cum laude, Vanderbilt University, 1977 J.D magna cum laude, Brandeis School of Law, University of Louisville, 1986 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art (C) and Art History Hite Art Department University of Louisville Louisville, Kentucky December 2018 Copyright 2018 by Jessica Robins Schumacher All rights reserved COMMON GROUND, DIVERGENT PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A.
    [Show full text]
  • Paysages D'italie. Les Peintres Du Plein Air (1780 - 1830)
    Bianchini, Marie-Claude; Foulon, Béatrice (Hrsg.): Paysages d'Italie. Les peintres du plein air (1780 - 1830). Galeries nationales du Grand Palais 3 avril -9 juillet 2001. Centro Internazionale d'Arte e di Cultura di Palazzo Te, Mantoue, 1er septembre-16 décembre 2001/ Dirigé par Béatrice Foulon.Coordination éditorale Marie-Claude Bianchini., Milano,Paris: Electa 2000 ISBN-13: 978-2-7118-4196-7, XLVIII, 384 p Paysages d'Italie. Les Peintres du plein air (1780-1830) (Paris) Galeries nationales du Grand Palais, Apr 3–Jul 9, 2001 Centro Internazionale d'Arte e di Cultura di Palazzo Te, Mantua 01.09.-16.12.2001 Reviewed by: Helen Josephine Langdon In a small painting, "The Artist in His Room at the Villa Medici in Rome", (Cleveland Museum of Art) the French painter, Leon Cogniet, Prix de Rome pensionnaire, shows himself leaning against his bed, reading his first letter from home. Around his monk like room are emblems of his occupa- tion; a palette, a guitar, props for future history paintings - a helmet, shield, and sword - and a walk- ing stick, hat and cloak, suggesting his excursions in the Campagna. Above all the window is flung open, framing two cypress trees and a stretch of Roman countryside, and filling the shadowy space with bright sunlight. It is an intensely evocative work, which seems to crystallise the inter- ests of the painter in Italy in the early 19th century, suggesting both the lingering demand for his- torical compositions, and a growing passion for direct and spontaneous landscape painting, a vision newly revealed by the light and beauty of the South.
    [Show full text]
  • Lowell Libson Limited
    LOWELL LI BSON LTD 2 0 1 0 LOWELL LIBSON LIMITED BRITISH PAINTINGS WATERCOLOURS AND DRAWINGS 3 Clifford Street · Londonw1s 2lf +44 (0)20 7734 8686 · [email protected] www.lowell-libson.com LOWELL LI BSON LTD 2 0 1 0 Our 2010 catalogue includes a diverse group of works ranging from the fascinating and extremely rare drawings of mid seventeenth century London by the Dutch draughtsman Michel 3 Clifford Street · Londonw1s 2lf van Overbeek to the small and exquisitely executed painting of a young geisha by Menpes, an Australian, contained in the artist’s own version of a seventeenth century Dutch frame. Telephone: +44 (0)20 7734 8686 · Email: [email protected] Sandwiched between these two extremes of date and background, the filling comprises Website: www.lowell-libson.com · Fax: +44 (0)20 7734 9997 some quintessentially British works which serve to underline the often forgotten international- The gallery is open by appointment, Monday to Friday ism of ‘British’ art and patronage. Bellucci, born in the Veneto, studied in Dalmatia, and worked The entrance is in Old Burlington Street in Vienna and Düsseldorf before being tempted to England by the Duke of Chandos. Likewise, Boitard, French born and Parisian trained, settled in London where his fluency in the Rococo idiom as a designer and engraver extended to ceramics and enamels. Artists such as Boitard, in the closely knit artistic community of London, provided the grounding of Gainsborough’s early In 2010 Lowell Libson Ltd is exhibiting at: training through which he synthesised
    [Show full text]
  • EXAMINER Issue 4.Pdf
    Jabez Balfour THE CASEBOOK The Cattleman, Analyses The Lunatic, The Ripper & The Doctor Murders Tom Wescott issue four October 2010 JACK THE RIPPER STUDIES, TRUE CRIME & L.V.P. SOCIAL HISTORY INTERNatIONAL MAN OF MYSTERY R J Palmer concludes his examination of Inspector Andrews D M Gates Puts his stamp GOING on the 1888 Kelly Postal POStal Directory THE CASEBOOK The contents of Casebook Examiner No. 4 October 2010 are copyright © 2010 Casebook.org. The authors of issue four signed articles, essays, letters, reviews October 2010 and other items retain the copyright of their respective contributions. ALL RIGHTS RESERVED. No part of this publication, except for brief quotations where credit is given, may be repro- CONTENTS: duced, stored in a retrieval system, The Lull Before the Storm pg 3 On The Case transmitted or otherwise circulated in any form or by any means, including Subscription Information pg 5 News From Ripper World pg 120 digital, electronic, printed, mechani- On The Case Extra Behind the Scenes in America cal, photocopying, recording or any Feature Stories pg 121 R. J. Palmer pg 6 other, without the express written per- Plotting the 1888 Kelly Directory On The Case Puzzling mission of Casebook.org. The unau- D. M. Gates pg 52 Conundrums Logic Puzzle pg 128 thorized reproduction or circulation of Jabez Balfour and The Ripper Ultimate Ripperologists’ Tour this publication or any part thereof, Murders pg 65 Canterbury to Hampton whether for monetary gain or not, is & Herne Bay, Kent pg 130 strictly prohibited and may constitute The Cattleman, The Lunatic, and copyright infringement as defined in The Doctor CSI: Whitechapel Tom Wescott pg 84 Catherine Eddowes pg 138 domestic laws and international agree- From the Casebook Archives ments and give rise to civil liability and Undercover Investigations criminal prosecution.
    [Show full text]
  • Parallel Lines
    PARALLEL LINES Contemporary Chinese ink painting and the Great Age of British landscape painters LOWELL LIBSON LTD · MD FLACKS PARALLEL LINES An exhibition at W.M. BRADY & CO NEW YORK NOVEMBER 13 – 18 and LOWELL LIBSON LTD LONDON NOVEMBER 30 – DECEMBER 8 平 PARALLEL LINES 行 Contemporary Chinese ink painting and the Great Age of British 线 landscape painters Lowell Libson Ltd · MD Flacks B C Marcus Flacks A shared artistic language Ink on Silk, 60 x 60 cm liu dan | Scholar’s rock, 2012 the idea behind this exhibition contains a number of very personal ingredients. The first is a long-standing appreciation of European works on paper that I inherited from my late father, a great enthusiast and collector of the works of J. M. W. Turner. It was through him that I first met Lowell Libson, then at Leger, whilst I was still in my teens. There followed an enduring friendship that has made this exhibition possible, but that has also been an important mainstay in my adult life. For me, the second, and perhaps more obvious ingredient as a dealer and collector of Chinese art, is my love of Chinese ink paintings. Although, here again, at the heart of this fascination is a deep personal friendship with the artist Liu Dan, one that has lasted for over two decades. It was Liu Dan who guided me through my first steps in ink art and it is through him that I have met many of the artists presented in this exhibition, such as Zeng Xiaojun, Xu Lei and Shen Qin.
    [Show full text]
  • EXAMINER Issue 7.Pdf
    THE CASEBOOK Rogues’ A Cat’s Lick Gallery or Two Tom Wescott Jane Coram issue seven April 2011 JACK THE RIPPER STUDIES, TRUE CRIME & L.V.P. SOCIAL HISTORY Melville Macnaghten Revisited Part II: The Honourable Schoolboy BY JONATHAN HAINSWORTH Deemed Insane: Daniel Olsson An Interview with takes us on a tour Rob House of Gothenburg THE CASEBOOK The contents of Casebook Examiner No. 7 April 2011 are copyright © 2010 Casebook.org. The authors of signed issue seven articles, essays, letters, reviews and April 2011 other items retain the copyright of their respective contributions. ALL RIGHTS RESERVED. No part of this publication, except for brief quotations where credit is given, maybe reproduced, stored in a retrieval system, CONTENTS: transmitted or otherwise circulated in any form or by any means, including digital, electronic, printed, mechanical, Has it Really Been a Year? Pg 3 Photographs of Dr LionelDruitt photocopying, recording or any other, Adam Went Pg 69 without the express written permission Melville Macnaghten Revisited of Casebook.org. The unauthorized Jonathan Hainsworth Pg 5 Book Reviews Pg 73 reproduction or circulation of this publication or any part thereof, A Berner Street Rogues Gallery Open Book Exam whether for monetary gain or not, is DonSouden Pg 81 Tom Wescott Pg 30 strictly prohibited and may constitute copyright infringement as defined in Ultimate Ripperologists’ Tour A Cat’s Lick or Two domestic laws and international agree- Gothenburg ments and give rise to civil liability and Jane Coram Pg52 Daniel Olsson Pg 87 criminal prosecution. The views, conclusions and opinions expressed in What if It Was? Deemed Insane: An Interview with articles, essays, letters and other items Don Souden Pg 63 Rob House Pg 99 published in Casebook Examiner are those of the authors and do not necessarily reflect the views, conclusions and opinions of Casebook.
    [Show full text]
  • Revision and Exploration German Landscape
    REVISION AND EXPLORATION GERMAN LANDSCAPE DEPICTION AND THEORY IN THE LATE 18TH CENTURY Ph.D. Thesis History of Art University College London Mark A. Cheetham June, 1982 THESIS ABSTRACT "Revision and Exploration: German Landscape Depiction and Theory in the Late Eighteenth Century" My thesis focuses on the work of German painters in Italy c.l770-1800, and addresses issues raised by their complex relationship with the 17th century Italianate landscape tradition. Jakob Philipp Hackert (1737-1807), Johann Christian Reinhart (1761-1847), and Joseph Anton Koch (1768- 1839) worked in Italy precisely because they considered them- selves to be thg inheritors of the 17th century landscape style of Claude, Dughet, Rosa, and Nicolas Poussin. But while the German paintings do resemble the earlier works, they also revise the 17th century programme of representing Ideal nature. They are more detailed and precise in their depiction of natural phenomena; they also represent natural events and sites not included in the traditional canon. Extrapolating from 18th century critical terminology, I have developed the term "particularity" to focus attention on this unprecedented attentiontt the details of nature. I argue that the late 18th century German landscapes revise the Italianate landscape tradition so that it embodies particularity, and that the impetus for this change comes from two contemporary sources: natural history -- especially the nascent sciences of geology and biology -- and art theory. My argument is divided into three sections. In the first, I establish the existence and visual characteristics of particu- larity first by contrasting 17th century versions of the famous cascades at Tivoli (by Claude, Dughet, and others) with depic- tions of the same site by late 18th century German artists, and second, by describing the new sites which were explored and depicted by Hackert, Reinhart, and Koch.
    [Show full text]
  • Munro Australia
    Munro Australia Newsletter of the Clan Munro (Association) Australia Volume 3 Issue 2 August 2005 Have you visited our Website at http://geocities.com/clanmunroau/index Chat From Scotland Sarah Munro of Foulis fiddle music videos are available, as is In the previous issue I suggested that our newsletter should have a name. The response was the Clan Munro video & a Clan not what I had hoped but I did receive a number of suggestions. The one I liked best was Munro Magazine index - details “The Eagle” but that is already being used so I decided, as one member suggested, to stick on page 3. with what we had (well almost). My thanks to those who took the trouble to respond. New Zealand Family trees - could members who have not already done so, please send me their family Margaret Weeden tells me that trees. It would be good to have a data base showing all our ancestors and maybe even they hold a Clan lunch every finding those who connect. This we have already started to do, sometimes by chance! This is few months in different parts of obviously a long term project for the future & could keep Ron & myself busy when we have the country – perhaps the time to get on to it. So start those trees rolling in. something that our individual states could do. I have started a new section this month called “The Things We Do.” The purpose is to let us all know what we do or if we have retired, what we used to do.
    [Show full text]
  • The Slump in This Issue
    ac istory• the slump In this issue- • Quakers • Poet & Painter . Madhouses • Industry • Workhouse • The Slump Hackney History is the annual volume of the Friends of Hackney Archives. The Friends were founded in 1985 to act as a focus for local history in Hackney, and to support the work of Hackney Archives Department. As well as the annual volume they receive the Department's regular newsletter, The Hackney Terrier. Hackney Historyis issued free of charge to subscribers to the Friends. Membership is£10 for the calendar year 2002. For further information - telephone 020 7241 2886 fax 020 7241 6688 e-mail [email protected]. ISSN 1360 3795 £4.00 free to subscribers HACKNEY History volume eight Dedication 2 Quakers in Stoke Newington, to the mid-19th century Peter Daniels 3 From windmills to rockets: the white lead works, Southgate Road Norman H uxford 12 The madhouse-keepers of Hackney E laine Murphy 18 'Delineations of home scenery', or, the lyrical commuter William Fox and C H . Matthews 29 Hackney workhouse 1920-1923 Dick H unter 3 7 Surviving the slump A. J Root 44 Contributors to this issue 5f< Abbreviations used 58 Acknowledgements 59 About this publication 59 In previous volumes 60 2002 This volume of Hacknry History is dedicated to the memory of Angela Jean Wait QUAKERS 1946-2002 IN STOKE NEWINGTON formerly Senior Assistant Archivist, to the mid-19th century Hackney Archives Department Peter Daniels George Fox and the first Quakers The Quakers, or Society of Friends, arose from and developing London's eventual position as the new ideas around in England of the 1640s.
    [Show full text]
  • Tales and Travels Drawings Recently Acquired on the Sunny Crawford Von Bülow Fund June 22 Through September 30, 2007
    Tales and Travels Drawings Recently Acquired on the Sunny Crawford von Bülow Fund June 22 through September 30, 2007 Exhibition Labels Since her first gift in 1977—the insightful Portrait of Charles-Désiré Norry (1796–1818) by Jean-Auguste- Dominique Ingres—Sunny von Bülow, and more recently her daughter Cosima Pavoncelli, have made important acquisitions for the department of Drawings and Prints. During these three decades, they have substantially augmented the Morgan’s collection with eighty-two drawings and an album of sixty-four sheets. The selections for the Morgan were guided by a taste largely for eighteenth-century drawings and watercolors, although the chronological limits of the collection have recently expanded. The drawings presented here span three centuries and include several European schools. Despite this broad range, the group is particularly cohesive. Most of the drawings are highly finished, and many were made as independent works of art. This exhibition of the entire von Bülow collection, featuring thirty-seven new acquisitions since the first show of works acquired on the fund in 1995, commemorates the tremendous significance of the fund to the continued growth of the collection and honors the memory of Sunny von Bülow and her enduring and profoundly generous commitment to the Morgan. David Roberts (1796–1864) British Cairo, Looking West, 1839 Watercolor and gouache, over graphite Roberts was one of the first British artists to journey independently around Egypt, the Sinai, and the eastern Mediterranean. His views of Near Eastern cities and monuments were widely published in a series of lithographic prints. Roberts executed this sweeping panorama of Cairo during his six-week stay in the city from 1838 to 1839.
    [Show full text]
  • The Aberconway Version ADAM WOOD with a History of the Macnaghten Memorandum
    No. 124 February 2012 The Aberconway Version ADAM WOOD with a History of the Macnaghten Memorandum JOHN BENNETT on the Autobiography of James Carnac NEIL and TRACEY I’ANSON look at Jacob Levy’s asylum records DR GEOFFREY PARNELL on the riddle of the Tower of London’s Ravens Victorian Fiction from CHARLESRipperologist DICKENS 118 January 2011 1 Quote for the month “London had Jack the Ripper. Chicago had Al Capone. Medellin had its own infamous son: Pablo Escobar. At the time of his death in 1993 at age 44, Escobar was the world’s most notorious criminal. He blew up a civilian airliner, bombed the government’s security ministry, assassinated at least one presidential candidate and waged a war on the state that killed thousands, including dozens of judges and hundreds of policemen. But in the afterlife, Escobar has suddenly become something new: a tourist attraction.” Dan Molinski, In Medellín, Notorious Figure Becomes Tourist Attraction. The Wall Street Journal, 13 December 2011. Ripperologist 124, February 2012 EDITORIAL: ONE FOR SORROW, TWO FOR JOY EXECUTIVE EDITOR by Eduardo Zinna Adam Wood EDITORS A HISTORY OF THE MACNAGHTEN MEMORANDUM Christopher T George, by Adam Wood Gareth Williams, Eduardo Zinna THE AUTOBIOGRAPHY OF JAMES CARNAC EDITOR-AT-LARGE Paul Begg by John Bennett COLUMNISTS JACOB THE RIPPER? Howard Brown, Mike Covell, by Neil and Tracy I’anson Chris Scott ARTWORK RIDDLE OF THE TOWER RAVENS ALMOST RESOLVED Adam Wood by Dr Geoffrey Parnell AMAZING DOGS by Jan Bondeson CHRIS SCOTT’S PRESS TRAWL SPITALFIELDS LIFE: THE RATCLIFFE HIGHWAY MURDERS Follow the latest news at www.facebook.com/ripperologist by The Gentle Author VICTORIAN FICTION: SUBSCRIPTIONS.
    [Show full text]
  • Appendix a the Monro Family
    Appendix A The Monro Family Legend traces the origins of the Clan Munro to an eleventh-century prince of Fermanagh. Written records at least as far back as the fourteenth century show the Clan as occupying ancestral lands north of Inverness, at Fowlis (pronounced `Fowls', hence the eagles in the family arms). The chief of the Clan was made a baronet by Charles I. Harold's branch of the Clan, the Monros of Fyrish, one of several cadet families, started in the sixteenth century and later adopted the spelling `Monro'. In 1690 Alexander Monro was dismissed as Principal of Edinburgh University and incumbent of St Giles for his Jacobite sympathies; he was apparently sent to London so that the government could keep an eye on him. Dr James Monro (1680±1752), Alexander's son, became physician in charge of Bethle- hem Hospital for Lunatics, the ancient asylum better known as Bedlam. He was succeeded there by his son, Dr John Monro (1715±91). Both men were criticised for discouraging research and for keeping their knowledge and patients to themselves. John went so far as to say that madness was `a distemper of such a nature, that very little of real use can be said concerning it`. A preference for doing rather than theorising was perhaps a family characteristic, but there were probably good financial reasons for keeping a monopoly. In 1781 John acquired control of Brooke House, a medieval mansion in Hackney which had been converted into a profitable asylum for patients from wealthy families. John was a man of culture, a Shakespeare scholar, a friend of Hogarth and a keen collector of books and prints.
    [Show full text]