DOCSLIB.ORG

Not Exceed 7,500 Upwards and Should Shou~ Anginal Research

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Not Exceed 7,500 Upwards and Should Shou~ Anginal Research f Id ll ~ +t Rl 4~Al New Publication FURNITURE AT TEMPLE NEWSAM HOUSE AND LOTHERTON HALL, YORKSHIRE by Christopher Gilbert The defmitive catalogue of 662 items from the collections of Leeds City Art Galleries, 522 pages with 682 illustrations, 14 in colour, in two volumes. Published jointly by the National Art-Collections Fund and the Leeds Art Collections Fund, 1978. X48 the two volumes, including postage. Cheques or money orders payable to the NACF Leeds Furniture Catalogue; post to Percy Lund, Humphries 8t Co. Ltd., The Manningham Press, Drummond Road, Bradford BD8 8DH. SHELDON MEMORIAL TRUST ESSA Y PRIZE ,4 pnze of E50is offered for the best unpublished essay on history, literature or the arts in connectr'on uvth the City of York. The essay should not exceed 7,500 upwards and should shou~ anginal research. The Trust uill arrange publr'cation of the prize essay. Completed essays must be submitted by 3I March l979. ComPetitors should notify their intended toPicsin advance to the Secretary of the Trust, Mr. /. P. West-Taylor, The University of York, Heslington, York, YOI 5DD THF. LEEDS ART COLLECTIONS FUND Pres~dent The Rt. Hon. the Earl of Halifax; Vrce President The Rt. Hon. the Earl of Harewootl, t.t.,n.; Trustees C. S. Reddihough, George Black, r R t: s, W. T. Oliver, M rs.; Cornrnittee Mrs. S. Bidgood, S. H. Burton, Mrs. R. Copeland, Mrs. S. Gilchrist, J. M. McCloy, Councillor Dr. J. R. Sherwin, Dr. M. Wainman; Hon. Treasurer Martin Arnold, a a; Him. Secretary Robert Rowe; Hon. Membership Secretary W. B. Blackburn; Hon. Social Secretary. The Leeds Art Collections Fund is one of the oldest supporting bodies for the visual arts in Great Britain, a source of regular funds for buying works of art for the Leeds collections. Why not identify yourself with the Art Gallery, Temple rNewsam House and Lotherton Hall, receive your Arts Calendar free, receive invitations to all functions, private views and organised visits to places of interest. The minimum subscription is f5.00 individual and Esr.00 for husband and wife. Enquiries and application forms from the Hon. Secretary at 'I'emple Newsam House, Leeds LS15 OAE. The Arls Calendar may be obtained for a subscription of f. I per annum, including postage (2 issues); single copies may be purchased at the Art Gallery, Temple Newsam House and Lotherton Hall, 50p each. Note: starting with the ftrst issue published in 1947, the entire Leeds Arts Calendar is now available on microfilm. Write for information or send orders direct to Xerox University ivlicroftlms, Ann Arbor, Michigan 48106, U.S.A. I.EISURE SERVICES COMMITTEE The Lord Mayor; Chairman Councillor Dr. J. R. Sherwin; Deputy Chairman Councillor Mrs. E. G. Clark, Councillor B. P. Atha, Councillor E. Atkinson, Councillor D. F. Camp- bell, Councillor ivlrs. M. E. Frame, Councillor W. K. Hedley, st.ts.s,).v., Councillor Mrs. C. Myers, Councillor Mrs. E. A. Nash, Councillor B. Nelson, Councillor A. S. Pedley, t) t: c, Councillor S. Symmonds, Councillor C. A. Thompson, J.p STAFF Director of Art Gallen'es Robert Rowe, C B.E.,M.A, F.M.A.; Princr'pal Keeper (Temple Nervsam) Christopher Gilbert, st.a . t: st A.; Keeper (Art Gallery) Miranda Strickland- Constable, ts A. A st.rs; Keeper (Lotherton Hall) Peter Walton, B.A., A M.A.; Keeper (Decorative Art Studies) Terry F. Friedman, B.A, PH.D; Senior Assistant Keepers Alexander Robertson, M.a., A,M,A,, Anthony Wells-Cole, M.A., A.M A; Trainee Assistant Keeper James Lomax, a,a.; Trar'nee Assistant Keeper (Educational Services) Adrian Budge, B.A . B.ettlt..cERT ED; Conservation Supervisors Michael Sheppard, Ron Turner; Technical Assistant John Berry, a a; Junior Technical Assistant Post vacant; Secretary Barbara Thompson; Adminr'stration Jean English; Clerr'cal Assistants Jean Gannon, Fiona Mclndoe. Cover: Portrait of Horatio Walpole, 2nd Baron Walpole by Pierre Subleyras, 1746 —47, oil on canvas. Leeds City Art Galleries (Temple Newsam House). LEEDS ARTS CALENDAR No. 83 1978 Editorial Nicaise Roussel and the Mostyn Flagons Charles Oman Prince Pig Wiggin in Italy James Lomax Sir Robert Vyner and His Family by Michael Wright 20 Colin SimPson Early Photography in Leeds 26 Adrian Budge Detail of the back rail of a mahogany occasional table with boxwootl plaque engraved 'Jas. Cullen Londini Soho, fecit 1769'. C;iven by Henry Moore, Fwq., 1978. Editorial In the editorial of the last Calendar an account and no carol party at Christmas. Worse still, the was given of the campaign to save the Mostyn whole of the floor above alias Smithfield so flagons. The present Calendar includes an arti- recently opened up as a model educational unit cle by Charles Oman, the leading authority on is out of commission and has had to be English silver and on much Continental silver evacuated. It is here, above the ceiling, that all too for that matter about the engraving which the remedial work will have to be done. The embellishes them. So scholarship follows acquisi- word evacuation inevitably reminds the older tion, the traditional pattern at Temple Newsam, generation of the war; in fact the emergency is to which attention should occasionally be drawn horribly familiar. The Art Appreciation pro- for it is not accidental. It is the object itself, its gramme and the even more recent service for overall artistic presence its success as a work of schools, both of which have been so successful art that qualifies it for a home in Leeds. This is and become such an important part of the Art the fundamental reason why the collections are Galleries image, are in jeopardy. They cannot be so good. The defmable criteria used to make a allowed to fail for lack of accommodation —they case for purchase are often worked out after an are too young to die. 'Business as usual'ust acquisition has been made in the curatorial somehow be maintained and with a bit of sym- mind. At a point, in fact, when it becomes pathy from our customers it will be. How is the necessary to persuade a committee or other fund great question, for the house which looks so vast controlling bodies to underwrite the exercise. has very little spare space almost every inch has This is quite sensible, it puts first things first and been put to full use through the years apart fits in with the pattern of life; no group of peo- from the Tudor cellars which need a lot of ple, however eminent, can make progress unless rehabilitation and therefore money before they a proposition is put to them by an individual. can be made fit for visitors. The restored chapel How happy it is, therefore, that our tankard's will have to be used as a teaching space, but arrival at Temple Newsam should be followed so Lord Halifax and the church authorities have soon by the publication of an article by Mr. willingly agreed to this emergency measure; Oman on the conception and realization of this more of the war-time spirit recaptured. It is sad Elizabeth prodigy. to relate that the new vicar Michael Hunter had Something good, something bad, the frame- to hold this year's annual service in his parish work of another pattern, but one that has to be church at Whitkirk. We wish him well in his accepted rather than made. The near collapse of ministry and hope that he will be able to "resume the Long Gallery ceiling at Temple Newsam services" in the chapel as soon as possible. seems to be thoroughly bad, a black event in the The scene is not all black even in its most history of the house and indeed of the art material aspects. The ceiling, a major work of galleries generally. It is tragic to see this most art in itself, did not fall. It gave warning of its magnificent room filled with steel scaffolding condition by sagging gracefully, if positively, and the library beyond made inaccessible. There allowing time for the alarm to be raised and seems a certain irony too in that so much work answered. No hunks of plaster fell on anybody has been concentrated on these two rooms in the and no-one was precipitated from Smithfield to last quarter of a century. The acquisition of fur- the Long Gallery floor grasping a precious object niture of suitable quality, some of it originally in his arms. Maybe the familiar words "by family made for the Saloon, as the Long Gallery in its descent" usually applied to old families in old 18th century form should properly be called, houses refers to what nearly happened at Temple and the full restoration of the fabric of the Newsam. superb library which took so many years to However difficult the present is there must be achieve. The practical consequences are comfort in the fact that this famous ceiling is the devastating. No Saturday evening concerts; no acknowledged jewel of one of the most important annual soiree and A.G.M. this year or next year houses in the country. Surely no authority, local or national, could ignore its respective respon- Social Secretary after some eight years of splen- sibilities towards such a monumental part of our did work for the membership. She never spared heritage; especially when dealing with a public herself and was constantly thinking up imagina- house in which plentiful spirit is available from tive programmes of visits to interesting exhibi- those who act as landlords. Normal opening tions and places which she implemented with times must indeed be resumed in the Saloon as great aplomb.
Load more

Recommended publications
  • THE POWER of BEAUTY in RESTORATION ENGLAND Dr
    THE POWER OF BEAUTY IN RESTORATION ENGLAND Dr. Laurence Shafe [email protected] THE WINDSOR BEAUTIES www.shafe.uk • It is 1660, the English Civil War is over and the experiment with the Commonwealth has left the country disorientated. When Charles II was invited back to England as King he brought new French styles and sexual conduct with him. In particular, he introduced the French idea of the publically accepted mistress. Beautiful women who could catch the King’s eye and become his mistress found that this brought great wealth, titles and power. Some historians think their power has been exaggerated but everyone agrees they could influence appointments at Court and at least proposition the King for political change. • The new freedoms introduced by the Reformation Court spread through society. Women could appear on stage for the first time, write books and Margaret Cavendish was the first British scientist. However, it was a totally male dominated society and so these heroic women had to fight against established norms and laws. Notes • The Restoration followed a turbulent twenty years that included three English Civil Wars (1642-46, 1648-9 and 1649-51), the execution of Charles I in 1649, the Commonwealth of England (1649-53) and the Protectorate (1653-59) under Oliver Cromwell’s (1599-1658) personal rule. • Following the Restoration of the Stuarts, a small number of court mistresses and beauties are renowned for their influence over Charles II and his courtiers. They were immortalised by Sir Peter Lely as the ‘Windsor Beauties’. Today, I will talk about Charles II and his mistresses, Peter Lely and those portraits as well as another set of portraits known as the ‘Hampton Court Beauties’ which were painted by Godfrey Kneller (1646-1723) during the reign of William III and Mary II.
    [Show full text]
  • Lord Henry Howard, Later 6Th Duke of Norfolk (1628 – 1684)
    THE WEISS GALLERY www.weissgallery.com 59 JERMYN STREET [email protected] LONDON, SW1Y 6LX +44(0)207 409 0035 John Michael Wright (1617 – 1694) Lord Henry Howard, later 6th Duke of Norfolk (1628 – 1684) Oil on canvas: 52 ¾ × 41 ½ in. (133.9 × 105.4 cm.) Painted c.1660 Provenance By descent to Reginald J. Richard Arundel (1931 – 2016), 10th Baron Talbot of Malahide, Wardour Castle; by whom sold, Christie’s London, 8 June 1995, lot 2; with The Weiss Gallery, 1995; Private collection, USA, until 2019. Literature E. Waterhouse, Painting in Britain 1530 – 1790, London 1953, p.72, plate 66b. G. Wilson, ‘Greenwich Armour in the Portraits of John Michael Wright’, The Connoisseur, Feb. 1975, pp.111–114 (illus.). D. Howarth, ‘Questing and Flexible. John Michael Wright: The King’s Painter.’ Country Life, 9 September 1982, p.773 (illus.4). The Weiss Gallery, Tudor and Stuart Portraits 1530 – 1660, 1995, no.25. Exhibited Edinburgh, Scottish National Portrait Gallery, John Michael Wright – The King’s Painter, 16 July – 19 September 1982, exh. cat. pp.42 & 70, no.15 (illus.). This portrait by Wright is such a compelling amalgam of forceful assurance and sympathetic sensitivity, that is easy to see why that doyen of British art historians, Sir Ellis Waterhouse, described it in these terms: ‘The pattern is original and the whole conception of the portrait has a quality of nobility to which Lely never attained.’1 Painted around 1660, it is the prime original of which several other studio replicas are recorded,2 and it is one of a number of portraits of sitters in similar ceremonial 1 Ellis Waterhouse, Painting in Britain 1530 to 1790, 4th integrated edition, 1978, p.108.
    [Show full text]
  • Contact Sheet Working
    Royal Collection Season on the BBC All images can be downloaded from www.bbcpictures.co.uk BBC One, The Coronation Her Majesty The Queen with St Edward’s Crown Her Majesty The Queen and Alastair Bruce The Coronation Spoon The Sovereign’s Sceptre St Edward’s Crown The Imperial State Crown Her Majesty The Queen Riding in the Gold State Coach Her Majesty The Queen with her Maids of Honour and the Archbishop of Canterbury during the after her Coronation. Credit: ITV Archive Coronation. Credit: ITV Archive BBC Four Art, Passion & Power: The Story of the Royal Collection Episode One The Bearers of Trophies Charles I with and Bullion, detail from M. de St Antoine by The Triumphs of Caesar by Sir Anthony van Dyck, Andrea Mantegna, 1633 c.1484-92 Andrew Graham-Dixon comes face to face with Charles I by Sir Anthony van Dyck, 1635-before June 1636 Hubert Le Sueur’s portrait bust of Charles I Cicely Heron by Hans Holbein the Younger, 1526-7 Andrew Graham-Dixon in the Picture Gallery at Buckingham Palace Andrew Graham-Dixon in the Picture Gallery Andrew Graham-Dixon in the Picture Gallery at Buckingham Palace at Buckingham Palace BBC Four Art, Passion & Power: The Story of the Royal Collection Episode Two Andrea Odoni by Lorenzo Lotto, 1527 The Bacino di San Marco on Ascension Day by Canaletto, c.1733-4 Frances Stuart, Charles II by Duchess of Richmond by John Michael Wright, Sir Peter Lely, 1662 c.1771-6 The foetus in the womb by Leonardo da Vinci, c.1511 Andrew Graham-Dixon in Venice on the trail of Canaletto Andrew Graham-Dixon in Venice on the
    [Show full text]
  • MASTER DRAWINGS Index to Volumes 1–55 1963–2017 Compiled by Maria Oldal [email protected]
    MASTER DRAWINGS Index to Volumes 1–55 1963–2017 Compiled by Maria Oldal [email protected] The subject of articles or notes is printed in CAPITAL letters; book and exhibition catalogue titles are given in italics; volume numbers are in Roman numerals and in bold face. Included in individual artist entries are authentic works, studio works, copies, attributions, etc., arranged in sequential order within the citations for each volume. When an author has written reviews, that designation appears at the end of the review citations. Names of collectors are in italics. Abbreviated names of Italian churches are alphabetized as if fully spelled out: "Rome, S. <San> Pietro in Montorio" precedes "S. <Santa> Maria del Popolo." Concordance of Master Drawings volumes and year of publication: I 1963 XII 1974 XXIII–XXIV 1985–86 XXXV 1997 XLVI 2008 II 1964 XIII 1975 XXV 1987 XXXVI 1998 XLVII 2009 III 1965 XIV 1976 XXVI 1988 XXXVII 1999 XLVIII 2010 IV 1966 XV 1977 XXVII 1989 XXXVIII 2000 XLIX 2011 V 1967 XVI 1978 XXVIII 1990 XXXIX 2001 L 2012 VI 1968 XVII 1979 XXIX 1991 XL 2002 LI 2013 VII 1969 XVIII 1980 XXX 1992 XLI 2003 LII 2014 VIII 1970 XIX 1981 XXXI 1993 XLII 2004 LIII 2015 IX 1971 XX 1982 XXXII 1994 XLIII 2005 LIV 2016 X 1972 XXI 1983 XXXIII 1995 XLIV 2006 LV 2017 XI 1973 XXII 1984 XXXIV 1996 XLV 2007 À l’ombre des frondaisons d’Arcueil: Dessiner un jardin du XVIIe siècle, exh. cat. by Xavier Salmon et al. Review. LIV: 397–404 A. S.
    [Show full text]
  • History of Britain from the Restoration to 1783
    History of Britain from the Restoration to 1783 HIS 334J (39245) & EUS 346 (36243) Fall Semester 2016 Charles II of England in Coronation Robes Pulling Down the Statue of George III at Bowling John Michael Wright, c. 1661-1662 Green in Lower Manhattan William Walcutt, 1857 JGB 2.218 Tuesday & Thursday, 12:30 – 2:00 PM Instructor James M. Vaughn [email protected] Office: Garrison 3.218 (ph. 512-232-8268) Office Hours: Thursday, 2:30 – 4:30 PM, and by appointment Teaching Assistant Andrew Wilkins [email protected] Office: The Cactus Cafe in the Texas Union building Office Hours: Tuesday, 2:00 – 4:00 PM, and by appointment Course Description This lecture course surveys the history of England and, after the union with Scotland in 1707, Great Britain from the English Revolution and the restoration of the Stuart monarchy (c. 1640-1660) to the War of American Independence (c. 1775-1783). The kingdom underwent a remarkable transformation during this period, with a powerful monarchy, a persecuting state church, a traditional society, and an agrarian economy giving way to parliamentary rule, religious toleration and pluralism, a dynamic civil society, and a commercial and manufacturing-based economy on the eve of industrialization. How and why did this transformation take place? 1 Over the course of the same period, Great Britain emerged as a leading European and world power with a vast commercial and territorial empire stretching across four continents. How and why did this island kingdom off the northwestern coast of Europe, geopolitically insignificant for much of the sixteenth and seventeenth centuries, become a Great Power and acquire a global empire in the eighteenth century? How did it do so while remaining a free and open society? This course explores these questions as well as others.
    [Show full text]
  • A Guide to the Pictures at Powis Castle Dr Peter Moore a Guide to the Pictures at Powis Castle by Dr Peter Moore
    A Guide to the Pictures at Powis Castle Dr Peter Moore A Guide to the Pictures at Powis Castle by Dr Peter Moore Contents A Guide to the Pictures at Powis Castle 3 The Pictures 4 The Smoking Room 4 The State Dining Room 5 The Library 10 The Oak Drawing Room 13 The Gateway 18 The Long Gallery 20 The Walcot Bedroom 24 The Gallery Bedroom 26 The Duke’s Room 26 The Lower Tower Bedroom 28 The Blue Drawing Room 30 The Exit Passage 37 The Clive Museum 38 The Staircase 38 The Ballroom 41 Acknowledgements 48 2 Above Thomas Gainsborough RA, c.1763 Edward Clive, 1st Earl of Powis III as a Boy See page 13 3 Introduction Occupying a grand situation, high up on One of the most notable features of a rocky prominence, Powis Castle began the collection is the impressive run of life as a 13th-century fortress for the family portraits, which account for nearly Welsh prince, Gruffudd ap Gwenwynwyn. three-quarters of the paintings on display. However, its present incarnation dates From the earliest, depicting William from the 1530s, when Edward Grey, Lord Herbert and his wife Eleanor in 1595, Powis, took possession of the site and to the most recent, showing Christian began a major rebuilding programme. Herbert in 1977, these images not only The castle he created soon became help us to explore and understand regarded as the most imposing noble very intimate personal stories, but also residence in North and Central Wales. speak eloquently of changing tastes in In 1578, the castle was leased to Sir fashion and material culture over an Edward Herbert, the second son of extraordinarily long timespan.
    [Show full text]
  • Rome in the 18R.Li Century
    fl urn Rome in the 18r.li Century •ii" On the cover: Giovanni Battista Piranesi Detail of the Fontana di Trevi WS'? 0FP/C6- SLIDE UBRARY Artists in Rome in the 18th Century: Drawings and Prints The Metropolitan Museum of Art February 28 - May 7, 1978 Copyright © 1978 by The Metropolitan Museum of Art • This exhibition has been made possible through <^ a grant from the Esther Annenberg Simon Trust V V The drawings, prints, and oil sketches brought together for this exhibition offer eloquent testimony to the rich diversity of artistic activity in eighteenth-century Rome. They are the work of artists of many nationalities—Italian, French, English, Dutch, Flemish, and German—but all were executed in Rome in the course of the century. The city retained in the 1700's its position as a major artistic center, though outdistanced by Paris for first place. Rome continued to be the city to which artists came to learn, by studying and copying the ruins of Classical Antiquity and the great works of the Renaissance and Baroque periods. Papal and princely patronage continued to attract artists from all Europe, but commissions were no longer on the very grand scale of previous centuries. History painting remained a Roman specialty, occupying the highest rank in the hierarchy of painting. Preparatory drawings for major projects by Giuseppe Chiari, Pompeo Batoni, Benedetto Luti, and the Frenchman Pierre Subleyras document this side of Roman production. Sculpture flourished—witness drawings by Pietro Bracci and Camillo Rusconi for important tombs, and Luigi Vanvitelli's designs for the throne of St.
    [Show full text]
  • From the Commonwealth to the Georgian Period, 1650-1730
    A STROLL THROUGH TATE BRITAIN This two-hour talk is part of a series of twenty talks on the works of art displayed in Tate Britain, London, in June 2017. Unless otherwise mentioned all works of art are at Tate Britain. References and Copyright • The talk is given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • Our sponsored charities are Save the Children and Cancer UK. • Unless otherwise mentioned all works of art are at Tate Britain and the Tate’s online notes, display captions, articles and other information are used. • Each page has a section called ‘References’ that gives a link or links to sources of information. • Wikipedia, the Oxford Dictionary of National Biography, Khan Academy and the Art Story are used as additional sources of information. • The information from Wikipedia is under an Attribution-Share Alike Creative Commons License. • Other books and articles are used and referenced. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 A STROLL THROUGH TATE BRITAIN • The History of the Tate • From Absolute Monarch to Civil War, 1540-1650 • From Commonwealth to the Georgians, 1650-1730 • The Georgians, 1730-1780 • Revolutionary Times, 1780-1810 • Regency to Victorian, 1810-1840 • William Blake • J. M. W. Turner • John Constable • The Pre-Raphaelites, 1840-1860 West galleries are 1540, 1650, 1730, 1760, 1780, 1810, 1840, 1890, 1900, 1910 East galleries are 1930, 1940, 1950, 1960, 1970, 1980, 1990, 2000 Turner Wing includes Turner, Constable, Blake and Pre-Raphaelite drawings Agenda 1.
    [Show full text]
  • Lowell Libson Limited British Art
    LOWELL LI BSON LTD 2 0 12 • LOWELL LIBSON LIMITED BRITISH ART 3 Clifford Street · London w1s 2lf +44 (0)20 7734 8686 · [email protected] www.lowell-libson.com LL 2012 text for Alta.indd 1 01/12/2011 13:05 LOWELL LIBSON LTD 2012 LL 2012 text for Alta.indd 2 01/12/2011 13:05 LL 2012 text for Alta.indd 3 01/12/2011 13:05 INDEX OF ARTISTS LOWELL LIBSON LTD Richard Parkes Bonington 96–101 Robert Carpenter 64 3 Clifford Street · London w1s 2lf John Constable 86–95 Telephone: +44 (0)20 7734 8686 Fax: +44 (0)20 7734 9997 David Cox 112–117 Email: [email protected] Richard Earlom 58 Website: www.lowell-libson.com Henry Edridge 73 The gallery is open by appointment, Monday to Friday James Jefferys 56 The entrance is in Old Burlington Street Thomas Gainsborough 18–31 Daniel Gardner 42 In 2012 our exhibition schedule is: Hubert Gravelot 12 Master Drawings New York Valentine Green 60 January 21–28 William Holman Hunt 118 George Lambert 16 TEFAF Maastricht Thomas Lawrence 76–79 March 16–25 John Linnell 102 Master Drawings London Thomas Malton 70 June 27 – July 5 Master of the Giants 56 John Hamilton Mortimer 54 Matthew William Peters 50 George Romney 32–41 Michael Angelo Rooker 68 George Stubbs 52 Peltro William Tomkins 44 Francis Towne 62 William Turner of Oxford 104–111 George Augustus Wallis 80 Cover: a sheet of 18th-century Italian paste paper (collection: Lowell Libson) Richard Westall 48, 84 John Michael Wright 8 Frontispiece: detail from Sir John Morshead George Romney (see pages 38–41) Joseph Wright of Derby 58–61 LL 2012 text for Alta.indd 4 01/12/2011 13:05 LL 2012 text for Alta.indd 5 01/12/2011 13:05 We are delighted to be able to publish some of the acquisitions – paintings, drawings, watercolours, prints and sculpture – which we have made over the last year.
    [Show full text]
  • Diploma Lecture Series 2012 Absolutism to Enlightenment
    Diploma Lecture Series 2012 Absolutism to enlightenment: European art and culture 1665-1765 Charles II and the restoration Lorraine Kypiotis 15 / 16 February 2012 Lecture summary: The Restoration had an exhilarating bravado characterised by a lavish and flamboyant court. It saw the return of the theatre, a flourishing of the arts and the founding of the Royal Society in a court that was the glamorous and often scandalous centre of a London that would rise from the flames like a phoenix. The return of Charles II to the throne in 1660 marked a moment of political and cultural change almost as dramatic as that brought about by his father’s execution 11 years earlier. After the repressions of the interregnum and the uncertainties and poverty of the exiled court, there was an appetite for exuberance, indulgence and transgression – an appetite that the king came to symbolize. After the puritanical sobriety of Cromwell’s parliament, England once again flourished in the arts and sciences. Charles, and his court patronised a number of scientists, architects, poets and dramatists whose influences were felt far beyond the reign of the “Merry Monarch”. Most importantly in the field of the fine arts, Charles was responsible for the recovery of many of the great paintings in the British Royal Collection that had been sold by the Commonwealth after his father’s execution; for the acquisition of a number of fine works by the great artists of the Baroque; and in his patronage of portraitists such as Sir Peter Lely. Charles and the artists he patronised were responsible for the enduring images of a monarchy restored.
    [Show full text]
  • Lowell Libson
    LOWELL LIBSON LTD 2 014 • LOWELL LIBSON LTD · 2014 New York: January 25 – February 1 Annual exhibition at Mitchell-Innes & Nash: British Art: Recent Acquisitions & Thomas Gainsborough: The Landscape of Refinement london: february 17 – february 28 Thomas Gainsborough: The Landscape of Refinement Maastricht: March 14 – 23 TEFAF: The European Fine Art Fair London: July 4 – July 11 Master Drawings & Sculpture Week London Art Week London: October 16 – october 19 Frieze Masters LOWELL LIBSON LTD 2 014 • LOWELL LIBSON LTD CONTENTS 3 Clifford Street · Londonw1s 2lf William John Bankes 8 Telephone: +44 (0)20 7734 8686 Fax: +44 (0)20 7734 9997 James Barry 12 Email: [email protected] Louis-Gabriel Blanchet 15 Website: www.lowell-libson.com The gallery is open by appointment, Monday to Friday Francis Cotes 20 The entrance is in Old Burlington Street Alexander Cozens 24 Lowell Libson John Robert Cozens 26 [email protected] Arthur Devis 34 Deborah Greenhalgh [email protected] John Flaxman 39 Jonny Yarker [email protected] Lucius Gahagan 46 Daniel Gardner 50 Hugh Douglas Hamilton 52 Victor-Marie Hugo 58 Sir Thomas Lawrence 60 Edward Lear 68 William Marlow 72 Samuel Palmer 76 Published by Lowell Libson Limited 2014 Sir Joshua Reynolds 78 Text and publication © Lowell Libson Limited All rights reserved Thomas Rowlandson 82 isbn 978 0 9563930 7 4 Cover: a sheet of 18th-century Italian Thomas Stothard 82 paste paper (collection: Lowell Libson) Frontispiece: Francis Cotes RA 1726–1770 Joseph Mallord William Turner 89 Detail from Mary Colebrooke, later Lady Aubrey, 1766 Benjamin West 102 Photography by Rodney Todd White & Son Ltd Designed and typeset in Dante by Dalrymple Joseph Wright of Derby 105 Colour reproduction by Altaimage Printed in Belgium by Albe De Coker Johan Zoffany 112 our annual catalogue relies entirely on the works we have in hand and it is this serendipity that gives each of these volumes an individual character.
    [Show full text]
  • Die Kaiserliche Gemäldegalerie in Wien Und Die Anfänge Des Öffentlichen Kunstmuseums
    GUDRUN SWOBODA (HG.) Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums BAND II EUROPÄISChe MUSEUMSKULTUREN UM 1800 Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums 2013 BÖHLAU VERLAG WIEN KÖLN WEIMAR GUDRUN SWOBODA (HG.) Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums BAND 2 EUROPÄISCHE MUSEUMSKULTUREN UM 1800 2013 BÖHLAU VERLAG WIEN KÖLN WEIMAR IMPRESSUM Gudrun Swoboda (Hg.) Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums Band 1 Die kaiserliche Galerie im Wiener Belvedere (1776–1837) Band 2 Europäische Museumskulturen um 1800 Kunsthistorisches Museum Wien, Wien 2013 Redaktion Gudrun Swoboda, Kristine Patz, Nora Fischer Lektorat Karin Zeleny Art-Direktion Stefan Zeisler Graphische Gestaltung Johanna Kopp, Maria Theurl Covergestaltung Brigitte Simma Bildbearbeitung Tom Ritter, Michael Eder, Sanela Antic Hervorgegangen aus einem Projekt des Förderprogramms forMuse, gefördert vom Bundesministerium für Wissenschaft und Forschung Veröffentlicht mit Unterstützung des Austrian Science Fund (FWF): PUB 121-V21/PUB 122-V21 Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://portal.dnb.de abrufbar. Abbildungen auf der Eingangsseite Bernardo Bellotto, Wien, vom Belvedere aus gesehen. Öl auf Leinwand, um 1758/61. Wien, Kunsthistorisches Museum, Gemäldegalerie Inv.-Nr. 1669, Detail Druck und Bindung: Holzhausen Druck Gmbh, Wien Gedruckt auf chlor- und säurefreiem Papier Printed in Austria ISBN 978-3-205-79534-6 Alle Rechte vorbehalten. Dieses Werk ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist unzulässig. © 2013 Kunsthistorisches Museum Wien – www.khm.at © 2013 by Böhlau Verlag Ges.m.b.H.
    [Show full text]