Cover Page the Handle Holds Various Files of This Leiden University Dissertation. Author: Krahe
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Map As Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: http://www.tandfonline.com/loi/rcab20 Map as Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid Jesús Escobar To cite this article: Jesús Escobar (2014) Map as Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid, The Art Bulletin, 96:1, 50-69, DOI: 10.1080/00043079.2014.877305 To link to this article: http://dx.doi.org/10.1080/00043079.2014.877305 Published online: 25 Apr 2014. Submit your article to this journal Article views: 189 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Download by: [Northwestern University] Date: 22 September 2016, At: 08:04 Map as Tapestry: Science and Art in Pedro Teixeira’s 1656 Representation of Madrid Jesus Escobar “Mantua of the Carpentana, or Madrid, Royal City” reads the attributed to the overreach of Philip IV’s royal favorite and Latin inscription on the banderole that hovers above Pedro prime minister, Gaspar de Guzman, the count-duke of Teixeira’s monumental map of the Spanish capital, the Topo- Olivares (1587–1645). In 1640, in the midst of the Thirty graphia de la Villa de Madrid (Topography of the town of Years’ War, rebellions arose in Catalonia and Portugal, com- Madrid) (Fig. 1). The text refers to a place from the distant pounding the monarchy’s ongoing financial crises and lead- Roman past, the purported origin of Madrid, as well as the ing to Olivares’s ouster. -
Antiques-February-1990-Victorian-Majolica.Pdf
if It1ud!!&/ ';"(* ./J1!11L. /,0t£~ltldtiJlR~~~rf;t;t r{/'~dff;z, f!71/#/~i' 4 . !(Jf~f{ltiJ(/dwc.e. dJ /¥ C\-Cit!Ja? /Hc a4 ~- t1 . I. le/. {./ ,...."".. //,; J.(f)':J{"&Tf ,4.~'.£1//,/1;"~._L~ • ~. ~~f tn.~! .....•. ... PL IL Baseball and Soccer pitcher made by Griffen, Smith and Company, PllOeni;'Cville,Pennsylvania. c.1884. Impressed "GSH "in nlOnogram on the bottom. Height 8 inches. The Wedgwood pattern book illustration of the same design is shown in PL Ila. Karmason/Stacke collection; White photograph. PL /la. Design from one of the pattern books of Josiah Wedgwood and Sons, Barlaston, Stoke-on-Trent, England. Wedgwood Museum, Barlaston, Stoke-on-Trent, England. and Company, Josiah Wedgwood and Sons, and majolica.! New designs for majolica ceased to be made George Jones and Sons. From these books one be• in the early 1890's, and production of majolica ceased comes familiar with the style of the maker and comes early in this century. to appreciate the deliberate choice of details that gives The Minton shape books are valuable not only be• each piece its unity. cause they help date the first production of a piece but By 1836 Herbert Minton (1792- 1858) had succeed• also because they show the development of the eclectic ed his father, Thomas (1765-1836), the founder of the and revivalist styles used by Minton artists. The earli• prestigious Minton firm. In 1848 Joseph Leon Fran• est style used by the firm was inspired by Renaissance ~ois Arnoux (1816-1902) became Minton's art direc• majolica wares.Z Large cache pots, urns, and platters tor, chief chemist, and Herbert Minton's close col• were decorated with flower festoons, oak leaves, car• league. -
Auction Results SA240421 Saturday, 24 April 2021
Auction Results SA240421 Saturday, 24 April 2021 Lot No Description 2 A Victorian blue and white transfer meat plate liner printed with dog rose border to/w various other ceramics, including Royal £25.00 Worcester Astley coffee service, jasper ware, Japanese eggshell coffee service etc (box) 4 Two cut-glass ring-neck decanters and stoppers to/w three claret jugs with ep tops and give various other decanters (box) £70.00 5 Studio glass lustrous vase, signed Siddy Langley 1997 to/w an Imari cache-pot, Victorian china fruit dishes with matching £85.00 sauce tureens, Denby fruit bowl etc (box) 6 Two boxed Bilston enamel Easter eggs to/w two patch-boxes and two Halcyon Days boxes, lot also includes Victorian £65.00 rosewood tea caddy, coach lamp and eight various pewter mugs (box) 8 A Victorian Shelley blue and white cylindrical vase printed with dragons to/w various collectables including silver oddments, £40.00 Pathescope Ace projector, three Decca Toytown gramophone records, candles etc (box) 9 AnA Clarice 18th century Cliff honey-glazed style enamel dinner box with service hinged with cover, green painted banded with decoration, courting couples37 pieces in includingArcadian tureenssettings, and 9.5 cover cm wide to/w a £40.00 10 (possibly) Capodimonte box with painted interior to lid depicting 18th century family scene, Royal Doulton terrier cleaning £110.00 plate HN1158, Karl Ens owl, Dresden floral-painted heart-shaped pin-dish and an advertising jug for Worthingtons beer 11 A PottschapelMeakin pottery (Dresden) 'Nordic' Carlpattern -
El Conde-Duque De Olivares Y El Palacio Del Buen Retiro1
ESTUDIOS Cuadernos de Historia Moderna ISSN: 0214-4018 https://dx.doi.org/10.5209/chmo.72544 El escenario del valido: el conde-duque de Olivares y el Palacio del Buen Retiro1 Mercedes Simal López2 Recibido: 18 de septiembre de 2020 / Aceptado: 4 de noviembre de 2020 Resumen. El palacio del Buen Retiro fue uno de los grandes símbolos del valimiento del conde-duque de Olivares, además de una de las grandes empresas constructivas y decorativas del reinado de Felipe IV. Comenzado a construir de forma discreta a partir de 1629, en este real sitio el valido concentró buena parte de sus energías y de los numerosos recursos que estaban a su alcance con el objetivo de crear un gran escenario en el que la majestad de Felipe el Grande brillara de múltiples maneras. Gracias a nuevo material inédito, profundizaremos sobre cómo don Gaspar de Guzmán utilizó el real sitio que tanto admiró a cortesanos y embajadores de toda Europa para ejercer y afianzar su valimiento exaltando la figura de Felipe IV y la Casa de Austria y vinculando a su fama y poder, su nombre y el de su linaje. Palabras clave: Conde-duque de Olivares; palacio del Buen Retiro; Felipe IV; valimiento; coleccionismo. [en] The scene of the royal favourite: the Count-Duke of Olivares and the Buen Retiro Palace Abstract. The Buen Retiro Palace was one of the great symbols of the “Valimiento” of the Count-Duke of Olivares, as well as one of the great constructions and decorative enterprises of the reign of Philip IV. Begun to build discreetly from 1629, on this royal site the Spanish royal favourite concentrated a good part of his energies and the numerous resources that were within his reach with the aim of creating a great stage in which the majesty of Philip the Great shine in multiple ways. -
The Porcelain Tour of China Jingdezhen - Longquan - Dehua by China Design Centre
The Porcelain Tour of China Jingdezhen - Longquan - Dehua by China Design Centre Wednesday 24th October - Tuesday 6th November 2018 The well established China Design Centre based at the London Building Centre has hosted numerous high profile culture and creative exhibitions showcasing famous Chinese specialists. It is the cultural bridge between East and West. Discover us at www.chinadesigncentre.com The Porcelain Tour is a small group unique and professional in-depth discovery of exquisite Chinese porcelain at its origins. Celebrate the timeless beauty of ceramic arts and crafts at the three most important porcelain centres in China, personally engage with the masters and participate in an interactive workshop experience. Are you impressed by the Chinese porcelain displayed at the British Museum? Would you like to visit the studios where those pieces were made and are still being made today to learn and interact with the masters? Would you like to learn about the contemporary porcelain and creative industry in China and the exciting Artist-in-Residency programmes? Join us on this special tour and immerse yourself in a unique cultural experience in China. Unlike the conventional trip-planners, we avoid the touristy attractions and will only take you to the most authentic places related to the theme: porcelain. Whether if you have been to China or not, the tour will show you the side of China that you have never seen. The Centres The tour will take you to where the most celebrated styles of porcelain in China were made: Jingdezhen, ‘the capital of porcelain’; Longquan for celadon ware; Dehua for ‘Blanc de Chine’ white porcelain. -
The Granada Venegas Family, 1431-1643: Nobility, Renaissance and Morisco Identity
The Granada Venegas Family, 1431-1643: Nobility, Renaissance and Morisco Identity By Elizabeth Ashcroft Terry A dissertation submitted in partial satisfaction Of the requirements for the degree of Doctor of Philosophy in History in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Thomas Dandelet, Chair Professor Jonathan Sheehan Professor Ignacio E. Navarrete Summer 2015 The Granada Venegas Family, 1431-1643: Nobility, Renaissance, and Morisco Identity © 2015 by Elizabeth Ashcroft Terry All Rights Reserved The Granada Venegas Family, 1431-1643: Nobility, Renaissance and Morisco Identity By Elizabeth Ashcroft Terry Doctor of Philosophy in History University of California-Berkeley Thomas Dandelet, Chair Abstract In the Spanish city of Granada, beginning with its conquest by Ferdinand and Isabella in 1492, Christian aesthetics, briefly Gothic, and then classical were imposed on the landscape. There, the revival of classical Roman culture took place against the backdrop of Islamic civilization. The Renaissance was brought to the city by its conquerors along with Christianity and Castilian law. When Granada fell, many Muslim leaders fled to North Africa. Other elite families stayed, collaborated with the new rulers and began to promote this new classical culture. The Granada Venegas were one of the families that stayed, and participated in the Renaissance in Granada by sponsoring a group of writers and poets, and they served the crown in various military capacities. They were royal, having descended from a Sultan who had ruled Granada in 1431. Cidi Yahya Al Nayar, the heir to this family, converted to Christianity prior to the conquest. Thus he was one of the Morisco elites most respected by the conquerors. -
Interview by Hella Berent (HB) with Koos De Jong (Kdj), Director (At the Time) of the European Ceramic Workcentre .Ekwc in ‘S-Hertogenbosch, NL 2003
1 Interview by Hella Berent (HB) with Koos de Jong (KdJ), director (at the time) of the European Ceramic Workcentre .ekwc in ‘s-Hertogenbosch, NL 2003 HB In 1998 and 2002, I worked in the .ekwc on my project THE BURNT BLUE. These work periods gave me the feeling of being on an island as a very special link between two worlds: the world of the history of ceramics, including the specific materials, we work with and the world of modernity. Can you identify with that and what is your role as director of the centre? KdJ I was educated as an art historian and I've worked mainly in museological institutions as a curator or as a director. That explains why I am not only involved in the artistic policy forming and the management of the EKWC, but also in showing the outside world what is happening in the centre and what the importance of this is. I view it as a challenge to do this without removing too many staff and financial resources from the core functions: that of artist-in-residence and centre-of- excellence. As director I naturally decide the general policy. As regards the recruitment of the 45 ceramists, fine artists and designers, whom I will refer to jointly as participants, whom we welcome to the centre each year, half are selected by an international committee from the applications we receive following worldwide public enrolment. On average, one in ten applicants is selected in this way and is offered a work period. I exert no influence on this selection. -
8.0 Specialists' Reports 8.1 Ceramics Report
8.0 Specialists’ Reports 8.1 Ceramics Report – Rowan Ward 8.2 Glass Report – Jeanne Harris 8.3 Miscellaneous, Metals and Building Materials – Robyn Stocks 8.4 Pollen Report – Mike Macphail Section 8.1: Ceramics Section 8.1: Ceramics CONTENTS 1.0 Introduction ............................................................................................................................ 1 1.1 Background.......................................................................................................................... 1 1.2 Aims of Report..................................................................................................................... 2 1.3 Methodology........................................................................................................................ 2 1.4 Authorship ........................................................................................................................... 3 1.5 List of Illustrations............................................................................................................... 3 1.6 List of Tables ....................................................................................................................... 3 2.0 Discussion / Overview ............................................................................................................ 5 2.1 Discussion/ Overview .......................................................................................................... 5 2.2 Conjoins.............................................................................................................................. -
JS Fine Art Auctioneers & Valuers
JS Fine Art Auctioneers & Valuers Cotefield Auction Rooms The Nigel Poole Wedgwood Collection Oxford Road Banbury A principally single owner collection of Wedgwood and other Oxfordshire select ceramics OX15 4AQ United Kingdom Started 25 Jun 2016 10:00 BST Lot Description 2001 Two large decorative pottery figures of dogs, a spaniel and a German shepherd, height of largest. 70cm A large late Victorian T.C. Brown-Westhead Moore & Co pottery plaque/charger, blue and white decoration with a classical style portrait. 2002 Initialled A.L.D. 63.5cm 2003 A pair of Beswick pottery figures of fox hounds. 32cm high 2004 A Beswick pottery figure of a sheep dog. 30cm high 2005 Two Beswick pottery figures of retrievers one gold one black. 33cm high 2006 Two Beswick pottery figures of dogs a dalmation and a dachshund. height of largest 36cm 2007 Two Beswick pottery figures of dogs, a Scotch terrier and a German shepherd. height of largest 35cm 2008 A Beswick pottery figure of a Mountain lion. 21cm high 2009 A Beswick pottery figure of an elephant and a tiger. 31cm high 2010 Three Beswick pottery figures of deer, a stag, a doe and a fawn. height of largest 9cm 2011 Thirteen Beswick pottery figures representing a fox hunt, six equestrian figures, four fox hounds and three foxes. height of largest 2012 Beswick pottery figure group of Black Beauty and foal mounted on oval hardwood base 2013 Beswick pottery nine piece pig band 2014 Five Beswick pottery Scotch whisky bottles in the form of birds of prey 2016 A large decorative cream glazed pottery figural group of two children 2017 A large Moorcroft pottery lamp base with floral decoration. -
Willow Plate Engage with an Ancient Chinese Art Form, and Design Your Own “Porcelain” Plate! Pui (Tiffany) Chow
My Willow Plate Engage with an ancient Chinese art form, and design your own “porcelain” plate! Pui (Tiffany) Chow Students will learn a brief history about the origins of blue and white Chinese pottery followed by an in class activity where each student is invited to think of their own “myth”/ story to translate into a design to draw on a paper plate. The class will be split into two segments; the first portion will be a short lecture accompanied by a presentation and printed posters featuring examples of various plates and designs through history and their associated myths/stories. The second segment will be the creative engagement. This project offers students the unique opportunity to learn about an ancient cultural tradition through the practice of pictorial story telling. Part 1: Brief History and Story of the Willow Plate Brief History: “Blue and White pottery”, also called QingHua in Chinese, literally: “blue flowers”, covers a wide range of white pottery and porcelain decorated under the glaze with a blue pigment (cobalt oxide). The decoration on the pottery is commonly applied by hand. The first Chinese blue and white wares were produced as early as the ninth century in Henan province, China during the Tang Dynasty. This ancient Chinese tradition was popularized in England in the 18th century with the commercialization of the “Willow” design, which spurned the form’s (and its design) proliferation world wide. Using this “Willow” design as a starting point for imagery, each student will be asked to design their own blue and white “pottery” plate based on their own invented story (or “myth”) Story invented for the Willow pattern: Once there was a wealthy Mandarin (scholar in the government of Imperial China), who had a beautiful daughter (Koong-se/Mai). -
Architectural Temperance: Spain and Rome, 1700-1759
Architectural Temperance Spain and Rome, 1700–1759 Architectural Temperance examines relations between Bourbon Spain and papal Rome (1700–1759) through the lens of cultural politics. With a focus on key Spanish architects sent to study in Rome by the Bourbon Kings, the book also discusses the establishment of a program of architectural educa- tion at the newly-founded Real Academia de Bellas Artes de San Fernando in Madrid. Victor Deupi explores why a powerful nation like Spain would temper its own building traditions with the more cosmopolitan trends associated with Rome; often at the expense of its own national and regional traditions. Through the inclusion of previously unpublished documents and images that shed light on the theoretical debates which shaped eighteenth-century architecture in Rome and Madrid, Architectural Temperance provides an insight into readers with new insights into the cultural history of early modern Spain. Victor Deupi teaches the history of art and architecture at the School of Architecture and Design at the New York Institute of Technology and in the Department of Visual and Performing Arts at Fairfield University. His research focuses on cultural politics in the early modern Ibero-American world. Routledge Research in Architecture The Routledge Research in Architecture series provides the reader with the latest scholarship in the field of architecture. The series publishes research from across the globe and covers areas as diverse as architectural history and theory, technology, digital architecture, structures, materials, details, design, monographs of architects, interior design and much more. By mak- ing these studies available to the worldwide academic community, the series aims to promote quality architectural research. -
Ceramics and Glass
SECOND DAY’S SALE WEDNESDAY 11th JULY 2018 ORIENTAL & EUROPEAN CERAMICS & GLASS Commencing at 10.00am Oriental and European Ceramics and Glass will be on view on: Friday 6th July 9.00am to 5.15pm Saturday 7th July 9.00am to 1.00pm Sunday 8th July 2.00pm to 4.00pm Monday 9th July 9.00am to 5.15pm Tuesday 10th July 9.00am to 5.15pm Limited viewing on sale day Measurements are approximate guidelines only unless stated to the contrary Enquiries: Andrew Thomas Enquiries: Nic Saintey Tel: 01392 413100 Tel: 01392 413100 Email: [email protected] Email: [email protected] 401 402 403 A sealed squat cylinder wine bottle A Bohemian Lithyalin polished glass A pair of late 19th century engraved the dark olive/ brown body with vase probably by Friedrich Egermann, and applied glass claret jugs and pronounced kick up and short tapering of twelve sided baluster form in stoppers probably Stevens and neck with an applied triangular string polished and marbled green and Williams, each with threaded cranberry rim, the body applied just below the amber colours, circa 1830-40, 24 cm. bands to the foot, neck and stopper, shoulders with a circular seal for ‘W. *£300 - 500 finely engraved and intaglio cut, Blight 1811’, 23 cm high, small rim chip. one with setters and game birds in *£180 - 220 a wooded landscape, the other with This bottle appears to be previously greyhounds chasing a hare, 30 cm. unrecorded and probably relates to *£200 - 300 William Blight of Venn Farm, Newton St Petrock, North Devon 404 A Liège ‘a traforato’ openwork glass basket of circular flaring form on raised foot with ribbed convex base, late 18th century, 12 cm high.