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Anya Gallaccio
ANYA GALLACCIO Born Paisley, Scotland 1963 Lives London, United Kingdom EDUCATION 1985 Kingston Polytechnic, London, United Kingdom 1988 Goldsmiths' College, University of London, London, United Kingdom SOLO EXHIBITIONS 2019 NOW, The Scottish National Gallery of Modern Art, Edinburgh, Scotland Stroke, Blum and Poe, Los Angeles, CA 2018 dreamed about the flowers that hide from the light, Lindisfarne Castle, Northumberland, United Kingdom All the rest is silence, John Hansard Gallery, Southampton, United Kingdom 2017 Beautiful Minds, Thomas Dane Gallery, London, United Kingdom 2015 Silas Marder Gallery, Bridgehampton, NY Lehmann Maupin, New York, NY Museum of Contemporary Art San Diego, San Diego, CA 2014 Aldeburgh Music, Snape Maltings, Saxmundham, Suffolk, United Kingdom Blum and Poe, Los Angeles, CA 2013 ArtPace, San Antonio, TX 2011 Thomas Dane Gallery, London, United Kingdom Annet Gelink, Amsterdam, The Netherlands 2010 Unknown Exhibition, The Eastshire Museums in Scotland, Kilmarnock, United Kingdom Annet Gelink Gallery, Amsterdam, The Netherlands 2009 So Blue Coat, Liverpool, United Kingdom 2008 Camden Art Centre, London, United Kingdom 2007 Three Sheets to the wind, Thomas Dane Gallery, London, United Kingdom 2006 Galeria Leme, São Paulo, Brazil One art, Sculpture Center, New York, NY 2005 The Look of Things, Palazzo delle Papesse, Siena, Italy Blum and Poe, Los Angeles, CA Silver Seed, Mount Stuart Trust, Isle of Bute, Scotland 2004 Love is Only a Feeling, Lehmann Maupin, New York, NY 2003 Love is only a feeling, Turner Prize Exhibition, -
Norfolk TALES Don Jolly Uses Two Wooded Club Sites As Bases from Which to Uncover a Host of East Anglian Attractions
CLUB SITES THE SANDRINGHAM ESTATE & THE COVERT Norfolk TALES Don Jolly uses two wooded Club sites as bases from which to uncover a host of East Anglian attractions T FIRST glance, the Club’s two A shop reached along a tree-lined Snettisham, found on The Wash, is a quayside, the Custom House. Nearby If that sounds too energetic, you can There can’t be many caravan sites with Not to be missed: west Norfolk sites – The footpath offers basic foodstuffs, while must for all self-respecting birdwatchers. stands a statue of local lad Captain relax on ‘Sunny Hunny’s’ sandy beach a Second World War armoured vehicle at a mass take-off at Snettisham RSPB Sandringham Estate and The nearby West Newton’s village store sells One of the natural world’s spectacular George Vancouver, famous for exploring backed by red and white ‘layer cake’ cliffs, the entrance, but that’s what you’ll find A reserve Covert – appear very similar. Both lie meat from the royal estate. More down- sights is the mass take-off of thousands of North America’s Pacific coast. visit the Sea Life Sanctuary or take a boat at The Covert. ‘Little Audrey’, a within forest, but closer inspection reveals to-earth, the mobile Village Fryer calls on wading birds as the tide approaches. Miss A quarter of an hour away by car, Castle trip to view seal colonies. Beyond Cromwell tank, commemorates the five ❖ important differences. Monday, Wednesday and Friday evenings the moment and you could console yourself Rising has a superb Norman castle, while, Hunstanton, Norfolk’s north coast has months members of the 7th Armoured Most obviously, Sandringham is handy with fish and chips. -
Given a Free Rein? Representations of Power in the Stables at Houghton Hall, Norfolk, and John Wootton's Sir Robert Walpole Wi
VIDES III JEMIMA HUBBERSTEY Given a free rein? Representations of power in the stables at Houghton Hall, Norfolk, and John Wootton’s Sir Robert Walpole with his Hunter and Groom When Sir Robert Walpole first rose to political power from humble origins, he had much to prove to the world. In order to consolidate his position as Prime Minister against the backdrop of the new Hanoverian dynasty, Walpole capitalised on extravagant displays of power, impressing political peers and local squires alike by inviting them for entertainment and hunting at his estate at Houghton Hall, Norfolk. This was hardly coincidental: although relatively unexplored in scholarship, historically, horses served as vehicles to showcase a man’s elite social standing and ability to govern. However, it was also important for Walpole to recognise the limits of his power in order to demonstrate that he was no threat to the monarchy. This study examines the stable architecture at Houghton Hall and the equestrian portrait of Walpole by John Wootton (1726) in order to demonstrate the extent to which equestrian representations could function as a metaphor for both power and submission, which is particularly pertinent when applied to the hierarchical relations between Prime Minister and King. riting to the Prince of Wales on July 14, 1731, Lord Hervey would remark that Sir Robert Walpole’s Houghton Hall in Norfolk was a paradigm of W‘taste, expense, state and parade.’1 This comment in itself is perhaps unsurprising – country houses, after all, have always been about display, founded and embellished as part of a conscious mission to establish a dynastic ‘line’.2 However, what makes this comment so interesting in Walpole’s case is that as the first Prime Minister, Walpole was essentially a commoner who had risen to power. -
The Art of Conversation: Eighteenth-Century Mexican Casta Painting
Graduate Journal of Visual and Material Culture Issue 5 I 2012 The Art of Conversation: Eighteenth-Century Mexican Casta Painting Mey-Yen Moriuchi ______________________________________________ Abstract: Traditionally, casta paintings have been interpreted as an isolated colonial Mexican art form and examined within the social historical moment in which they emerged. Casta paintings visually represented the miscegenation of the Spanish, Indian and Black African populations that constituted the new world and embraced a diverse terminology to demarcate the land’s mixed races. Racial mixing challenged established social and racial categories, and casta paintings sought to stabilize issues of race, gender and social status that were present in colonial Mexico. Concurrently, halfway across the world, another country’s artists were striving to find the visual vocabulary to represent its families, socio-economic class and genealogical lineage. I am referring to England and its eighteenth-century conversation pictures. Like casta paintings, English conversation pieces articulate beliefs about social and familial propriety. It is through the family unit and the presence of a child that a genealogical statement is made and an effigy is preserved for subsequent generations. Utilizing both invention and mimesis, artists of both genres emphasize costume and accessories in order to cater to particular stereotypes. I read casta paintings as conversations like their European counterparts—both internal conversations among the figures within the frame, and external ones between the figures, the artist and the beholder. It is my position that both casta paintings and conversation pieces demonstrate a similar concern with the construction of a particular self-image in the midst of societies that were apprehensive about the varying conflicting notions of socio-familial and socio-racial categories. -
The Rise of Consumerism in Rural England, 1675-1750
UNIVERSITY OF CALIFORNIA SANTA CRUZ ENGLISH PURCHASING POWER: THE RISE OF CONSUMERISM IN RURAL ENGLAND, 1675-1750 A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in HISTORY by J. BRIEN O’CONNELL December 2012 The Dissertation of J. Brien O’Connell is approved: _____________________________________________ Professor Buchanan Sharp _____________________________________________ Professor Jonathan Beecher _____________________________________________ Professor Lynn Westerkamp ________________________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies TABLE OF CONTENTS Page LIST OF TABLES AND CHARTS.……..…………………………………….iv CHAPTER 1 INTRODUCTION………………………………………………1 Statement of Purpose……………………………………………2 Scope…………………………………………………………....9 2 HISTORICAL OVERVIEW…….……………………………..12 Cambridgeshire….…….……………………………………….12 Agricultural Systems.…….…………………………………….18 Land Organization...……………………………………………31 3 SIGNIFICANCE OF GRAIN MARKETS…………………….49 The Fens…………...…………………………………………...49 Local Discontent…………….…………………………………64 Corn Trade and Transport…..……………………………….....81 4 THE EVIDENCE OF WEALTH………………………………93 Architecture…………………………………………………....98 Contents of Interior…………………………………………...125 5 ASSESSMENT OF LUXURY GOODS……………………..130 Early Modern Debates………………………………………..131 Evidence of Internal Wealth………………………………….140 iii China………………………………………………………….146 Books………………………………………………………....152 Silver and Pewter……………………………………………..153 Linen and New Draperies…………………………………….157 Beds and -
Nicolas Lancret: Dance Before a Fountain
NICOLAS LA1VCRET Dance Before a r~zfountain~ NICOLAS LA1VCRET Dance Before a r~Tfountain~ MARY TAVENER HOLMES WITH A CONSERVATION NOTE BY MARK LEONARD THE J. PAUL GETTY MUSEUM LOS ANGELES This book is dedicated to Donald Posner GETTY MUSEUM STUDIES ON ART Library of Congress Cataloging-in-Publication Data © 2006 J. Paul Getty Trust Holmes, Mary Tavener. Nicolas Lancret : Dance before a fountain / Mary Tavener Holmes ; Getty Publications with a conservation note by Mark Leonard. I2OO Getty Center Drive, Suite 5OO p. cm. — (Getty Museum studies on art) Los Angeles, California ^004^^-1682 Includes bibliographical references and index. www.getty.edu ISBN-I3: 978-0-89236-83^-7 (pbk.) ISBN-IO: 0-89236-832-2 (pbk.) I. Lancret, Nicolas, 1690—1743- Dance before a fountain. 2- Lancret, Christopher Hudson, Publisher Nicolas, 1690 —1743"Criticism and interpretation. 3- Genre painting, Mark Greenberg, Editor in Chief French — l8th century. I. Leonard, Mark, 1954 ~~ H- Lancret, Nicolas, 1690 — 1743. III. J. Paul Getty Museum. IV. Title. V. Series. Mollie Holtman, Series Editor ND553.L225A65 2006 Abby Sider, Manuscript Editor 759.4-dc22 Catherine Lorenz, Designer 2005012001 Suzanne Watson, Production Coordinator Lou Meluso, Anthony Peres, Jack Ross, Photographers All photographs are copyrighted by the issuing institutions or by their Typesetting by Diane Franco owners, unless otherwise indicated. Figures 14, 16, 18, 29, 3^, 43> 57» 60, Printed in China by Imago 63 © Reunion des Musees Nationaux/Art Resource, New York. Figures 21, 30, 31, 34, and 55 are use<i by kind permission of the Trustees of the Wallace Collection, London. Frontispiece: Michel Aubert (French, 1700 —1757)> Nicolas Lancret [detail], engraving, from Antoine Joseph Dezallier d'Argenville (French, 1680 — 1765), Abrege de la vie des plus fameux peintres (Paris, I745~52)> vol. -
The Eastern Counties, — ——
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News Release
NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 EXHBITION FACT SHEET Title; THE TREASURE HOUSES OF BRITAIN: FIVE HUNDRED YEARS OF PRIVATE PATRONAGE AND ART COLLECTING Patrons: Their Royal Highnesses The Prince and Princess of Wales Dates; November 3, 1985 through March 16, 1986, exactly one week later than previously announced. (This exhibition will not travel. Loans from houses open to view are expected to remain in place until the late summer of 1985 and to be returned before many of the houses open for their visitors in the spring of 1986.) Credits; This exhibition is made possible by a generous grant from the Ford Motor Company. The exhibition was organized by the National Gallery of Art, Washington, in collaboration v\n.th the British Council and is supported by indemnities from Her Majesty's Treasury and the U.S. Federal Council on the Arts and Humanities. Further British assistance was supplied by the National Trust and the Historic Houses Association. History of the exhibition; The suggestion that the National Gallery of Art consider holding a major exhibition devoted to British art was made by the British Council in 1979. J. Carter Brown, Director of the National Gallery, responded with the idea of an exhibition on the British Country House as a "vessel of civilization," bringing together works of art illustrating the extraordinary achievement of collecting and patronage throughout Britain over the past five hundred years. As this concept carried with it the additional, contemporary advantage of stimulating greater interest in and support of those houses open to public viewing, it was enthusiastically endorsed by the late Lord Howard of Henderskelfe, then-Chairman of the Historic Houses Association, Julian Andrews, Director of the Fine Arts Department of the British Council, and Lord Gibson, Chairman of the National Trust. -
2E Haunted Houses
BA RBAR A VIL L IE RS D C H ESS O F C L E VE L AN D , U . m th m z z o tu z t t r in in o e e af e W g . K 3 :2 e HA UN T E D H O US E S T ALES O F T HE SUPERNAT URAL With S o me Acco unt o f H ereditary C ur s e s a n d Fa mil y Le g e n ds By CH A RL E S G A R PE R Ill ustr ated by the A uthor a n ha t ohnson sa id I mer ely me to say w J . T hat i n the cour se of some sex tho usand year s A 11 nations ha ve beli eved tha t f rom the dead A visitant at interva ls appea r s ; t s str n t u on this str a n e hea d A nd wha e a g es p g , bar the r eason rear s ’ ‘ nst such hehe s some thin str on er sh ll Gaz . “g In its beha t those den who w ill f YRO N . lf . y LON DON H L T D C H A PM A N 85 A L L , . 1 907 P RE FA CE vii lands o distant seas and amon the most un is f , g l etter ed sava es r eli ion has been ever o und g , g f , as inva r ia bl th li h t this an d y e be ef in g os s . -
NORFOLK. [KELLY's Yellow and Black, Were Discovered Over the Chancel Arch, Owner
• 530 WOLFERTON. NORFOLK. [KELLY'S yellow and black, were discovered over the chancel arch, owner. The soil is light, except the marsh land, which and have been carefully preserved; in the centre, where is stiff; subsoil, sand and carr stone on the higher land,. all traces of the old work had disappeared, a " Majesty" with clay in the marsh, generally farmed on the four· has been added by Messrs. Heaton, Butler and Bayne: course shift. The area is 3,380 acres of land and 12 of a lych gate, designed by the late Sir .A. W. Blomfield, water; rateable value, [3,237; the population in 190l! and given by H.M. the King, was erected in 1895· The was 234. church affords 200 sittings. The register dates from the Parish Clerk, Willia.m Hudson. year 165o. The living is a rectory, net income of [168, including 22 acres of glebe and residence, in the gift Post, lYI. 0. & T. 0., T. M. 0., E. D., S. B. & .A. & 1 .. of the Crown, and held since 1s97 by the Rev. Francis Office.-Mrs. S. E. Saward, sub-postmistress. LetterS' Arthur Stanley ffolkes B.A. of the University of Durham, arrive from Lynn at 7.30 a.m. in summer & 7·45 a.m. chaplain in or«linary to the King, and hon. chaplain to in winter, and 3.25 p.m.; sundays, 8 a.m.; dispatched' the Norfolk Imperial Yeomanry and J.P. Norfolk. A at 6.40 p.m. & 2.25 p.m. sundays reading room of carr stone and brick was erected in 1893 Public Elementary School (mixed & infants), built m. -
Aylsham Local History Society
AYLSHAM LOCAL HISTORY SOCIETY Volume 8 No 4 December 2008 The JOURNAL & NEWSLETTER is the publication of the Aylsham Local History Society. It is published three times a year, in April, August and December, and is issued free to members. Contributions are welcomed from members and others. Please contact the editor: Dr Roger Polhill, Parmeters, 12 Cromer Road, Aylsham NR11 6HE [email protected] 01263 733424 Chairman: Mr Geoffrey Gale 01263 734252 [email protected] CONTENTS Editorial …………………………………………………………...……… 87 Joseph Dester – Aylsham chemist and photographer by Derek Lyons & Roger Polhill …………………………………………………………… 89 Roll of Honour 1914–1918 (Part 2) by Lloyd Mills ……………………… 96 Society News ……………………………………………………………. 100 Visit to Barningham Hall by Wendy Preis ……………………… 100 A Friendship made in Oulton (George Borrow and Edward FitzGerald) – a talk by Clive Wilkin Jones by Betty Gee ……………………..… 104 Report on the 2008 Annual General Meeting by Geoff Gale ………….. 106 Constitution ………………………………………………………….….. 108 Account for the Year ended 31 August 2008 ………………………….… 110 List of Members …………………………………………………….…… 111 Notices ………………………………………………………………..…. 112 Cover illustration: Trade sign for the Aylsham chemist’s shop, visible on photographs of the Market Place back to the late 1850s and still exists above the Indian restaurant, the ‘Gateway of India’. 86 AYLSHAM LOCAL HISTORY SOCIETY JOURNAL & NEWSLETTER Volume 8 No. 4 Ann Dyball arranged a very enjoyable autumn visit to Barningham Hall, generously hosted by Mr and Mrs Courtauld, and reported on by Wendy Preis in this issue. Sheila Merriman entertained us with fine storytelling about the ghosts of Blickling to conclude the AGM in October and we have had two further lectures on ‘Boudicca and the Iceni’ and. -
Foxhunting and the Landscape Between 1700 and 1900; with Particular Reference to Norfolk and Shropshire
Foxhunting and the landscape between 1700 and 1900; with particular reference to Norfolk and Shropshire Jane Bevan Degree of Doctor of Philosophy University of East Anglia School of History October 2011 This copy of the thesis has been supplied on the condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived from it, may be published without acknowledgement Abstract This thesis explores the history of foxhunting from 1700 to 1900. It examines how perceptions of an ideal hunting country, and what constituted an elite quarry, altered in tandem with alterations to the English lowland countryside. The relationship between the landscape and changes bought about by the upheaval of enclosure and agricultural development are discussed, in the context of the evolution in practice and geographical spread of foxhunting, at a national, regional and county-wide level. Several long-held beliefs are challenged. The social history of foxhunting and the increased participation of both ‘polite’ urban neophytes and prosperous tenant farmers during the two centuries is compared with the declining involvement of women. The impact of hunt clubs and the rise of subscription packs in the two study areas is contrasted. The influence of changes in the landscape on foxhunting is considered alongside the reciprocal impact of foxhunters manipulating the physical surroundings to enhance their sport. A detailed study of the history of hunting and its most iconic feature, the covert, in Norfolk and Shropshire highlights the importance of landowners control over the countryside.