Religious Architecture 2018
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Annual Report 2018–2019 Artmuseum.Princeton.Edu
Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb. -
Literary Miscellany
Literary Miscellany Including Recent Acquisitions. Catalogue 286 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.reeseco.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request. -
The Royal Scottish Academy of Painting', Sculpture Nd
-z CONTENTS Vo1ue One Contents page 2 Acknowledgements Abstract Abbreviations 7 Introduction 9 Chapter One: Beginnings: Education and Taste 14 Chapter Two: 'A little Artistic Society' 37 Chapter Three: 'External Nature or Imaginary Spirits' IL' Chapter Four: Spirits of the enaissance 124 Chapter Five: 'Books Beautiful or Sublime' 154 Chapter Six: 'Little Lyrics' 199 Chapter Seven: Commissions 237 Conclusion 275 Footnotes 260 Bibliography 313 Appendix: Summary Catalogue of Work by Phoebe Traquair Section A: Mural Decorations 322 Section : Painted Furniture; House, Garden and Church Decorations 323 Section C: Paintings, Drawings and Sculpture Section D: Designs for Mural and Furniture Decorations, Embroideries, Illuminated Manuscripts and Enamelwork 337 Section B: EmbroiderIes 3415 Section F: Enamels and Metalwork Section G: Manuscript Illuminations S-fl Section E: Published Designs for Book Covers and Illustrations L'L. Section J: Bookbindings 333 Volumes Two and Three Plates 3 ACKOWLEDGEXE!TS This thesis could not have been researched or written without the willing help of many people. My supervisors, Professor Glies Robertson, who first suggested that I turn my interest in Phoebe Traquair into a university dissertation, and Dr Duncan Macmillan have both been supportive and encouraging at all stages. Members of the Traquair and Moss families have provided warm hospitality and given generously of their time to provide access to their collections and to answer questions which must have seemed endless: in particular I am deeply indebted to the grandchildren of Phoebe Traquair, Ramsay Traquair, Mrs Margaret Anderson, and Mrs Margaret Bartholomew. Francis S Nobbs and his sister, Mrs Phoebe Hyde, Phcebe Traquair's godddaughter, have furnished me with copies of letters written to their father and helped on numerous matters, Without exception owners and. -
The Gothic Revival Character of Ecclesiastical Stained Glass in Britain
Folia Historiae Artium Seria Nowa, t. 17: 2019 / PL ISSN 0071-6723 MARTIN CRAMPIN University of Wales THE GOTHIC REVIVAL CHARACTER OF ECCLESIASTICAL STAINED GLASS IN BRITAIN At the outset of the nineteenth century, commissions for (1637), which has caused some confusion over the subject new pictorial windows for cathedrals, churches and sec- of the window [Fig. 1].3 ular settings in Britain were few and were usually char- The scene at Shrewsbury is painted on rectangular acterised by the practice of painting on glass in enamels. sheets of glass, although the large window is arched and Skilful use of the technique made it possible to achieve an its framework is subdivided into lancets. The shape of the effect that was similar to oil painting, and had dispensed window demonstrates the influence of the Gothic Revival with the need for leading coloured glass together in the for the design of the new Church of St Alkmund, which medieval manner. In the eighteenth century, exponents was a Georgian building of 1793–1795 built to replace the of the technique included William Price, William Peckitt, medieval church that had been pulled down. The Gothic Thomas Jervais and Francis Eginton, and although the ex- Revival was well underway in Britain by the second half quisite painterly qualities of the best of their windows are of the eighteenth century, particularly among aristocratic sometimes exceptional, their reputation was tarnished for patrons who built and re-fashioned their country homes many years following the rejection of the style in Britain with Gothic features, complete with furniture and stained during the mid-nineteenth century.1 glass inspired by the Middle Ages. -
Fanny Eaton: the 'Other' Pre-Raphaelite Model' Pre ~ R2.Phadite -Related Books , and Hope That These Will Be of Interest to You and Inspire You to Further Reading
which will continue. I know that many members are avid readers of Fanny Eaton: The 'Other' Pre-Raphaelite Model' Pre ~ R2.phadite -related books , and hope that these will be of interest to you and inspire you to further reading. If you are interested in writing reviews Robeno C. Ferrad for us, please get in touch with me or Ka.tja. This issue has bee n delayed due to personal circumstances,so I must offer speciaJ thanks to Sophie Clarke for her help in editing and p roo f~read in g izzie Siddall. Jane Morris. Annie Mine r. Maria Zamhaco. to en'able me to catch up! Anyone who has studied the Pre-Raphaelite paintings of Dante. G abriel RosS(:tti, William Holman Hunt, and Edward Serena Trrrwhridge I) - Burne~Jonc.s kno\VS well the names of these women. They were the stunners who populated their paintings, exuding sensual imagery and Advertisement personalized symbolism that generated for them and their collectors an introspeClive idea l of Victorian fem ininity. But these stunners also appear in art history today thanks to fe mi nism and gender snldies. Sensational . Avoncroft Museu m of Historic Buildings and scholnrly explorations of the lives and representations of these Avoncroft .. near Bromsgrove is an award-winning ~' women-written mostly by women, from Lucinda H awksley to G riselda Museum muS(: um that spans 700 years of life in the Pollock- have become more common in Pre·Raphaelite studies.2 Indeed, West Midlands. It is England's first open ~ air one arguably now needs to know more about the. -
Royal Gold Medall
1912 - Basil Champneys 1977 - Sir Denys Lasdun Royal Gold Medall 1913 - Sir Reginald Blomfield 1978 - Jørn Utzon 1914 - Jean Louis Pascal 1979 - Charles and Ray Eames 1848 - Charles Robert Cockerell 1915 - Frank Darling, Canada 1980 - James Stirling 1849 - Luigi Canina 1916 - Sir Robert Rowand Anderson 1981 - Sir Philip Dowson 1850 - Sir Charles Barry 1917 - Henri Paul Nenot 1982 - Berthold Lubetkin 1851 - Thomas Leverton Donaldson 1918 - Ernest Newton 1983 - Sir Norman Foster 1852 - Leo von Klenze 1919 - Leonard Stokes 1984 - Charles Correa 1853 - Sir Robert Smirke 1920 - Charles Louis Girault 1985 - Sir Richard Rogers 1854 - Philip Hardwick 1921 - Sir Edwin Landseer Lutyens 1986 - Arata Isozaki 1855 - Jacques Ignace Hittorff 1922 - Thomas Hastings 1987 - Ralph Erskine 1856 - Sir William Tite 1923 - Sir John James Burnet 1988 - Richard Meier 1857 - Owen Jones 1924 - No award 1989 - Renzo Piano 1858 - Friedrich August Stüler 1925 - Sir Giles Gilbert Scott 1990 - Aldo van Eyck 1859 - Sir George Gilbert Scott 1926 - Prof. Ragnar Ostberg 1991 - Colin Stansfield Smith 1860 - Sydney Smirke 1927 - Sir Herbert Baker 1992 - Peter Rice 1861 - JB Lesueur 1928 - Sir Guy Dawber 1993 - Giancarlo de Carlo 1862 - Rev Robert Willis 1929 - Victor Alexandre Frederic 1994 - Michael and Patricia Hopkins 1863 - Anthony Salvin Laloux 1995 - Colin Rowe 1864 - Eugene Viollet-le-Duc 1930 - Percy Scott Worthington 1996 - Harry Seidler 1865 - Sir James Pennethorne 1931 - Sir Edwin Cooper 1997 - Tadao Ando 1866 - Sir Matthew Digby Wyatt 1932 - Dr. Hendrik Petrus Berlage 1998 - Oscar Niemeyer 1867 - Charles Texier 1933 - Sir Charles Reed Peers 1999 - Barcelona 1868 - Sir Austen Henry Layard 1934 - Henry Vaughan Lanchester 2000 - Frank Gehry 1869 - Karl Richard Lepsius 1935 - Willem Marinus Dudok 2001 - Jean Nouvel 1870 - Benjamin Ferrey 1936 - Charles Henry Holden 2002 - Archigram 1871 - James Fergusson 1937 - Sir Raymond Unwin 2003 - Rafael Moneo 1872 - Baron von Schmidt 1938 - Prof. -
Information 123
ISSN 0960-7870 BRITISH BRICK SOCIETY INFORMATION 123 FEBRUARY 2013 BRICK CHURCHES ISSUE OFFICERS OF THE BRITISH BRICK SOCIETY Chairman Michael Chapman 8 Pinfold Close Tel: 0115-965-2489 NOTTINGHAM NG14 6DP E-mail: [email protected] Honorary Secretary Michael S Oliver 19 Woodcroft Avenue Tel. 020-8954-4976 STANMORE E-mail: [email protected] Middlesex HA7 3PT Honorary Treasurer Graeme Perry 62 Carter Street Tel: 01889-566107 UTTOXETER E-mail: [email protected] Staffordshire ST14 8EU Enquiries Secretary Michael Hammett ARIBA 9 Bailey Close and Liason Officer with the BAA HIGH WYCOMBE Tel: 01494-520299 Buckinghamshire HP13 6QA E-mail: brick so c @mh 1936.plus. c om Membership Secretary Dr Anthony A. Preston 11 Harcourt Way (Receives all direct subscriptions, £12-00 per annum*) SELSEY, West Sussex P020 0PF Tel: 01243-607628 Editor of BBS Information David H. Kennett BA, MSc 7 Watery Lane (Receives all articles and items for BBS Information) SHIPSTON-ON-STOUR Tel: 01608-664039 Warwickshire CV36 4BE E-mail: [email protected] Printing and Distribution Chris Blanchett Holly Tree House, 18 Woodlands Road Secretary LITTLEHAMPTON Tel: 01903-717648 West Sussex BN17 5PP E-mail: [email protected] Web Officer Vacant The society's Auditor is: Adrian Corder-Birch F.Inst.L.Ex . Rustlings, Howe Drive E-mail: [email protected] HALSTEAD, Essex C09 2QL The annual subscription to the British Brick Society is £10-00 per annum. Telephone numbers and e-mail addresses of members would be helpful for contact purposes. but these will not be included in the Membership List. -
Ecclesiology Today No.42
SEVEN CHURCH ARCHITECTS 1830 – 1930 Edited by Geoff Brandwood Ecclesiology Today . Issue 42 . June 2010 SEVEN CHURCH ARCHITECTS 1830 – 1930 SEVEN CHURCH ARCHITECTS 1830 – 1930 Edited by Geoff Brandwood Ecclesiology Today . Issue 42 . June 2010 © Copyright the authors 2010.All rights reserved. ISSN: 1460-4213 ISBN: 0 946823 24 3 Published 2010 by the Ecclesiological Society c/o The Society of Antiquaries of London Burlington House Piccadilly London WIV 0HS The Ecclesiological Society is a registered charity. Charity No. 210501. www.ecclsoc.org The views expressed in this publication are those of the authors, and do not necessarily represent those of the Ecclesiological Society or its officers. Front cover: E. B. Lamb’s church of St Mary, Bagby, North Yorkshire, 1862. Rear cover:The crossing at Ewan Christian’s first church, St John’s, Hildenborough, Kent, 1843–4. Both photographs by Geoff Brandwood. Ecclesiology Today C ontents Journal of the Ecclesiological Society Chairman’s letter 2 Introduction by Geoff Brandwood 3 An alternative to Ecclesiology:William Wallen (1807-53) by Christopher Webster 9 The churches of E. B. Lamb: an exercise in centralised planning by Anthony Edwards 29 ‘The callous Mr Christian’: the making and unmaking of a professional reputation by Martin Cherry 49 ‘Inventive and ingenious’: designs by William White by Gill Hunter 69 ‘An architect of many churches’: John Pollard Seddon by Tye R. Blackshaw 83 George Fellowes Prynne (1853-1927): a dedicated life by Ruth Sharville 103 The ecclesiastical work of Hugh Thackeray Turner by Robin Stannard 121 Reviews 147 Issue 42 The Ecclesiological Society and submissions to published June 2010 Ecclesiology Today 163 Chairman’s letter This edition of Ecclesiology Today is devoted to seven very different church architects, whose work covers the period from late Georgian times to the first decades of the twentieth century.We are grateful to our guest editor, Dr Geoff Brandwood, for his vision and hard work in pulling together such an interesting edition. -
“He Hath Mingled with the Ungodly”
―HE HATH MINGLED WITH THE UNGODLY‖: THE LIFE OF SIMEON SOLOMON AFTER 1873, WITH A SURVEY OF THE EXTANT WORKS CAROLYN CONROY TWO VOLUMES VOLUME I PH.D. THE UNIVERSITY OF YORK HISTORY OF ART DECEMBER 2009 2 ABSTRACT This thesis focuses on the life and work of the marginalized British Pre-Raphaelite and Aesthetic homosexual Jewish painter Simeon Solomon (1840-1905) after 1873.This year was fundamental in the artist‘s professional and personal life, because it is the year that he was arrested for attempted sodomy charges in London. The popular view that has been disseminated by the early historiography of Solomon, since before and after his death in 1905, has been to claim that, after this date, the artist led a life that was worthless, both personally and artistically. It has also asserted that this situation was self-inflicted, and that, despite the consistent efforts of his family and friends to return him to the conventions of Victorian middle-class life, he resisted, and that, this resistant was evidence of his ‗deviancy‘. Indeed, for over sixty years, the overall effect of this early historiography has been to defame the character of Solomon and reduce his importance within the Aesthetic movement and the second wave of Pre-Raphaelitism. It has also had the effect of relegating the work that he produced after 1873 to either virtual obscurity or critical censure. In fact, it is only recently that a revival of interest in the artist has gained momentum, although the latter part of his life from 1873 has still remained under- researched and unrecorded. -
Press Release Pre-Raphaelites on Paper, Leighton House Museum
PRESS RELEASE Pre-Raphaelites on Paper: Victorian Drawings from the Lanigan Collection An exhibition at Leighton House Museum organised by the National Gallery of Canada, Ottawa 12 Feb 2016 – 29 May 2016 Press Preview 11 Feb 2016 Pre-Raphaelites on Paper: Victorian Drawings from the Lanigan Collection will be the first exhibition opening at Leighton House Museum in 2016, presenting an exceptional, privately- assembled collection to the UK public for the first time. Featuring over 100 drawings and sketches by the Pre- Raphaelites and their contemporaries, the exhibition is organised by the National Gallery of Canada (NGC). It expresses the richness and flair of British draftsmanship during the Victorian era displayed in the unique setting of the opulent home and studio of artist and President of the Royal Academy (PRA) Frederic, Lord Leighton. From preparatory sketches to highly finished drawings intended as works of art in themselves, visitors will discover the diverse ways that Victorian artists used drawing to further their artistic practice, creating, as they did so, images of great beauty and accomplishment. Portraits, landscapes, allegories and scenes from religious and literary works are all represented in the exhibition including studies for some of the most well-known paintings of the era such as Edward Burne- Jones’ The Wheel of Fortune (1883), Holman Hunt’s Eve of St Agnes (1848) and Leighton’s Cymon and Iphigenia (1884). With the exception of Leighton’s painting studio, the permanent collection will be cleared from Leighton House and the drawings hung throughout the historic interiors. This outstanding collection, brought together over a 30-year period by Canadian Dr. -
St Paul's Wimbledon Park Parish Profile
St Paul’s Wimbledon Park Parish Profile 1 Overview . We are a friendly, inclusive parish church aiming to serve the local community and build relationships with people at different stages on their life’s journey. We are a lively, (increasingly more) international and ecumenical congregation catering for differing needs through worship and community. When asked in a questionnaire and in group discussions what the congregation most valued as distinctive about St Paul’s, the most cited aspect was the friendly church community and in many cases the long term friendships which had been built up within the regular congregation. Often mentioned in relation to this were the warm welcome for new members, especially those from other countries, and the inclusivity, diversity and liberality of the congregation in terms of background and beliefs. The second most valued and distinctive feature of St Paul’s was the centrality, quality and character of the music under a Director of Music, both in contributing to our worship but also to our mission. While there were a variety of views expressed about preferred styles of worship, recognising that the congregation contains people across the spectrum of ecumenical backgrounds, many people expressed broad satisfaction with what they describe as a ‘middle-of-the- road’ approach to worship which is flexible, has some variety and draws from different traditions. Our Mission to the Parish and beyond is partly realised by the variety of activities which take place in our Community Centre, many of them organised by regular church members. Like many churches, the regular congregation is weighted towards the older age group, whereas local data indicates an unusually young demographic. -
Rediscovering Our Parish Churches’ English Heritage and the Diocese of Salisbury Partnership Project
‘Rediscovering our Parish Churches’ English Heritage and the Diocese of Salisbury Partnership Project Part One: Historical, Architectural and Archaeological Review Bourton, St George 1.1 Deanery: Heytesbury 1.2 Civil parish: Bourton 1.3 Church address: Church Track, Bourton, SP8 5BW, Dorset 1.4 Grid reference: ST7683430311 1.5 Listing grade: Grade II 1.6 Scheduled ancient monument: (Listing descriptions appended in section 7) 1.7 Is the church in a conservation area? No 1.8 Does the church stand in a churchyard? Yes 1.9 Date of visit: 6 October 2008 1.10 Report by: Martin Cherry 1.11 Contact made on site: Caroline Worthington 1.12 Sources consulted: Incorporated Church Building Society, Lambeth Palace Library, file 2106; John Newman & Nikolaus Pevsner, The Buildings of England: Dorset (Harmondsworth, 1972) p. 105. Royal Commission on the Historic Monuments of Dorset, vol. 4, p. 3, no. 1. F.P. Pitfield, Dorset Parish Churches A-D (1981), pp. 87-9. 2. A STATEMENT OF SIGNIFICANCE The significance of St George’s is twofold. It is an interesting example of how churches were transformed in the 19th century to meet changing fashions in worship and liturgy. It started life in 1810-12 as a simple ‘preaching box’, almost symmetrical in plan with a central south porch. It quickly proved inadequate to meet the needs of a growing industrial parish. A substantial extension took place in 1837 adding both space and pretensions – it gained a large new room to the south and a little tower at the west end. But the remodelled church was still a ‘preaching box’ with no chancel.