DOCSLIB.ORG

Period Design Including Modern Furniture Tuesday 2 September 2014 Knightsbridge, London Period D Esign | Knightsbridge, London Tuesday 2 September 2014 21865

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Period Design Including Modern Furniture Tuesday 2 September 2014 Knightsbridge, London Period D Esign | Knightsbridge, London Tuesday 2 September 2014 21865 PERIOD DESIGN Including Modern Furniture Tuesday 2 September 2014 Knightsbridge, London PERIOD D ESIGN | Knightsbridge, London | Tuesday 2 September 2014 | Knightsbridge, London Tuesday 21865 PERIOD DESIGN Tuesday 2 September 2014 at 12.00pm Knightsbridge BONHAMS CARPETS & RUGS Please see back of catalogue IMPORTANT INFORMATION Montpelier Street Mark Dance for important notice to bidders The United States Government Knightsbridge +44 (0) 20 8963 2812 has banned the import of ivory London SW7 1HH [email protected] ILLUSTRATIONS into the USA. Lots containing bonhams.com Front cover: Lot 50 ivory are indicated by the symbol FURNITURE Back cover: Lot 10 Ф printed beside the lot number VIEWING Thomas Moore Inside front cover: Lot 36 in this catalogue. Sunday 31 August +44 (0) 20 8963 2816 Inside back cover: Lot 404 11am to 3pm [email protected] Monday 1 September Please see page 2 for important 9am to 4.30pm Kate Eskdale new information on collection and Tuesday 2 September +44 (0) 20 8963 2814 after-sale storage. 9am to 10.30am [email protected] 10.30am onwards viewing by For enlarged images and detailed appointment only SCULPTURE, WORKS OF ART shots of all lots, please go to & CLOCKS www.bonhams.com/perioddesign BIDS Michael Lake and view the online catalogue. +44 (0) 20 7447 7448 +44 (0) 20 8963 2813 +44 (0) 20 7447 7401 fax [email protected] To bid via the internet Please note that all sold please visit www.bonhams.com Rachael Osborn-Howard lots will be removed to +44 (0) 208 963 2815 the Bonhams warehouse New bidders must also provide [email protected] in Park Royal for storage. proof of identity when submitting bids. Failure to do this may result CUSTOMER SERVICES Please see the Sale in your bids not being processed. Monday to Friday 8.30am to 6pm Information page for full +44 (0) 20 7447 7447 storage information. Please note that bids should be submitted no later than 4pm on the day prior to the auction. Live online bidding is available for this sale Bidding by telephone will only be Please email [email protected] accepted on a lot with a lower with “Live bidding” in the subject estimate in excess of £400. line 48 hours before the auction to register for this service. SALE NUMBER: 21865 CATALOGUE: £15 Bonhams 1793 Limited Bonhams 1793 Ltd Directors Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Jonathan Baddeley, Andrew McKenzie, Simon Mitchell, Jeff Muse, Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Antony Bennett, Matthew Bradbury, Mike Neill, Charlie O’Brien, Giles Peppiatt, Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Harvey Cammell, Simon Cottle, Andrew Currie, Peter Rees, Julian Roup, Iain Rushbrook, Matthew Girling Global CEO, David Dallas, Paul Davidson, Jean Ghika, John Sandon, Tim Schofield, Veronique Scorer, +44 (0) 20 7393 3900 Patrick Meade Global CEO, Charles Graham-Campbell, Miranda Grant, James Stratton, Roger Tappin, Ralph Taylor, +44 (0) 20 7393 3905 fax Geoffrey Davies, Jonathan Horwich, Robin Hereford, Asaph Hyman, Charles Lanning, Shahin Virani, David Williams, James Knight, Caroline Oliphant, Sophie Law, Fergus Lyons, Paul Maudsley, Michael Wynell-Mayow, Suzannah Yip. Hugh Watchorn. Gordon McFarlan, Central SALE Middlesex Hospital INFORMATION Park Royal Coronation Road W Bonhams, e d s P t Park Royal a e a rn r o A k R v e R e s A4 o 0 a y Park a h l C Royal Western Ave A40 R o 0 Station a 0 d Acton 0 4 Cemetery North A Acton d Station a o R a i r o t c i V BIDS IMPORTANT NOTICE TO HANDLING & STORAGE ELECTRICAL EQUIPMENT +44 (0) 20 7447 7448 BUYERS COLLECTION & CHARGES All electrical equipment in this STORAGE AFTER SALE Horn Lane +44 (0) 20 7447 7401 fax West Acton All Works of Art, Clocks, Bronzes, sale has either been tested by [email protected] All sold lots will only be held atStation Sculptures, Rugs & Runners a suitably qualified electrician or www.bonhams.com Knightsbridge until 12noon on will be held at Park Royal has been operationally disabled. Wednesday 3 September 2014 without charge until Monday If the intention is to reconnect this PAYMENTS providing the buyer informs the 22 September 2014. Charges equipment we recommend that Buyers furniture department by 5.00pm will commence on Tuesday 23 this is carried out by a suitably +44 (0) 20 7447 7447 on the day of the sale that they September 2014. qualified electrician. +44 (0) 20 7447 7401 fax shall be collecting their purchases by this time. For all large sold lots including POST 1950 FURNITURE Sellers furniture, chandeliers & carpets The furniture in this sale was Payment of sale proceeds If no instructions are received by removed to Bonhams Park either not originally intended for +44 (0) 20 7447 7447 the furniture department, lots will Royal warehouse there will be no use in a private home or will be +44 (0) 20 7447 7401 fax be removed to store from 9.00am charge for lots collected within 7 sold as a Work of Art. on Wednesday 3 September calendar days from the sale date. VALUATIONS, TAXATION 2014. Please note that requests Transfer and storage charges IMPORTANT NOTICE & HERITAGE to hold items until 12noon commence on Wednesday 10 A surcharge of 2% is applicable +44 (0) 20 7468 8340 on Wednesday 3 September September 2014. when using Mastercard, Visa and +44 (0) 20 7468 5860 fax 2014 must only be made to the overseas debit cards. [email protected] furniture department and by The charges levied by Bonhams 5pm on the sale day to avoid thereafter are as follows: The following symbol is used CATALOGUE SUBSCRIPTIONS confusion. to denote that VAT is due on To obtain any Bonhams Furniture, large paintings, the hammer price and buyer’s catalogue or to take out an Lots will be available for long-case clocks and large premium annual subscription: collection from Bonhams Park objects marked with a W. Subscriptions Department Royal warehouse as from 2.00pm † VAT 20% on hammer price +44 (0) 1666 502200 on Thursday 4 September 2014. Transfer per lot £30.00 and buyer’s premium +44 (0) 1666 505107 fax To avoid unnecessary delays, Daily storage per lot £3.00 [email protected] please call in advance to arrange * VAT on imported items at a a time for collection. Paintings and Works of Art preferential rate of 5% on hammer SHIPPING price and the prevailing rate on For information and estimates BONHAMS WAREHOUSE Transfer per lot £10.00 buyer’s premium on domestic and international ADDRESS: Daily storage per lot £1.70 shipping as well as export licenses Unit 1, Sovereign Park W These lots will be removed to please contact Bonhams Shipping Coronation Road All the above charges are Bonhams Park Royal Warehouse Department on: Park Royal exclusive of VAT after the sale. Please read the +44 (0) 20 8963 2849 London NW10 7QP sale information page for more +44 (0) 20 8963 2850 Tel: +44 (0) 87 0811 3867 PAYMENT details. +44 (0) 20 7629 9673 fax Hours of opening 9.30am to All charges due to Bonhams [email protected] 4.30pm Monday to Friday must be paid by the time of Y These lots are subject to CITES collection from Bonhams’ regulations, please read the Lots may be released from warehouse. information in the back of Bonhams warehouse on the catalogue. production of the collection Payment in advance order obtained from cashier’s Tel: +44 (0) 20 7447 7447 office at Bonhams and a form of to ascertain amount due by: photographic ID. If a third party is cash, cheque with banker’s collecting on behalf of the client, card, credit card, bank draft the client must provide Bonhams or traveller’s cheque. with written authority prior to collection. The third party must Payment at time of collection present a photographic form of By credit card / debit card ID when collecting. A GUIDE TO BUYING FURNITURE & WORKS OF ART AT AUCTION There are many ways in which the prospective bidder can take advantage of the pre and post sale service that Bonhams provides. PRE SALE • Absentee bidding • Online bidding You can browse the sale online, in our If you are unable to attend the sale on the day Our internet bidding option provides you catalogue and view it in person on the you can leave an absentee bid. Simply fill out with the opportunity to participate live in Sunday, Monday and morning of the sale. If an absentee bidding form stating what lot you the auction from the comfort of your own there is an item that catches your eye, one of are interested in and the maximum amount computer. The auction will be relayed to you our specialists will be happy to discuss the you would pay to secure it excluding buyers lot by lot and bid by bid both on the screen in piece with you and provide condition reports premium, and the auctioneer will then bid on front of you and also through audio streamed for lots with a low estimate above £300. The your behalf. directly from the saleroom. Please visit furniture department also offers a lot finder www.bonhams.com to add online bidding to service helping you find a particular item. • Telephone bidding your Bonhams account Bidding for items couldn’t be easier. There are four ways the prospective buyer can bid for If you don’t wish to leave an absentee bid, POST SALE lots they are interested in: you can request to bid by telephone on items with estimates above £400.
Load more

Recommended publications
  • Industry and the Ideal
    INDUSTRY AND THE IDEAL Ideal Sculpture and reproduction at the early International Exhibitions TWO VOLUMES VOLUME 1 GABRIEL WILLIAMS PhD University of York History of Art September 2014 ABSTRACT This thesis considers a period when ideal sculptures were increasingly reproduced by new technologies, different materials and by various artists or manufacturers and for new markets. Ideal sculptures increasingly represented links between sculptors’ workshops and the realm of modern industry beyond them. Ideal sculpture criticism was meanwhile greatly expanded by industrial and international exhibitions, exemplified by the Great Exhibition of 1851, where the reproduction of sculpture and its links with industry formed both the subject and form of that discourse. This thesis considers how ideal sculpture and its discourses reflected, incorporated and were mediated by this new environment of reproduction and industrial display. In particular, it concentrates on how and where sculptors and their critics drew the line between the sculptors’ creative authorship and reproductive skill, in a situation in which reproduction of various kinds utterly permeated the production and display of sculpture. To highlight the complex and multifaceted ways in which reproduction was implicated in ideal sculpture and its discourse, the thesis revolves around three central case studies of sculptors whose work acquired especial prominence at the Great Exhibition and other exhibitions that followed it. These sculptors are John Bell (1811-1895), Raffaele Monti (1818-1881) and Hiram Powers (1805-1873). Each case shows how the link between ideal sculpture and industrial display provided sculptors with new opportunities to raise the profile of their art, but also new challenges for describing and thinking about sculpture.
    [Show full text]
  • Descriptive Catalogue of the Paintings, Sculpture and Drawings and of the Walker Collection
    Bowdoin College Bowdoin Digital Commons Museum of Art Collection Catalogues Museum of Art 1930 Descriptive Catalogue of the Paintings, Sculpture and Drawings and of the Walker Collection Bowdoin College. Museum of Art Follow this and additional works at: https://digitalcommons.bowdoin.edu/art-museum-collection- catalogs Recommended Citation Bowdoin College. Museum of Art, "Descriptive Catalogue of the Paintings, Sculpture and Drawings and of the Walker Collection" (1930). Museum of Art Collection Catalogues. 4. https://digitalcommons.bowdoin.edu/art-museum-collection-catalogs/4 This Book is brought to you for free and open access by the Museum of Art at Bowdoin Digital Commons. It has been accepted for inclusion in Museum of Art Collection Catalogues by an authorized administrator of Bowdoin Digital Commons. For more information, please contact [email protected]. Digitized by the Internet Archive in 2015 https://archive.org/details/descriptivecatal00bowd_2 BOWDOIN MUSEUM OF FINE ARTS WALKER ART BUILDING DESCRIPTIVE CATALOGUE OF THE PAINTINGS, SCULPTURE and DRAWINGS and of the WALKER COLLECTION FOURTH EDITION Price Fifty Cents BRUNSWICK, MAINE 1930 THE RECORD PRES5 BRUNSWICK, MAINE TABLE OF CONTENTS PAGE List of Illustrations 3 Prefatory Note 4 Historical Introduction 8 The Walker Art Building 13 Sculpture Hall 17 The Sophia Walker Gallery 27 The Bowdoin Gallery 53 The Boyd Gallery 96 Base:.:ent 107 The Assyrian Room 107 Corridor 108 Class Room 109 King Chapel iio List of Photographic Reproductions 113 Index ...115 Finding List of Numbers 117 LIST OF ILLUSTRATIONS FACING PAGE Walker Art Building — Frontispiece Athens, by John La Farge 17 Venice, by Kenyon Cox 18 Rome, by Elihu Vcdder 19 Florence, hy Abbott Thayer 20 Alexandrian Relief Sculpture, SH-S 5 ..
    [Show full text]
  • Old Master, British and European Art
    OLD MASTER, BRITISH AND EUROPEAN ART DONNINGTON PRIORY | THURSDAY 27 MAY 2021 OLD MASTER, BRITISH AND EUROPEAN ART DONNINGTON PRIORY | THURSDAY 27 MAY 2021 | 10.30am Coming Up at Dreweatts Auctions 5 May | Live Online Jewellery, Silver, Watches, Pens, Coins and Medals – Part 1 6 May | Live Online Piet Jonker | Garden Statuary and Ornament 6 May | Timed Online Jewellery, Silver, Watches, Pens, Coins and Medals – Part 2 12 May | Live Online Interiors to include the selected contents of Berwick House, Shropshire and other properties 13 May | Timed Online Hambridge Sale 19 May | Live Online Chinese Ceramics and Works of Art (Part 1) 20 May | Live Online Japanese & Chinese (Part 2) and Indian & Islamic Ceramics & Works of Art 27 May | Live Online Old Master, British and European Art 8 June | Live Online Interiors Day 1: to include Decorative Arts since 1860 9 June | Live Online Interiors Day 2 30 June | Live Online Fine Furniture, Sculpture, Carpets, Ceramics and Works of Art 1 July | Live Online Fine and Rare Wine and Spirits 2 July | Timed Online Hambridge Sale We hold regular auctions of fine art, antiques, jewellery and other collectibles. Our specialists carry out valuations nationwide so if you are unable to attend one of our valuation days, please request a valuation via our website or call us to discuss a home visit. NOW INVITING ENTRIES FOR OUR 2021 AUCTIONS CHINESE AND JAPANESE WORKS OF ART INCLUDING ISLAMIC AND INDIAN ART 19 & 20 MAY 2021 | 10.30am NEWBURY LONDON HAMBRIDGE LANE ENQUIRIES Dreweatts Dreweatts / Bloomsbury Auctions
    [Show full text]
  • Drawing After the Antique at the British Museum
    Drawing after the Antique at the British Museum Supplementary Materials: Biographies of Students Admitted to Draw in the Townley Gallery, British Museum, with Facsimiles of the Gallery Register Pages (1809 – 1817) Essay by Martin Myrone Contents Facsimile, Transcription and Biographies • Page 1 • Page 2 • Page 3 • Page 4 • Page 5 • Page 6 • Page 7 Sources and Abbreviations • Manuscript Sources • Abbreviations for Online Resources • Further Online Resources • Abbreviations for Printed Sources • Further Printed Sources 1 of 120 Jan. 14 Mr Ralph Irvine, no.8 Gt. Howland St. [recommended by] Mr Planta/ 6 months This is probably intended for the Scottish landscape painter Hugh Irvine (1782– 1829), who exhibited from 8 Howland Street in 1809. “This young gentleman, at an early period of life, manifested a strong inclination for the study of art, and for several years his application has been unremitting. For some time he was a pupil of Mr Reinagle of London, whose merit as an artist is well known; and he has long been a close student in landscape afer Nature” (Thom, History of Aberdeen, 1: 198). He was the third son of Alexander Irvine, 18th laird of Drum, Aberdeenshire (1754–1844), and his wife Jean (Forbes; d.1786). His uncle was the artist and art dealer James Irvine (1757–1831). Alexander Irvine had four sons and a daughter; Alexander (b.1777), Charles (b.1780), Hugh, Francis, and daughter Christian. There is no record of a Ralph Irvine among the Irvines of Drum (Wimberley, Short Account), nor was there a Royal Academy student or exhibiting or listed artist of this name, so this was surely a clerical error or misunderstanding.
    [Show full text]
  • Le Programme D'art Public Du Fourth Plinth
    UNIVERSITÉ DU QUÉBEC À MONTRÉAL LE PROGRAMME D'ART PUBLIC DU FOURTH PLINTH. UNE BRÈCHE DANS LE DISCOURS COLONIALISTE ET IMPÉRIALISTE DU TRAFALGAR SQUARE MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN HISTOIRE DE L'ART PAR ORIANE ASSELIN-V AN COPPENOLLE NOVEMBRE 2017 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.1 0-2015). Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l 'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l 'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire. » REMERCIEMENTS En tout premier lieu, je tiens à remercier spécialement ma directrice Annie Gérin qui m'a accompagnée à travers ce périple, au fil des diverses tangentes qu' a pris ce projet.
    [Show full text]
  • Shrine of Remembrance St Kilda Road, Melbourne Conservation
    Shrine of Remembrance St Kilda Road, Melbourne Conservation Management Plan Shrine of Remembrance St Kilda Road, Melbourne Conservation Management Plan Prepared for the Shrine of Remembrance Trustees October 2010 TABLE OF CONTENTS 1.0 INTRODUCTION 1 1.1 Background and brief 1 1.2 Site Location and Description 1 1.2.1 Location 1 1.2.2 Description 1 1.3 Heritage Controls and Listings 1 1.3.1 Victorian Heritage Act 1995 1 1.3.2 Planning and Environment Act 1987 2 1.3.3 Environment Protection and Biodiversity Conservation Act 1999 (Cwlth) 3 1.3.4 Non-Statutory Listings 4 1.4 Methodology and Terminology 4 1.5 Archaeology 4 2.0 HISTORY 9 2.1 Planning for Victoria’s War Memorial: Choice of a Site 9 2.2 The War Memorial Design Competition 11 2.3 The Architects 11 2.4 The Winning Design 12 2.5 Fundraising 16 2.6 Construction of the Shrine 1928-34 17 2.7 Initial Landscaping Works 1928-1934 20 2.8 World War II Memorial Competition 26 2.9 Landscaping Developments 1951-2000 27 2.9.1 Hard Landscaping Features 27 2.9.2 Plantings 30 2.10 Building Alterations and Maintenance Works 1934-2000 31 2.10.1 Alterations 31 2.10.2 Maintenance Works 32 2.11 Developments Since 2001 33 2.11.1 Building Works 33 2.11.2 Landscaping Developments 34 2.12 A Commemorative Place 34 3.0 PHYSICAL ANAYLSIS 37 3.1 Introduction 37 3.2 Documentation 37 3.3 The Site 37 3.4 Individual Buildings and Elements 40 3.4.1 The Shrine (1929-34) 40 I 3.4.2 Visitor Centre (2003) 57 3.4.3 WWII Forecourt (1951-54) 60 3.4.4 Cenotaph (1955) 61 3.4.5 Eternal Flame (1954) 62 3.4.6 Flagpoles (1954)
    [Show full text]
  • 31 July 2014
    31st July 2014 - Gavin Stamp & Jon Wright Introduction. The United Kingdom National Inventory of War Memorials, (UKNIWM) now has over 60,000 sites on its database and the number continues to grow each year. The variety and diversity of them is staggering. Today, we are going to look at twenty or so C20th/21st London memorials chosen to show the range of artistic responses to commemoration, both after major conflict and more recently, to address retrospective concerns about the lack of monuments to various groups. When our previous chairman Gavin Stamp curated the Silent Cities exhibition at the Heinz Gallery in 1977, there were many who thought it wrong to focus in on the ‘art’ of war memorials, as if in some way that in so doing, one would be ignoring, or at least lessening their importance as sites of remembrance. We are still to fully understand the architectural significance of the huge number of sites built by Lutyens, Herbert Baker, Charles Holden and others, but as Gavin has continued to show through his foreign trips and publications, the building programme for overseas cemeteries and domestic memorials easily eclipsed any public works undertaking before or since. The C20 Society looks at memorials rather differently than the vital organisations set up to document, conserve and care for memorial sites specifically. The War Memorials Trust, whose conservation work remains vitally important to the upkeep of UK memorials is foremost among these groups. English Heritage have listed a significant amount of memorials, and like us, they do judge the monuments for architectural and artistic significance, while bearing in mind the inherent importance of the sites in a social and historic context.
    [Show full text]
  • Cat Talogu E 55
    Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN Tel: 020 7836 1979 Fax: 020 7379 6695 E-mail: [email protected] www.grosvenorprints.com Dealers in Antique Prints & Books Catalogue 55 Summer Miscellanea Item 264: Nicolo Cantabella For other images from this list please see our web site www.grosvenorprints.com Registered in England No. 1305630 Registered Office: 2, Castle Business Villlage, Station Roaad, Hampton, Middlesex. TW12 2BX. Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Rayment. C.E. Elliis. E&OE VAT No. 217 6907 49 1. James Paine Archi.t [bookplate] One A dentist and patient. A sharrp toothed crocodile is Science only will one Genius fit, / So vast is Art, suspended above. so narrow human Wit. / Pope. Gerrit Dou was the founder of the so called 'fijnschi' S. Wale delin / C. Grignion Sculp. [c.1750] (fine painters) of his native Leiden. Etching, platemark 110 x 85mm (4¼ x 3¼"). Glued to Stock: 38055 backing sheet at corners. £220 Bookplate of James Paine (bap. 1717?-d.1789), architect. A winged figure holding a measuring square (representing an aspiring architect) is directed by Minerva (with helmet, spear and shield) to attend to a bust of the great architect and theatre designer Inigo Jones (1573-1652). Jones was a major influence on Paine, particularly via William Kent's 1727 volume 'Design of Inigo Jones'. Couplet from Alexander Pope's 1711 poem 'An Essay on Criticism' below. For a portrait of Paine with his son see ref. 13428. Stock: 37622 2. The Country Maid and her Milk Pail.
    [Show full text]
  • Neo-Pre-Raphaelitism: the Final Generations
    Neo-Pre-Raphaelitism: The Final Generations Amanda B. Waterman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2016 Reading Committee: Susan Casteras, Chair Stuart Lingo Joseph Butwin Program Authorized to Offer Degree: Art History ©Copyright 2016 Amanda B. Waterman University of Washington Abstract Neo Pre-Raphaelitism: The Final Generations Amanda B. Waterman Chair of the Supervisory Committee: Professor Susan P. Casteras Art History The Pre-Raphaelite Brotherhood was a group of seven young men who wanted to rebel against the teachings and orthodoxies of the Royal Academy. It was a short-lived movement, beginning in 1848 and ending in the early 1850s, but this dissertation will argue that their influence lived on and inspired a group of artists who were working at the turn of the century and well into the twentieth-century. This dissertation is unprecedented; it is the first publication which aims to specifically categorize certain artists whose oeuvres are indebted to various generations of Pre-Raphaelitism. In short, I am characterizing these artists and thereby dubbing them “Neo-Pre-Raphaelite,” channeling an early twentieth-century description of some of these artists. The most obvious reason to refer to them by this term is that they are stylistically and/or thematically linked to members of the original PRB or later generations / manifestations of Pre-Raphaelitism. The individuals on whom I am focusing are all British and produced Pre-Raphaelite inspired work from roughly 1895-1950. Consequently, the parameters within which I am working are threefold; firstly, the artists were exhibiting in the late 1880s/1890 – 1920 (a Neo-Pre-Raphaelite period that overlapped for most of them); secondly, those whose work echoed that of the Pre-Raphaelite Brotherhood; and thirdly, persons having a working relationship with Edwin Austin Abbey—an American artist who was in a unique position to be a hybrid between the earlier PRB and these younger artists.
    [Show full text]
  • Drawing After the Antique at the British Museum
    Drawing after the Antique at the British Museum Supplementary Materials: Biographies of Students Admitted to Draw in the Townley Gallery, British Museum, with Facsimiles of the Gallery Register Pages (1809 – 1817) Essay by Martin Myrone Contents Facsimile TranscriptionBOE#JPHSBQIJFT • Page 1 • Page 2 • Page 3 • Page 4 • Page 5 • Page 6 • Page 7 Sources and Abbreviations • Manuscript Sources • Abbreviations for Online Resources • Further Online Resources • Abbreviations for Printed Sources • Further Printed Sources 1 of 120 Jan. 14 Mr Ralph Irvine, no.8 Gt. Howland St. [recommended by] Mr Planta/ 6 months This is probably intended for the Scottish landscape painter Hugh Irvine (1782– 1829), who exhibited from 8 Howland Street in 1809. “This young gentleman, at an early period of life, manifested a strong inclination for the study of art, and for several years his application has been unremitting. For some time he was a pupil of Mr Reinagle of London, whose merit as an artist is well known; and he has long been a close student in landscape afer Nature” (Thom, History of Aberdeen, 1: 198). He was the third son of Alexander Irvine, 18th laird of Drum, Aberdeenshire (1754–1844), and his wife Jean (Forbes; d.1786). His uncle was the artist and art dealer James Irvine (1757–1831). Alexander Irvine had four sons and a daughter; Alexander (b.1777), Charles (b.1780), Hugh, Francis, and daughter Christian. There is no record of a Ralph Irvine among the Irvines of Drum (Wimberley, Short Account), nor was there a Royal Academy student or exhibiting or listed artist of this name, so this was surely a clerical error or misunderstanding.
    [Show full text]
  • Visual Discourses of Commemorative War Monuments
    Visual and Written Discourses of British Commemorative War Monuments N. Gillian Abousnnouga Cardiff School of Journalism, Media and Cultural Studies Cardiff University This thesis is submitted to Cardiff University in partial fulfilment of the requirements for the degree of Doctor of Philosophy March 2012 Abstract This thesis analyses commemorative war monuments using a social semiotic approach to understand how they communicate as three-dimensional objects, considering their design alongside contextual information. Taking a social semiotic approach to the study of commemorative war monuments, it responds to calls by historians for innovative ways to study war commemoration by providing an approach that offers both specific analysis of the objects and attends to matters of design. This thesis also provides a contribution to the work in Critical Discourse Analysis on discourses of war through its analysis of the way that certain dominant discourses of war are realised, maintained and legitimised; not just through political speeches and news texts, but visually and materially through these objects that appear in cities, towns and villages across Britain. Following in the relatively recent tradition of multimodal analysis, the thesis draws on the ideas of Kress & van Leeuwen, adapting and extending their theories to the analysis of typical examples of post-First World War British commemorative war monuments. The analysis reveals that sign makers rejected modern forms, relying on classical styles of representation to realise meanings which serve to recontextualize the brutality of war. These monuments contain powerful discourses of denial that work to promote the sacrifice of life by creating a strong, ethnically homogenous and consentient national group that acts uniformly to carry out the will of the nation-state.
    [Show full text]
  • Barbara Hepworth: Art & Life
    BARBARA HEPWORTH: ART & LIFE 21 May 2021 – 27 FEB 2022 IMAGE SHEET These images may be used for the sole purpose of illustrating articles directly about the exhibition Barbara Hepworth: Art & Life at The Hepworth Wakefield 21 May 2021 – 27 February 2022. Image(s) may not be cropped, detailed, over-printed, or manipulated in any way without prior written approval from Bowness Estate. These images have a one-time use only and the image provided may not be stored and must be deleted once they have been used for reproduction. The caption and copyright credit must appear exactly as provided below. Barbara Hepworth, Pierced Hemisphere, 1937 White marble The Hepworth Wakefeld (Wakefeld Permanent Art Collection) © Bowness, Hepworth Estate Photo: Norman Taylor Barbara Hepworth, Winged Figure, 1961–2 © Bowness, Hepworth Estate Photo: Jonty Wilde Barbara Hepworth, Kneeling Figure, 1932 Rosewood Purchased with aid from the Wakefeld Permanent Art Fund (Friends of Wakefeld Art Galleries and Museums), V&A Purchase Grant Fund and Wakefeld Girls’ High School, 1944 © Bowness, Hepworth Estate Photo: Jerry Hardman-Jones Barbara Hepworth, Mother and Child, 1934 Pink Ancaster stone Purchased by Wakefeld Corporation in 1951 © Bowness, Hepworth Estate Photo: Jerry Hardman-Jones Barbara Hepworth, Orpheus (Maquette 1), 1956 Brass and strings, mounted on a hardwood base Wakefeld Permanent Art Collection © Bowness, Hepworth Estate Photo: Lewis Ronald Barbara Hepworth with the Gift plaster of Figure for Land- scape and a bronze cast of Figure (Archaean) November 1964. Photo: Lucien Myers Barbara Hepworth growing up, c.1919. © Bowness, Hepworth Estate Hepworth carving in the Palais de Danse, 1961. © Bowness, Hepworth Estate Photo: Rosemary Mathews Barbara Hepworth at work on the plaster for Oval Form (Trezion) 1963.
    [Show full text]