DOCSLIB.ORG

Grinling Gibbons and the Art of Carving Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Grinling Gibbons and the Art of Carving Free FREE GRINLING GIBBONS AND THE ART OF CARVING PDF David Esterly | 224 pages | 30 Apr 2013 | V & A Publishing | 9781851772568 | English | London, United Kingdom Grinling Gibbons and the Art of Carving - David Esterly - Google книги High Grinling Gibbons and the Art of Carving art prints with a selection of frame and size options, canvases, and postcards. National Trust. David Esterly's life was changed in the s when he came across wood carvings done by Grinling Gibbons more than years earlier. Grinling Gibbons and the Art of Carving became a wood carver, and even re-created one of Gibbons' pieces that was destroyed in a fire. Flickr is almost certainly the best online photo management and sharing application in the world. Show off your favorite photos and videos to the world, securely and privately show content to your friends and family, or blog the photos and videos you take with a cameraphone. The limewood carving of musical instruments by Grinling Gibbons, situated on the east wall of the Carved Room at Petworth Petworth. Carved from limewood by Grinling Gibbons in and considered to be an example of his finest work. James's church, Piccadilly. Grinling Gibbons, influenced by the Baroque style of the Netherlands, created realistic still life woodcarvings from limewood. His skill has never been surpassed. Find art you love and shop high-quality art prints, photographs, framed artworks and posters at Art. If you're not familiar with Grinling Gibbons, you owe it to yourself to take a look at his work. Born in Holland in the early 17th Century, Gibbons moved Grinling Gibbons and the Art of Carving England as a young man. Rising from obscurity, he dazzled the rich and famous with his incredibly intricate and realistic woodcarving. Few people, if any, can equal his consummate skill. Pinterest is using cookies to help give you the best experience we can. Got it! Grinling Gibbons - Wikipedia Gibbons was born and educated in Holland of English parents, [1] his father being a merchant. He was a member of the Drapers' Company of London. He is widely regarded as the finest wood carver working in England, and the only one whose name is widely known among the general public. Most of his work is in lime Tilia wood, especially decorative Baroque garlands made up of still-life elements at about life size, made to frame mirrors and decorate the walls of churches and palaces, but he also produced furniture and small relief plaques with figurative scenes. He also worked in stone, mostly for churches. By the time he was established he led a large workshop, and the extent to which his personal hand appears in later work varies. Very little is known about his early life. The name Grinling is formed from sections of two family names. He was born in RotterdamNetherlands, and it is sometimes thought that his father may have been the Englishman Samuel Gibbons, who worked under Inigo Jonesbut even two of his closest acquaintances, the portrait painter Thomas Murray and the diarist John Evelyncannot agree on how he came to be introduced to King Charles II. He moved to DeptfordEngland aroundand by had accepted commissions from the royal family and had been appointed as a master carver. His carving was so fine that it was said a pot of carved flowers above his house in London would tremble from the motion of passing coaches. The diarist Evelyn first discovered Gibbons' talent by chance in Evelyn, from whom Gibbons rented a cottage near Evelyn's home in Sayes CourtDeptford today part of south-east Londonwrote the following: "I saw the young man at his carving, by the light of a candle. I saw him to be engaged on a carved representation of Tintoretto 's "Crucifixion", which he had in a frame of his own making. Wren and Evelyn then introduced him to King Grinling Gibbons and the Art of Carving II who gave him his first commission — still resting in the dining room of Windsor Castle. Gibbons was a member of the Drapers' Company in the City of London, being admitted by patrimony in and called to the livery in He was elected to the court and as a warden and then stood for election to be Master inandlosing to an alderman each time. Horace Walpole later wrote about Gibbons: "There is no instance of a man before Gibbons who gave wood the loose and airy lightness of flowers, and chained together the various productions of the elements with the free disorder natural to each species. An example of his work can be seen in the Presence Chamber above the fireplace, which was originally intended to frame a portrait of Queen Mary II after her death in Also in the Orangery at Kensington, you can see some his pieces. Many fine examples of his work can still be seen in the churches around London — particularly the choir stalls and organ case of St Paul's Cathedral. At Petworth the Carved Room is host to a fine and extensive display of intricate wooden carvings by Gibbons. His work can be seen in the London churches of St Michael Paternoster Royal and St James, Piccadillywhere he carved the wood reredos and marble font. The Anglican dislike of painted Grinling Gibbons and the Art of Carving typically left a large space on the east wall that needed filling, which often gave Grinling's garlands a very prominent position, as here. The Cosimo Panel is an allegory of art triumphing Grinling Gibbons and the Art of Carving hatred and turmoil and includes a medallion with a low relief of Pietro da CortonaCosimos favourite painter. The panel is housed in the Pitti Palace in Florence. The Grinling Gibbons and the Art of Carving Panel is a memento mori for Charles II who died earlier that year and includes a funeral dirge from the play The Contention of Ajax and Ulysses by dramatist James Shirley Grinling Gibbons and the Art of Carving "There is no armour against fate; Death lays its icy hand on kings: Sceptre and crown must tumble down". It also features a medallion self-portrait of Gibbons. The panel is displayed in the Estense Gallery in Modena. Peter and St. Paul church in Exton, Rutland has a fine marble tomb by Gibbons, dating fromshowing Viscount Campden with his fourth wife, Elizabeth Bertie, and carvings of his 19 children. The famous sculptor of Brussels Peter van Dievoet had collaborated with Grinling Gibbons, but went back to Brussels after the revolution of He was buried alongside his ancestors in the Beaufort Chapel in St George's Chapel, Windsor[7] [8] but the monument was moved to Badminton in There are twin Corinthian columns with embossed shafts, acanthus frieze, cornice with flaming urns, and the Duke's arms and supporters. Above the Duke's effigy, parted curtains show the heavenly host with palms and Grinling Gibbons and the Art of Carving. The Latin inscription displays the names of his family and the many offices he held. Gibbons also made the monument for Admiral Sir Cloudesley Shovella British naval hero killed in a disastrous shipwreck in Shovell's large marble monument can be seen in the south choir aisle of Grinling Gibbons and the Art of Carving Abbey. Gibbons' work very often includes carvings of peapods. A myth states that he would include a closed pod in his work, only carving it open once he had been paid. If the pea pod was left shut it supposedly showed that he had not been paid for the work. From Wikipedia, the free encyclopedia. Anglo-Dutch sculptor and wood carver. Retrieved 30 September Retrieved 8 September World Monuments Fund. Archived from the original on 16 October Retrieved 29 Grinling Gibbons and the Art of Carving Categories : births deaths English sculptors English male sculptors English woodcarvers Dutch sculptors Dutch male sculptors Artists from Rotterdam 17th-century English artists 18th-century English artists. Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Wikimedia Commons. David Esterly, master woodcarver, works in limewood, like Grinling Gibbons | Harvard Magazine A bedside candle in Grinling Gibbons and the Art of Carving room of the elderly Lady Gale, a resident who perished in the flames, probably started the blaze. Ina number of English carving conservators were working assiduously in limewood, but the artist to whom the British entrusted the restoration was a year-old craftsman living outside Utica, New York, who had been carving limewood for about a decade: Esterly himself. Many of his pieces take a year or even two to complete: such carvings are a painstaking art that calls on skills cultivated over decades. Thus Esterly has created a magnificent, if small, oeuvre: his year career has produced only a few dozen carvings, almost all in private collections. They are not hidden from the public, though. This January, Esterly assembled 15 of his most recent works for an day show at the W. Brady and Company gallery in Manhattan. Exhibits are challenging to mount partly because Esterly sells everything he makes: he cannot afford to own his creations. He works almost solely on commission and never lacks for onebut given the labor-intensive nature of his craft, he is hardly getting rich, despite the six-figure prices his works command. He may be the only professional woodcarver ever to graduate from Harvard. In retrospect, it seems that Esterly was born to carve limewood, but in fact he discovered his calling only after earning a doctorate in English literature.
Load more

Recommended publications
  • Wren and the English Baroque
    What is English Baroque? • An architectural style promoted by Christopher Wren (1632-1723) that developed between the Great Fire (1666) and the Treaty of Utrecht (1713). It is associated with the new freedom of the Restoration following the Cromwell’s puritan restrictions and the Great Fire of London provided a blank canvas for architects. In France the repeal of the Edict of Nantes in 1685 revived religious conflict and caused many French Huguenot craftsmen to move to England. • In total Wren built 52 churches in London of which his most famous is St Paul’s Cathedral (1675-1711). Wren met Gian Lorenzo Bernini (1598-1680) in Paris in August 1665 and Wren’s later designs tempered the exuberant articulation of Bernini’s and Francesco Borromini’s (1599-1667) architecture in Italy with the sober, strict classical architecture of Inigo Jones. • The first truly Baroque English country house was Chatsworth, started in 1687 and designed by William Talman. • The culmination of English Baroque came with Sir John Vanbrugh (1664-1726) and Nicholas Hawksmoor (1661-1736), Castle Howard (1699, flamboyant assemble of restless masses), Blenheim Palace (1705, vast belvederes of massed stone with curious finials), and Appuldurcombe House, Isle of Wight (now in ruins). Vanburgh’s final work was Seaton Delaval Hall (1718, unique in its structural audacity). Vanburgh was a Restoration playwright and the English Baroque is a theatrical creation. In the early 18th century the English Baroque went out of fashion. It was associated with Toryism, the Continent and Popery by the dominant Protestant Whig aristocracy. The Whig Thomas Watson-Wentworth, 1st Marquess of Rockingham, built a Baroque house in the 1720s but criticism resulted in the huge new Palladian building, Wentworth Woodhouse, we see today.
    [Show full text]
  • CHRIST CHURCH LIBRARY NEWSLETTER Volume 5, Issue 1 Michaelmas 2008
    CHRIST CHURCH LIBRARY NEWSLETTER Volume 5, Issue 1 Michaelmas 2008 ISSN 1756-6797 (Print), ISSN 1756-6800 (Online) Book Collections, Private Homes and The Art of Science - Thomas Roberts’ Seventeenth Century England Navigation Instruments in the Upper Library Since private collections grew substantially in size In 1760 Christ Church Upper Library, the building of during the seventeenth century, and since the which began in 1717 to the designs of Dean Henry ownership of books were increasingly felt to Aldrich developed by the Oxford architect-academic represent the fulfilment of a gentleman’s social, Dr George Clarke, was completed with the applied cultural and moral responsibilities, collections began decoration of its ceiling and walls. Light, airy and with to move into the more public areas of the house. its book-cases lining the walls rather than jutting into the rooms at right angles, the Upper Library The growing literacy in the idioms of renaissance resembled the audience chamber of a cultured classicism also encouraged a greater formality in Central European ruler rather than the dark, house-planning and internal arrangement which monastic rooms of Oxford’s earlier libraries such as fostered the development of the library as a grand Merton and Duke Humfrey’s, and of course, the apartment. original medieval library of the College, and the However, the movement towards the eighteenth- decoration enhanced the effect of refined classicism. century formal library as a family room was never straight-forward; in part because the function of the The applied decoration was the work of a local closet/library space remained so fluid and nebulous.
    [Show full text]
  • A Biographical Dictionary of Nineteenth Century Antique and Curiosity Dealers
    This is a repository copy of A Biographical Dictionary of Nineteenth Century Antique and Curiosity Dealers. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/42902/ Book: Westgarth, MW (2009) A Biographical Dictionary of Nineteenth Century Antique and Curiosity Dealers. Regional Furniture, XXIII . Regional Furniture Society , Glasgow . Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ promoting access to White Rose research papers Universities of Leeds, Sheffield and York http://eprints.whiterose.ac.uk/ White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/42902/ Published book: Westgarth, MW (2009) A Biographical Dictionary of Nineteenth Century Antique and Curiosity Dealers. Regional Furniture, XXIII . Regional Furniture Society White Rose Research Online [email protected] 148132:97095_book 6/4/10 10:11 Page cov1 REGIONAL FURNITURE 2009 148132:97095_book 6/4/10 10:11 Page cov2 THE REGIONAL FURNITURE SOCIETY FOUNDED 1984 Victor Chinnery President Michael Legg Vice President COUNCIL David Dewing Chairman Alison Lee Hon.
    [Show full text]
  • Hampton Court Palace
    Hampton Court Palace An introduction to the visitor routes Page 1 of 62 January 2014 Summary of Routes Dates for Key People Cardinal Wolsey, c1475-1530. Henry VIII, 1509-47 William III, 1689-1702 and Mary II, 1689-94 Queen Anne, 1702-14, Prince George of Denmark, 1702-08 George II, 1727-60, Caroline, 1727-37 Courtyards • Tudor, Baroque • View the buildings from the outside and see how different monarchs left their mark • See some of the lesser known side courtyards as well as the main processional ones • Allow 15 minutes King Henry VIII’s Apartments (10 rooms) • Tudor period • Highlights: Great Hall with its Hammerbeam Roof designed by James Nedeham and Christopher Dickenson for Henry VIII; the Royal Pew designed by Sir Christopher Wren for William III and Mary II in the English Baroque style • 6 magnificent tapestries from the life of Abraham series in the Great Hall and six in the Great Watching Chamber, including three from Cardinal Wolsey’s collection • Very important Tudor dynasty paintings and the iconic portrait of Henry VIII (after Holbein) • Processional Route and Haunted Gallery • Allow 35-45 minutes The Chapel Royal The Chapel Royal has been in continuous use as a place of worship for about 500 years. It is a part of the ecclesiastical Household of HM The Queen and there are daily services throughout the year. Visitors are asked to respect this when visiting. There are no tours but warders and very often chapel stewards are on duty who will be able to answer any questions. • Period: Tudor, Stuart and Georgian periods • Originally built for Cardinal Wolsey and added to by Henry VIII.
    [Show full text]
  • Wren St Paul's Cathedral CO Edit
    Sir Christopher Wren (1632-1723) St. Paul’s Cathedral (1673-1711) Architect: Sir Christopher Wren (1632-1723) Nationality: British Work: St. Paul’s Cathedral Date: 1673–1711. First church founded on this site in 604, medieval church re-built after Great Fire of London, 1666. Style: Classical English Baroque Size: Nave 158 x 37m, dome 85m high Materials: Portland stone, brick inner dome and cone, iron chains, timber framed outer dome, lead roof, glass windows, marble floors, wooden screens Construction: Arcuated: classical semi-circular arches; loadbearing walls and piers; ‘gothic’ pointed inner cone, flying buttresses Location: Ludgate Hill highest point of City of London Patron: Church of England Scope of work: Identities specified architect pre-1850 ART HISTORICAL TERMS AND CONCEPTS Function • Dedicated to St Paul, ancient Catholic foundation, now Anglican church under Bishop of London holding religious services with liturgical processions requiring nave, high altar and choirs • Rebuilt as a Protestant or Post-Reformation church, greater emphasis on access to the high altar and hearing the sermon • For Wren the prime requirement was an ‘auditory’ church with an uncluttered interior where all the congregation could see and hear. • Richness of materials and carving communicate the wealth of the city and the nation as well as demonstrating piety • Dome and towers identify presence, location and importance in the area and community. !1 • Inspires awe by the scale of dome soaring to heaven, and heavenly light from windows • Due to large scale of nave used for major national commemorations with large congregations such as state funerals and royal weddings • Contains monuments to significant individuals Watch: https://henitalks.com/talks/sandy-nairne-st-pauls-cathedral/ 6.45 minutes https://www.stpauls.co.uk/visits/visits Introduction for visitors 2.10 mins https://smarthistory.org/stpauls/ 9.06 minutes Dome View from under dome back down nave.
    [Show full text]
  • 8518: Rustat Memorial at Jesus College
    FOI Ref Response sent 8518 23 Feb 2021 (CCC) Jesus College As you may know, Jesus College, Cambridge have applied to the Church of England authorities to remove the Rustat memorial from their Grade I listed chapel. This email is to ask a) have the College consulted with Cambridge City Council on this matter? b) if so, could you provide me with a copy of their request to you and your response c) please also provide me with a copy of all other communications with the College, University, or other body regarding the Rustat memorial in the chapel Response: The council has been approached in its capacity as the local planning authority to provide advice regarding historic building conservations related to the removal of the memorial to Tobias Rustat from Jesus College Chapel. This request came from the Diocesan Advisory Committee (DAC) for the Diocese of Ely. The local planning authority is not the decision maker as the Chapel operates under an ecclesiastical exemption, however the attached correspondence from the DAC was received and the Council's advice was given by the Principal Conservation and Design Officer. Details of the planning application made to the Diocese of Ely can be found on Jesus College's website at https://www.jesus.cam.ac.uk/articles/memorial- planning-application. You will note in all the attachments that information has been redacted where it relates to either junior members of staff or third parties. This information constitutes personal information, disclosure of which would be in breach of Data Protection. Therefore this information is withheld under section 40(2) of the Freedom of Information Act.
    [Show full text]
  • Grinling Gibbons, Pictured from Below at St James’S Church, Piccadilly, London
    WEEK 34, 2021 BOB EASTON The reredos (a large decorative piece behind the altar) showing limewood carvings of flowers, shells, and strings of pearls, by Grinling Gibbons, pictured from below at St James’s Church, Piccadilly, London. FINE ARTS LORRAINE FERRIER “Stupendous and beyond all description … the incompara- ble carving of our Gibbons, who is without controversy the greatest master both for innovation and rareness of work The Michelangelo that the world ever had in any age,” wrote 17th-century diarist John Evelyn about Grinling Gibbons, the greatest decorative carver in British history. This year marks 300 years since Gibbons’s death, and the Grin- of Wood: ling Gibbons Society has put together a yearlong festival to mark the tercentenary: Grinling Gibbons 300. One of the events is the exhibition “Grinling Gibbons: Centuries in the Making.” Grinling Gibbons Continued on Page 4 The Grinling Gibbons Society exhibition: Gibbons’s carvings are almost the equivalent of still-life ‘Grinling Gibbons: paintings, but in wood. Centuries in the Making’ Hannah Phillip, curator B22 | ARTS & CULTURE TUESDAY, AUGUSTWeek 34,24, 2021 TUESDAY,Week 34, 2021AUGUST 24, 2021 ARTS & CULTURE |B3 3 LITERATURE this story to friends and family mem- were acquainted with this story. bers. Despite these many repetitions, We can easily equip our children this fable still sends a chill up my spine with this wisdom. Our libraries and every time I read it, amazing me by its bookshops are loaded with these col- literary precision and the knockout lections—my library has more than The Fabulous Fable: A Gift for All Agespunch at the end.
    [Show full text]
  • FROM DARKNESS to LIGHT WRITERS in MUSEUMS 1798-1898 Edited by Rosella Mamoli Zorzi and Katherine Manthorne
    Mamoli Zorzi and Manthorne (eds.) FROM DARKNESS TO LIGHT WRITERS IN MUSEUMS 1798-1898 Edited by Rosella Mamoli Zorzi and Katherine Manthorne From Darkness to Light explores from a variety of angles the subject of museum ligh� ng in exhibi� on spaces in America, Japan, and Western Europe throughout the nineteenth and twen� eth centuries. Wri� en by an array of interna� onal experts, these collected essays gather perspec� ves from a diverse range of cultural sensibili� es. From sensi� ve discussions of Tintore� o’s unique approach to the play of light and darkness as exhibited in the Scuola Grande di San Rocco in Venice, to the development of museum ligh� ng as part of Japanese ar� s� c self-fashioning, via the story of an epic American pain� ng on tour, museum illumina� on in the work of Henry James, and ligh� ng altera� ons at Chatsworth, this book is a treasure trove of illumina� ng contribu� ons. FROM DARKNESS TO LIGHT FROM DARKNESS TO LIGHT The collec� on is at once a refreshing insight for the enthusias� c museum-goer, who is brought to an awareness of the exhibit in its immediate environment, and a wide-ranging scholarly compendium for the professional who seeks to WRITERS IN MUSEUMS 1798-1898 proceed in their academic or curatorial work with a more enlightened sense of the lighted space. As with all Open Book publica� ons, this en� re book is available to read for free on the publisher’s website. Printed and digital edi� ons, together with supplementary digital material, can also be found at www.openbookpublishers.com Cover image:
    [Show full text]
  • Royal Restoration: Estates of the Duke of Monmouth Professor Simon Thurley CBE
    Royal Restoration: Estates of the Duke of Monmouth Professor Simon Thurley CBE 17 March 2021 In June 1685 one of the most unlikely invasion forces in English history landed at Lyme Regis in Dorset. Only eighty-three strong, the band of loyal Protestants, were led by Charles II's eldest, and favourite, illegitimate son, James Scott, Duke of Monmouth. Their aim was to unseat King James II who had acceded to the throne that year on the death of King Charles. James II was, of course, a Roman Catholic, and his accession had ben steadily opposed by a section of the English Political elite for a Decade or more. Within a week some 4,000 had joined Monmouth under his blue banners emblazoned with ' For God, Freedom and Religion' and he was declared King in the Market Place at Taunton on Midsummer's day. At this point, his luck ran out. He had hoped to advance much further into England before meeting James II's forces, amassing supporters as he marched but, outside Bridgewater, in Somerset, his poorly trained badly armed force was wiped out at Sedgemoor by the professionally trained royal army. It was the last set piece battle fought on English soil. Monmouth himself was captured and nine days later beheaded on Tower Hill. If, in one of the 'what if's' of English history, Monmouth had bided his time he would have certainly been at William III's side in 1688 and, in the reign of William and Mary, would have been the leading aristocrat of his age.
    [Show full text]
  • 'Grinling Gibbons's Chimneypieces for the Duchess of Buccleuch'
    Sally Jeffery, ‘Grinling Gibbons’s Chimneypieces for the Duchess of Buccleuch’, The Georgian Group Journal, Vol. XXIV, 2016, pp. 1–22 TEXT © THE AUTHORS 2016 GRINLING Gibbons’s ChimneYPIECES FOR THE DUCHESS OF BUCCLEUCH SALLY JEFFERY Grinling Gibbons (1648–1721) is particularly famous do not survive, while others, known from proposals, for the limewood carvings with which he began his were never carried out.1 This article looks at the career. From the later 1670s, however, he produced records of these chimneypieces and compares them carving in stone and marble in various forms, and with various commissions undertaken by Gibbons and these materials came to dominate his output after his assistants for Ann Scott, Duchess of Monmouth the turn of the century. He designed chimneypieces and Buccleuch (1651–1732) for her castle at Dalkeith in mixed materials from the mid 1680s, sometimes in Scotland. Documents in the National Records of working in collaboration with other artisans, but Scotland give new and interesting details about their they are less extensively discussed than his other work, commissioning, and also about Gibbons’s yard in probably because some of the most important examples London. Fig. 1. Dalkeith Castle, rebuilt to the designs of James Smith (c.1645–1731) 1702–11. (photo: author) THE GEORGIAN GROUP JOURNAL VOLUME XXIV GRINLING GIBBONS ’ S CHIMNEYPIECES FOR THE DUCHESS OF BUCCLEUCH he Duchess of Buccleuch first employed The Duchess was born at the castle of Dalkeith, TGibbons when she was married to the Duke of Midlothian, south-east of Edinburgh. She inherited Monmouth, eldest illegitimate son of Charles II.
    [Show full text]
  • Background Data
    BLENHEIM PARK Oxfordshire Parkland Management Plan Appendix of Supporting Information Volume 1 BACKGROUND DATA January 2014 Prepared by: Historic Landscape Management Ltd Lakeside Cottage Lyng Easthaugh Lyng Norfolk NR9 5LN T/F : 01603 871920 E : [email protected] BLENHEIM PARK Parkland Management Plan CONTENTS Appendix of Supporting Information Volume 1 BACKGROUND DATA 1 National Character Area description 2 Local Landscape Character Assessment 3 English Heritage Register Entry and map 4 List descriptions of listed buildings in the park 5 SSSI citation sheet, map and condition statement 6 SAM descriptions and location BLENHEIM PARK Parkland Management Plan 1 Natural England National Character Area descriptions No 107 - Cotswolds No 108 - Upper Thames Clay Vales NCA 108: Upper Thames Clay Vale Key Facts & Data T his document provides a correspond to national data. If summary of environmental data you have any questions about collected for the NCA. It is the Key Facts and Data, please intended to help guide anyone contact: making decisions that may [email protected] affect the local environment. .uk. Your feedback will help The information contained here shape the content of the full is collated from the best NCA profiles, which will be available national datasets. It is published from September recognised local information 2012 onwards. may provide additional detail and that this will not always www.naturalengland.org.uk Map of Upper Thames Clay Vale Total Area: 189,000 ha The above map is provided from the Countryside Character Area description pending completion of NCA maps. It is recognised that the content of this map may now be out of date in some cases and is included for general reference only.
    [Show full text]
  • Northumbria Research Link
    Northumbria Research Link Citation: van Hensbergen, Claudine (2020) Print, Poetry and Posterity: Grinling Gibbons’s statue of Charles II (1684) for the Royal Exchange. Sculpture Journal, 29 (3). pp. 313-336. ISSN 1366-2724 Published by: UNSPECIFIED URL: This version was downloaded from Northumbria Research Link: http://northumbria-test.eprints- hosting.org/id/eprint/54574/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/pol i cies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher’s website (a subscription may be required.) Claudine van Print, poetry and posterity: Grinling Gibbons’s Hensbergen statue of Charles II for the Royal Exchange Published online under Within months of Charles II’s death, William Aglionby noted that this great a CC-BY license.
    [Show full text]