Adam Neate French House, Soho
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Antiques & Fine Art Sale, 9/04/2019 10:00 AM
Antiques & Fine Art Sale, 9/04/2019 10:00 AM 1 Fine Chinese Ming period Longquan celadon 10 18th century Chelsea green monochrome charger with incised floral and leaf decoration, painted chocolate cup and saucer with river view thick green glaze, the underside lacking glaze to decoration, with ruins and dwellings and figures central area and with some kiln debris, 44cm in foreground, gilt borders and gold anchor diameter. marks, circa 1765 £300-500 11 18th century Chelsea silver shape dish with painted botanical decoration and brown line borders and brown anchor mark, circa 1758, Provenance: Purchased in the 1930s from John 25cm x 19.5cm £60-90 Sparks Ltd. 128 Mount Street, London. Bearing label to underside - from a local country house 12 18th century Bow powder-blue ground canted £1,000-1,500 rectangular dish of octagonal form, with fan- shaped and oval reserves with Chinese 2 Chinese Qing period Doucai charger, probably landscape and floral decoration, circa 1765, 19th century, with polychrome painted five-toed 27cm x 18.5cm £120-150 dragon and with pearl and phoenix within floral scroll borders - underglazed blue Yongzheng 13 18th century Bow powder-blue ground baking six-character mark within double rings to dish of octagonal form, with fan-shaped and underside, 48cm diameter - from a local country oval reserves with Chinese landscape and floral house £200-300 decoration - faux Chinese marks to base, circa 1765, 23cm x 16cm £150-200 3 Pair late 19th century Manuel Mafra Portuguese Palissy ware pottery dishes with applied lizard, 14 Pair mid-19th century Samuel Alcock two- frog and beetle decoration, on naturalistic grass handled vases and covers decorated with a ground - impressed - B. -
City Events and on the Web Site
"What kind of a church is this?" This is possibly the question most often asked of the Friends of the City Churches' volunteer Church Watchers, as they greet visitors at some of London's most beautiful and interesting places of worship. The controversies of last year notwithstanding, this enquiry is usually one of innocent uncertainty regarding religious denomination. Many visitors, for one reason or another, expect English churches to be plain within and without, and are genuinely astonished to step from the busy street into the "inexplicable splendour of Ionian white and gold", as one City banker put it, of London's City churches. Many also assume that English churches are generically 'Protestant', in a sense redolent of restraint and austerity, which is something of a disservice both to the Protestant churches of Europe, and to the Church of England - two complementary but different strands in the western Christian tradition. Virtually all the churches within the City of London represent the institution established in 1534 by the Act of Supremacy, which repudiated the authority of the Pope and made Henry VIII supreme head of the church in England. Although Henry is remembered for the dissolution of the monasteries, the destruction of shrines and images, and the martyrdom of his opponents, he saw himself as a true son of the church, ministering tough love only to curb its excesses (albeit to suit his own agenda). After a swing toward Protestantism under his son, Edward VI - during which the first Prayer Book was drafted - and swing back to Roman Catholicism under his daughter Mary, the emblematic middle way emerged with the accession of his daughter Elizabeth in 1558. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Bonadio, E. (2017). Copyright Protection of Street Art and Graffiti under UK Law. Intellectual Property Quarterly, 2017(2), pp. 187-220. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16343/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Copyright Protection of Street Art and Graffiti under UK Law Enrico Bonadio (*) INTRODUCTION This article aims at analyzing to what extent UK copyright law is capable of regulating various forms of art placed in the streets. Although I have been intrigued by street art for long time, I actually started doing academic research in this field after moving to the Shoreditch area in East London. This part of the British capital is well known for being culturally vibrant and dynamic and for hosting a highly artistic, vast and ever-changing range of street artworks.