Descendants of Unknown Ramberg

Total Page:16

File Type:pdf, Size:1020Kb

Descendants of Unknown Ramberg Descendants of unknown Ramberg Generation No. 1 1. UNKNOWN1 RAMBERG Children of UNKNOWN RAMBERG are: i. JOHANNES2 RAMBERG1, b. Abt. 1610; d. Bef. 1672. More About JOHANNES RAMBERG: Occupation: Amtm. zu Brunstein in Hannover 2. ii. JOHANN DANIEL RAMBERG. 3. iii. GOTTFRIED RAMBERG, b. Abt. 1765, Waren ( Müritz ). Generation No. 2 2. JOHANN DANIEL2 RAMBERG (UNKNOWN1) More About JOHANN DANIEL RAMBERG: Occupation: Amtmann - district judge; magistrate; bailiff Children of JOHANN DANIEL RAMBERG are: 4. i. JOHANN DANIEL3 RAMBERG, DER JUNIOR, b. November 17, 1732, Fallersleben, Niedersachsen, Germany; d. October 17, 1820, Schloßkirchen, Hannover, Niedersachsen, Germany. ii. SOPHIE SIDONIE ELISABETH RAMBERG, b. Bet. October 08 - November 05, 1733, Fallersleben, Niedersachsen, Germany; d. January 07, 1805, Harzburg, Niedersachsen, Germany; m. (1) PHIL[LIP] CHRISTIAN VALENTIN DIEDERICHS, June 28, 1752, Fallersleben, Niedersachse, Germany; m. (2) FREDERICH ULRICH BREYMANN, January 06, 1757, Hakenstedt, Sachsen-Anhalt, Germany. More About PHIL[LIP] DIEDERICHS and SOPHIE RAMBERG: Marriage: June 28, 1752, Fallersleben, Niedersachse, Germany More About FREDERICH BREYMANN and SOPHIE RAMBERG: Marriage: January 06, 1757, Hakenstedt, Sachsen-Anhalt, Germany 3. GOTTFRIED2 RAMBERG (UNKNOWN1)2 was born Abt. 1765 in Waren ( Müritz ). He married CAROLINA CHRISTINA WILLIG Bef. 1785. More About GOTTFRIED RAMBERG and CAROLINA WILLIG: Marriage: Bef. 1785 Child of GOTTFRIED RAMBERG and CAROLINA WILLIG is: i. JOHANN FRIEDERICH3 RAMBERG, b. Bef. March 06, 1786. More About JOHANN FRIEDERICH RAMBERG: Baptism: March 06, 1786, Waren ( Müritz ) Generation No. 3 4. JOHANN DANIEL3 RAMBERG, DER JUNIOR (JOHANN DANIEL2, UNKNOWN1) was born November 17, 1732 in Fallersleben, Niedersachsen, Germany3,4, and died October 17, 1820 in Schloßkirchen, Hannover, Niedersachsen, Germany5. He married SOPHIE DOROTHEA MARGARETHA GERSTENBERGEN October 13, 1775 in Hannover, Neidersachsen, Germany6. She was born Bet. 1743 - 1746, and died Bet. April 17, 1811 - 1816 in Hannover, Neidersachsen, Germany. Notes for JOHANN DANIEL RAMBERG, DER JUNIOR: Grabstein Johann Daniel Rambergs Johann Daniel Ramberg (1732-1820) stand seit 1761 im Dienste dreier Generationen von Welfenherrschern als Kriegsrat, Kommerzrat, Hofrat und Geheimer Justizrat. Historische Bedeutung erlangte er jedoch als Architekt: Er entwarf den Leibniztempel, der heute im Georgengarten steht - und als Vater: sein Sohn Johann Heinrich Ramberg (1763-1840) war der bekannte Hofmaler Georg III. Als Dank für seine dynastische Treue erhielt er einen eindrucksvollen Grabstein auf dem Gartenfriedhof mit dem Hinweis auf seine Dienste unter drei Königen: Georg I., Georg II., Georg III. More About JOHANN DANIEL RAMBERG, DER JUNIOR: Occupation 1: architect7,8 Occupation 2: Beamten9 Occupation 3: Kriegssekretär (war secretary), Hof- u. Kommerzrat (commercial council?) Residence: 1799, Aegidienneustadt, Hannover, Neidersachsen, Germany More About JOHANN RAMBERG and SOPHIE GERSTENBERGEN: Marriage: October 13, 1775, Hannover, Neidersachsen, Germany10 Children of JOHANN RAMBERG and SOPHIE GERSTENBERGEN are: 5. i. GEORG HEINRICH DEITRICH DANIEL4 RAMBERG, b. January 10, 1762, Bilm (Hannover), Niedersachsen, Germany; d. May 14, 1825, Gartenkirchen Hannover, Niedersachsen, Germany. ii. JOHANN HEINRICH RAMBERG III11, b. July 22, 1763, Hainholz, Hannover, Niedersachsen, Germany12,13,14,15; d. July 06, 1840, Schloßkirchen, Hannover, Niedersachsen, Germany16,17,18; m. JUSTINE CAROLINE LOUISE THIM(EN), July 11, 1797, Schloßkirchen, Hannover, Niedersachsen, Germany19; b. September 11, 1776; d. January 31, 1849, Schloßkirchen, Hannover, Niedersachsen, Germany. Notes for JOHANN HEINRICH RAMBERG III: http://www.imagesofmusic.net/th/content/main/de/item952.htm Italienische Schaukel / Leben in Rom, Künstler, Ramberg, Johann Heinrich; Herkunft des Bildes: Hannover; Datum: 1797; Beschreibung: Eine neue Art von Leichtigkeit und Lebensfreude entdeckten am Ende des 18. Jahrhunderts viele Künstler in Italien. Die Künstlerkolonie in Rom war bekannt und Goethe nicht der einzige, der sich von Italien inspirieren ließ. Johann Heinrich Ramberg (1763 - 1840) war bereits früh als Zeichner- und Malertalent entdeckt und gefördert worden. Mit Hilfe von König Georg III. konnte er in den 1780er und 1790er Jahren nach London und Italien reisen. Erinnerungen an diese Reisen finden sich immer wieder in späteren Werken. Die von Ramberg in Hannover in "erfundener und in Skicirter Manier" erstellte Zeichnung "Italienische Schaukel" bzw. "Leben in Rom", die wahrscheinlich als Kupferstichvorlage dienen sollte, zeigt rechts in einem Hauseingang mehrere Mädchen, die auf einem Brett schaukeln, dessen Bewegungsimpuls von einem Jungen rechts über ein Seil erzeugt wird. Vier der Frauen spielen auf Schellentrommeln zu diesem von der Schaukel erzeugten Grundtakt. Der alte Vater mit der Laute ist bereits eingeschlafen, Rhythmus und eine gewisse Freizügigkeit ist eingekehrt, so daß nicht nur die Mönche auf die Mädchen blicken, sondern auch ein junger Weinhändler den Frauen Wein anbietet. http://www.artarchiv.net/sexarte/doku/ramberg.htm http://www.yale.edu/asl12night/boydell%2012night.html http://www.uni-siegen.de/~semumba/tyll_eulenspiegel.htm Eine solche "Jahrmarkts-Ausgabe" hat im Jahre 1824 Johann Heinrich Ramberg, Deutschlands bekanntester Buchillustrator zu Beginn des 19. Jahrhunderts, mit 55 Radierungen versehen, die auch neben den Illustrationen zahlreicher späterer Künstler - zu ihnen zählen immerhin Franz Maserel, Josef Hegenbarth und Paul A. Weber - bin in unsere Tage hinein populär geblieben sind. Originalformat der Radierungen ca. 20,5 x 17 cm (Plattengröße). http://usinfo.state.gov/usa/holidays/july4/selig.htm Germany's intellectual elite displayed an enthusiasm for the American Revolution similar to that of France's philosophes. By 1784, Germany's most famous engraver, Daniel Chodowiecki of Berlin, as well as Johann Heinrich Ramberg of Hanover, had produced etchings focusing on the stacking of arms as the sign of surrender. Chodowiecki worked in Berlin where he was a member of the Royal Academy. Ramberg was studying with Benjamin West in London under the sponsorship of King George III when he executed his engraving in 1784. Ramberg's engraving is little known, but Chodowiecki's More About JOHANN HEINRICH RAMBERG III: Comment: studied in London under Reynolds Occupation 1: German Court painter and illustrator20 Occupation 2: copper plate engraving21 Residence: Hannover, Niedersachsen, Germany22 More About JOHANN RAMBERG and JUSTINE THIM(EN): Marriage: July 11, 1797, Schloßkirchen, Hannover, Niedersachsen, Germany23 iii. SOPHIE MARGARETHE ELISABETH RAMBERG, b. October 17, 1766, Hannover, Neidersachsen, Germany. iv. SOPHIE FRIEDERIKE RAMBERG, b. December 24, 1779, Schloßkirchen, Hannover, Niedersachsen, Germany; d. 1846, Hannover, Neidersachsen, Germany; m. CHRISTIAN DIEDRICH HELWING, Hannover, Neidersachsen, Germany; b. March 25, 1764, Lemgo; d. 1833, Hannover, Neidersachsen, Germany. More About SOPHIE FRIEDERIKE RAMBERG: Baptism: Godfather was Major R[amberg?] zu Wendewisch More About CHRISTIAN DIEDRICH HELWING: Occupation: Publisher / book dealer More About CHRISTIAN HELWING and SOPHIE RAMBERG: Marriage: Hannover, Neidersachsen, Germany Generation No. 4 5. GEORG HEINRICH DEITRICH DANIEL4 RAMBERG (JOHANN DANIEL3, JOHANN DANIEL2, UNKNOWN1) was born January 10, 1762 in Bilm (Hannover), Niedersachsen, Germany, and died May 14, 1825 in Gartenkirchen Hannover, Niedersachsen, Germany. He married BEIERKEN MEIERN24 April 26, 1795 in Schloßkirchen, Hannover, Niedersachsen, Germany25. She was born March 05, 1760 in Hoya, Niedersachsen, Germany, and died May 25, 1829 in Gartenkirchen Hannover, Niedersachsen, Germany. More About GEORG HEINRICH DEITRICH DANIEL RAMBERG: Web: http://www.lysator.liu.se/runeberg/nfcb/0498.html More About BEIERKEN MEIERN: Name 2: Christina Dorothee Henriette Meiern Baptism: Bef. April 26, 1795 Religion: Jewish More About GEORG RAMBERG and BEIERKEN MEIERN: Marriage: April 26, 1795, Schloßkirchen, Hannover, Niedersachsen, Germany25 Children of GEORG RAMBERG and BEIERKEN MEIERN are: 6. i. GEORG HEINRICH FREIHERR5 VON RAMBERG, DER JUNIOR, b. February 25, 1786, Hannover, Niedersachsen, Germany; d. September 02, 1855, Teplitz [now in Ústí nad Labem Region, Czech Republic]. ii. JOHANNA FRIEDERICA RAMBERG, b. Bef. August 26, 1789, Hannover, Neidersachsen, Germany; d. Bet. July 20 - 23, 1815, Hannover, Neidersachsen, Germany. More About JOHANNA FRIEDERICA RAMBERG: Baptism: August 26, 1789, Aegidienneustadt, Hannover, Neidersachsen, Germany iii. LOUISA SOPHIA RAMBERG, b. October 14, 1793, Hannover, Neidersachsen, Germany; d. November 24, 1852, Hannover, Neidersachsen, Germany; m. HEINRICH WILHELM FERDINAND GOSEWISCH, Bet. 1811 - 1813; b. July 1787; d. August 03, 1863, Hannover, Neidersachsen, Germany. More About HEINRICH GOSEWISCH and LOUISA RAMBERG: Marriage: Bet. 1811 - 1813 Generation No. 5 6. GEORG HEINRICH FREIHERR5 VON RAMBERG, DER JUNIOR (GEORG HEINRICH DEITRICH DANIEL4 RAMBERG, JOHANN DANIEL3, JOHANN DANIEL2, UNKNOWN1)26,27,28 was born February 25, 1786 in Hannover, Niedersachsen, Germany29,30, and died September 02, 1855 in Teplitz [now in Ústí nad Labem Region, Czech Republic]. He married ROSALIE AUGUSTE VON SEYDEWITZ August 21, 1817 in Tourcoing, Northern France31, daughter of HANS VON SEYDEWITZ and WILHELMINE VON TEUBERN. She was born October 03, 1796 in Merseburg, Saxony-Anhalt, Germany32, and died August 04, 1874 in Engelszell, Oberostereich (Upper Austria),
Recommended publications
  • University of Minnesota
    THE UNIVERSITY OF MINNESOTA Announces Its ;Uafclt eommellcemellt 1961 NORTHROP MEMORIAL AUDITORIUM THURSDAY EVENING, MARCH 16 AT EIGHT-THIRTY O'CLOCK Univcrsitp uf Minncsuta THE BOARD OF REGENTS Dr. O. Meredith Wilson, President Mr. Laurence R. Lunden, Secretary Mr. Clinton T. Johnson, Treasurer Mr. Sterling B. Garrison, Assistant Sccretary The Honorable Ray J. Quinlivan, St. Cloud First Vice President and Chairman The Honorable Charles W. Mayo, M.D., Rochester Second Vice President The Honorable James F. Bell, Minneapolis The Honorable Edward B. Cosgrove, Le Sueur The Honorable Daniel C. Gainey, Owatonna The Honorable Richard 1. Griggs, Duluth The Honorable Robert E. Hess, White Bear Lake The Honorable Marjorie J. Howard (Mrs. C. Edward), Excelsior The Honorable A. I. Johnson, Benson The Honorable Lester A. Malkerson, Minneapolis The Honorable A. J. Olson, Renville The Honorable Herman F. Skyberg, Fisher As a courtesy to those attending functions, and out of respect for the character of the building, be it resolved by the Board of Regents that there be printed in the programs of all functions held in Cyrus Northrop Memorial Auditorium a request that smoking be confined to the outer lobby on the main floor, to the gallery lobbies, and to the lounge rooms, and that members of the audience be not allowed to use cameras in the Auditorium. r/tis Js VOUf UnivcfsilU CHARTERED in February, 1851, by the Legislative Assembly of the Territory of Minnesota, the University of Minnesota this year celebrated its one hundred and tenth birthday. As from its very beginning, the University is dedicated to the task of training the youth of today, the citizens of tomorrow.
    [Show full text]
  • ANGLO-GERMAN CULTURAL RELATIONS Language & Literature
    ANGLO-GERMAN CULTURAL RELATIONS Language & literature, travel & tourism, c.1714–1914 The catalogue before you, published to mark my tenth anniversary as an independent bookseller, has been years in the making. Many people know me for selling Russian material, but in fact my interest in Germany About has always been stronger. German has always been my favoured foreign this language and I have enjoyed finding, researching, and writing about the catalogue books, manuscripts, music, and ephemera which make up this catalogue. It’s only when you specialize, and collect, in any depth that things start to get interesting, and that has certainly been the case here. You see connections, reactions, and developments; pieces of a historical jigsaw fall into place. The material here charts the cultural connections between the English- and German-speaking worlds in, roughly, the two hundred years between the Hanoverian Succession and the First World War. Through travel and translation, one culture discovers another; discovery then leads to influence. A German immigrant teaches music in London, the same year (1737) an Englishman in Göttingen compiles the first anthology of English literature for Germans. Later, in the 1760s, the first English translations of German literature are mirrored by the appearance of Wieland’s influential edition of Shakespeare. The catalogue documents two major eighteenth- century European literary events: Ossian and Werther, both linked by and to the young Goethe, whose own Faust so captured the English imagination in the nineteenth century. (The web of influence within literature itself is likewise tantalising: Werther reads Ossian, Frankenstein’s monster reads Werther.) The rise of the Gothic is also found here: Bürger’s Lenore in five English translations (1796–7), one of them Walter Scott’s first book, but the influence, surprisingly perhaps, was felt even earlier (and the other way round), in Sophia Lee’s The Recess, translated by Benedikte Naubert in 1786.
    [Show full text]
  • John Boydell's Shakespeare Gallery and the Promotion of a National Aesthetic
    JOHN BOYDELL'S SHAKESPEARE GALLERY AND THE PROMOTION OF A NATIONAL AESTHETIC ROSEMARIE DIAS TWO VOLUMES VOLUME I PHD THE UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2003 2 TABLE OF CONTENTS Page Volume I Abstract 3 List of Illustrations 4 Introduction 11 I Creating a Space for English Art 30 II Reynolds, Boydell and Northcote: Negotiating the Ideology 85 of the English Aesthetic. III "The Shakespeare of the Canvas": Fuseli and the 154 Construction of English Artistic Genius IV "Another Hogarth is Known": Robert Smirke's Seven Ages 203 of Man and the Construction of the English School V Pall Mall and Beyond: The Reception and Consumption of 244 Boydell's Shakespeare after 1793 290 Conclusion Bibliography 293 Volume II Illustrations 3 ABSTRACT This thesis offers a new analysis of John Boydell's Shakespeare Gallery, an exhibition venture operating in London between 1789 and 1805. It explores a number of trajectories embarked upon by Boydell and his artists in their collective attempt to promote an English aesthetic. It broadly argues that the Shakespeare Gallery offered an antidote to a variety of perceived problems which had emerged at the Royal Academy over the previous twenty years, defining itself against Academic theory and practice. Identifying and examining the cluster of spatial, ideological and aesthetic concerns which characterised the Shakespeare Gallery, my research suggests that the Gallery promoted a vision for a national art form which corresponded to contemporary senses of English cultural and political identity, and takes issue with current art-historical perceptions about the 'failure' of Boydell's scheme. The introduction maps out some of the existing scholarship in this area and exposes the gaps which art historians have previously left in our understanding of the Shakespeare Gallery.
    [Show full text]
  • How Slaves Used Northern Seaports' Maritime Industry to Escape And
    Eastern Illinois University The Keep Faculty Research & Creative Activity History May 2008 Ports of Slavery, Ports of Freedom: How Slaves Used Northern Seaports’ Maritime Industry To Escape and Create Trans-Atlantic Identities, 1713-1783 Charles Foy Eastern Illinois University, [email protected] Follow this and additional works at: http://thekeep.eiu.edu/history_fac Part of the United States History Commons Recommended Citation Foy, Charles, "Ports of Slavery, Ports of Freedom: How Slaves Used Northern Seaports’ Maritime Industry To Escape and Create Trans-Atlantic Identities, 1713-1783" (2008). Faculty Research & Creative Activity. 7. http://thekeep.eiu.edu/history_fac/7 This Article is brought to you for free and open access by the History at The Keep. It has been accepted for inclusion in Faculty Research & Creative Activity by an authorized administrator of The Keep. For more information, please contact [email protected]. © Charles R. Foy 2008 All rights reserved PORTS OF SLAVERY, PORTS OF FREEDOM: HOW SLAVES USED NORTHERN SEAPORTS’ MARITIME INDUSTRY TO ESCAPE AND CREATE TRANS-ATLANTIC IDENTITIES, 1713-1783 By Charles R. Foy A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Graduate Program in History written under the direction of Dr. Jan Ellen Lewis and approved by ______________________ ______________________ ______________________ ______________________ ______________________ New Brunswick, New Jersey May, 2008 ABSTRACT OF THE DISSERTATION PORTS OF SLAVERY, PORTS OF FREEDOM: HOW SLAVES USED NORTHERN SEAPORTS’ MARITIME INDUSTRY TO ESCAPE AND CREATE TRANS-ATLANTIC IDENTIES, 1713-1783 By Charles R. Foy This dissertAtion exAmines and reconstructs the lives of fugitive slAves who used the mAritime industries in New York, PhilAdelphiA and Newport to achieve freedom.
    [Show full text]
  • CALIBAN: Since the Dramatis Personae, Caliban Is Presented As a Savage and Deformed Slave
    CALIBAN: Since the Dramatis Personae, Caliban is presented as a savage and deformed slave. He is described as an evil character by Prospero and Miranda, who said that he is a villain. However they need him because he is useful. All the adjectives that the characters use to talk about him are pejorative. That can be interpreted like a device used by Shakespeare to put us against him from the beginning of the play. In the second act Caliban meets two sailor men and they provide us more information about him like his physical description. Trinculo asks himself if it is a fish or a man. First he thinks that he is a fish because of the smell but then he notice that Caliban has arms and legs like a human being. He says “This is no fish, but an islander that hath lately suffered by a thunderbolt.” Lately Stefano says that he is a monster of the isle with frog legs and they are surprised by his talking skills. Although these detailed description, the representations of this character are diverse. Painter: Johann Heinrich Ramberg (German, Hanover, 1763 ­ 1840) Date: 1791­ 1803 Name of the painting: “Stefano, Trinculo and Caliban” Classification: Illustration. This painting represents act II scene II when the sailor men found Caliban. This is the nearest to the description about the character that the play give us. The representation has fish qualities but it´s a mixture of different animal; we can see he has a cat face with whiskers and claws. In addition, he stands in two feet.
    [Show full text]
  • Recent Studies of Book Illustration and Engraving, Including Cartography, 1985–2016 This Bibliography Surveys Scholarship Publ
    Recent Studies of Book Illustration and Engraving, including Cartography, 1985–2016 This bibliography surveys scholarship published between 1985–2016 on engraving, including illustrations, prints, and emblems, as well as cartography, during the long eighteenth century (roughly 1650–1820). The focus is on Europe and the Americas, but some of Asian developments, particularly Japanese, have been included. The bibliography is most inclusive for the years 1990-2014, in consequence of my compiling studies from those years for Section 1— "Printing and Bibliographical Studies"—of the ECCB: The Eighteenth-Century Current Bibliography. A shorter version of this list without cartographic materials appeared in The East- Central Intelligencer, n.s. 15, no. 1 (January 2001), 58-77. Then an intermediate version appeared at Kevin Berland's C18-L website. During 2015–17, I expanded the list four times, with it now reaching 236 pages in typescript. The bibliography includes cartography (particularly the printed products of map-making), but excellent annual surveys of cartographic publications have been compiled by Francis Herbert, Wouter Bracke, and Nick Millea for Imago Mundi (entered under their names below). It lists dissertations and reviews for books. Focused on printed sources, it fails to note some valuable electronic sources, such as Juliette Sodt's website on illustration in botanical books, <www. library.wwu.edu/ref/subjguides/BOTILL.htm>, and many exhibition catalogues posted on the web by museums (only some recent exhibitions are included). Also, some studies in my bibliography of children’s literature at BibSite, as those on chapbooks, could also have been placed into this bibliography on engraving but were not.
    [Show full text]
  • Pictorial Irony, Parody, and Pastiche
    Pictorial Irony, Parody, and Pastiche Comic interpictoriality in the arts of the 19th and 20th centuries von Margaret A. Rose 1. Auflage Aisthesis 2011 Verlag C.H. Beck im Internet: www.beck.de ISBN 978 3 89528 841 8 schnell und portofrei erhältlich bei beck-shop.de DIE FACHBUCHHANDLUNG Leseprobe Margaret A. Rose Pictorial Irony, Parody, and Pastiche Comic interpictoriality in the arts of the 19th and 20th centuries AISTHESIS VERLAG Bielefeld 2011 Cover image: Salvatore Fiume, Adunata nell’atelier (Muster in the Studio), 1987, Oil on masonite, 145 x 120 cm, Collection Luciano and Laura Fiume. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Inter- net at http://dnb.d-nb.de. © Aisthesis Verlag Bielefeld 2011 Postfach 10 04 27, D-33504 Bielefeld Printed by: docupoint GmbH, Magdeburg All rights reserved ISBN 978-3-89528-841-8 www.aisthesis.de Table of Contents Acknowledgements vii Introduction 1 Chapter 1. Varieties of Comic Interpictoriality I 3 1.1. Introduction 3 1.2. Parody 5 1.3. Meta-art 51 1.4. Irony 70 1.5. Satire 75 1.6. Parody, irony, and satire compared 78 Chapter 2. Varieties of Comic Interpictoriality II 86 2.1. Pastiche and comic pastiche 86 2.2. In performance art, photography, and film 129 2.3. In installation art and sculpture 137 2.4. Caricature 139 2.5. Visual puns 175 Chapter 3. Signals of Parodic Interpictoriality 181 3.1. Introduction 181 3.2. Signals of parody 200 3.3.
    [Show full text]
  • Download Full Book
    Staging Governance O'Quinn, Daniel Published by Johns Hopkins University Press O'Quinn, Daniel. Staging Governance: Theatrical Imperialism in London, 1770–1800. Johns Hopkins University Press, 2005. Project MUSE. doi:10.1353/book.60320. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/60320 [ Access provided at 30 Sep 2021 18:04 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. Staging Governance This page intentionally left blank Staging Governance theatrical imperialism in london, 1770–1800 Daniel O’Quinn the johns hopkins university press Baltimore This book was brought to publication with the generous assistance of the Karl and Edith Pribram Endowment. © 2005 the johns hopkins university press All rights reserved. Published 2005 Printed in the United States of America on acid-free paper 987654321 The Johns Hopkins University Press 2715 North Charles Street Baltimore, Maryland 21218-4363 www.press.jhu.edu Library of Congress Cataloging-in-Publication Data O’Quinn, Daniel, 1962– Staging governance : theatrical imperialism in London, 1770–1800 / Daniel O’Quinn. p. cm. Includes bibliographical references and index. ISBN 0-8018-7961-2 (hardcover : acid-free paper) 1. English drama—18th century—History and criticism. 2. Imperialism in literature. 3. Politics and literature—Great Britain—History—18th century. 4. Theater—England— London—History—18th century. 5. Political plays, English—History and criticism. 6. Theater—Political aspects—England—London. 7. Colonies in literature. I. Title. PR719.I45O59 2005 822′.609358—dc22 2004026032 A catalog record for this book is available from the British Library.
    [Show full text]
  • Francesco Bartolozzi
    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 FRANCESCO BARTOLOZZI 6th June 2011 Registered in England No. 1305630 Registered Office: 2, Castle Business Village, Station Road, Hampton, Middlesex. TW12 2BX. Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Rayment. C.E. Ellis. E&OE VAT No. 217 6907 49 Francesco Bartolozzi (1728-1815) This overseas collection was put together in the late 1860s and was bought in England. It contains over 50 different tickets, most of Bartolozzi’s output, and a good selection of decorative items. In his own lifetime, and afterwards, the renown of the anglicised Florentine Francisco Bartolozzi eclipsed that of any other living engraver. His work was collected in its own right. Pupils flocked to him from all over Europe and his name was falsely attached to all kinds of cheap copies (mainly produced in Austria and Italy) in order to increase their value. He set up on his own account in Venice, working chiefly for Wagner and the Remondini and was there recruited by the English King’s librarian, Richard Dalton, who was buying pictures and drawings for George III, to draw copies for Royal approval. Some of his prints after Guercino and Castiglione were made at this time for that purpose. Dalton eventually persuaded Bartolozzi to move to London. He arrived in England at a time when the London art trade was just taking off on a sharp upward trend that soon had it dominating the world.
    [Show full text]
  • Collecting for a New Century – Recent Acquisitions January 18 – May 13, 2012
    1 Collecting for a New Century – Recent Acquisitions January 18 – May 13, 2012 Collecting for a New Century: Recent Acquisitions celebrates the continuing addition of important works of art to the collections of the Museum of Art and Archaeology during the twenty-first century. The Museum of Art and Archaeology has acquired many exceptional artworks in the recent years through generous gifts, bequests, and purchases. While some of the works have been included in Museum exhibitions, the vast majority of pieces remain unknown to our Museum visitors. This exhibition showcases the significance and diversity of these new additions to the collection. Encyclopedic in nature, the Museum continues to expand and deepen its holdings. Thus, this exhibition features objects consisting of a variety of art forms (paintings, sculptures, decorative arts, prints, and photographs), differing materials (ceramic, glass, gold, iron, and marble), numerous cultures (American, European, African, Pre-Columbian, South Asian, and East Asian), and a time span from antiquity to the present. Classical antiquities stand at the heart of the Museum, and significant new acquisitions continue to enrich these outstanding holdings. The addition of a colorful Roman ribbon glass bottle hearkens back to Dr. Gladys Weinberg, co-founder of the Museum of Art and Archaeology and a foremost expert in ancient glass. A remarkable life-size bust of a Roman empress and a rare Egyptian funerary stele combining Greek and Roman cultural elements featuring an independent and learned woman named Heliodora represent some of the important sculpture additions. Other outstanding accessions advancing this distinguished collection include a fine South Italian red-figure rhyton (a vase for libations or drinking) in the form of a griffin and an unusual South Italian askos (a type of vessel in the shape of a wineskin) surmounted by a molded figure of Scylla with an undulating sea serpent’s body.
    [Show full text]
  • Agents of Space
    Agents of Space Agents of Space: Eighteenth-Century Art, Architecture, and Visual Culture Edited by Christina Smylitopoulos Agents of Space: Eighteenth-Century Art, Architecture, and Visual Culture Edited by Christina Smylitopoulos This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Christina Smylitopoulos and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8883-4 ISBN (13): 978-1-4438-8883-7 TABLE OF CONTENTS List of Illustrations ................................................................................... vii Preface ....................................................................................................... ix Michael Yonan Acknowledgements ................................................................................... xi Introduction ................................................................................................ 1 Discursivity: Space, Agency, and Eighteenth-Century Art, Architecture, and Visual Culture Christina Smylitopoulos PART I: MEMORY Chapter One .............................................................................................. 20
    [Show full text]
  • Wilhelm Busch: the Art of Letting Off Steam Through Symbolic Inversion
    Wilhelm Busch: The Art of Letting Off Steam Through Symbolic Inversion By Joan Elizabeth Gladwell A thesis submitted to the Graduate Program in German in conformity with the requirements for the Degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada April 2013 Copyright © Joan Elizabeth Gladwell, 2013 Abstract In the aftermath of the failed revolution of 1848, which had been sparked by demands for democracy and constitutional reform, Germany’s princes reluctantly introduced new freedoms regarding print and the right to assembly. However, reactionary forces in governments unwilling to cede power quickly repressed these freedoms, leading to tighter controls on public and private life. Consequently, dispirited citizens clutched at the old Biedermeier ways, withdrawing to an “ill-remembered social order of bygone days” (Shorter 169). It was against this backdrop that the illustrated works of Wilhelm Busch (1832–1908) appeared in the popular Bilderbogen (“picture broadsheets”) of the day, and later as stand-alone Bildergeschichten (“picture stories”), using satire and symbolic inversion to mock German society by skewering assorted political, social, and cultural sacred cows. The aim of my dissertation is as follows. I will start by examining Busch’s use of symbolic inversion as a way of implying a shift in power between figures of authority and the disgruntled “second-class” citizens of Biedermeier society: women and children. Next, I will examine how Busch’s animal characters, particularly apes with their close resemblance to mankind, mock human pretensions of biological superiority. Finally, I will show how objects meant to serve their human “masters” overpower them, even in their homes, suggesting that there was no refuge from the vagaries of a rapidly changing world.
    [Show full text]