Occasional Papers from the Lindley Library Volume 15
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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. -
Artistic Identity in the Published Writings of Margaret Thomas (C1840-1929)
University of Wollongong Research Online University of Wollongong Thesis Collection 1954-2016 University of Wollongong Thesis Collections 1993 Artistic identity in the published writings of Margaret Thomas (c1840-1929) Lynn Patricia Brunet University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Brunet, Lynn Patricia, Artistic identity in the published writings of Margaret Thomas (c1840-1929), Master of Creative Arts (Hons.) thesis, School of Creative Arts, University of Wollongong, 1993. -
The Smith Family…
BRIGHAM YOUNG UNIVERSITY PROVO. UTAH Digitized by the Internet Archive in 2010 with funding from Brigham Young University http://www.archive.org/details/smithfamilybeingOOread ^5 .9* THE SMITH FAMILY BEING A POPULAR ACCOUNT OF MOST BRANCHES OF THE NAME—HOWEVER SPELT—FROM THE FOURTEENTH CENTURY DOWNWARDS, WITH NUMEROUS PEDIGREES NOW PUBLISHED FOR THE FIRST TIME COMPTON READE, M.A. MAGDALEN COLLEGE, OXFORD \ RECTOR OP KZNCHESTER AND VICAR Or BRIDGE 50LLARS. AUTHOR OP "A RECORD OP THE REDEt," " UH8RA CCELI, " CHARLES READS, D.C.L. I A MEMOIR," ETC ETC *w POPULAR EDITION LONDON ELLIOT STOCK 62 PATERNOSTER ROW, E.C. 1904 OLD 8. LEE LIBRARY 6KIGHAM YOUNG UNIVERSITY PROVO UTAH TO GEORGE W. MARSHALL, ESQ., LL.D. ROUGE CROIX PURSUIVANT-AT-ARM3, LORD OF THE MANOR AND PATRON OP SARNESFIELD, THE ABLEST AND MOST COURTEOUS OP LIVING GENEALOGISTS WITH THE CORDIAL ACKNOWLEDGMENTS OP THE COMPILER CONTENTS CHAPTER I. MEDLEVAL SMITHS 1 II. THE HERALDS' VISITATIONS 9 III. THE ELKINGTON LINE . 46 IV. THE WEST COUNTRY SMITHS—THE SMITH- MARRIOTTS, BARTS 53 V. THE CARRINGTONS AND CARINGTONS—EARL CARRINGTON — LORD PAUNCEFOTE — SMYTHES, BARTS. —BROMLEYS, BARTS., ETC 66 96 VI. ENGLISH PEDIGREES . vii. English pedigrees—continued 123 VIII. SCOTTISH PEDIGREES 176 IX IRISH PEDIGREES 182 X. CELEBRITIES OF THE NAME 200 265 INDEX (1) TO PEDIGREES .... INDEX (2) OF PRINCIPAL NAMES AND PLACES 268 PREFACE I lay claim to be the first to produce a popular work of genealogy. By "popular" I mean one that rises superior to the limits of class or caste, and presents the lineage of the fanner or trades- man side by side with that of the nobleman or squire. -
Garden Show & Festival Site Report
Garden Show & Festival Site Report RHS Chelsea Flower Show Authors: Bennis 1: Key Facts Name: RHS Chelsea Flower Show (outdoors) Show Category: Built show gardens, floral displays, sales, entertainment, food Location: Royal Hospital Chelsea, London SW3 4SL UK Venue: Parkland of the hospital grounds Gross Floor Area: 11 acres (4 hectares) Dates: 20-24 May 2014; 19-23 May 2015 Origins: 1862 for the first RHS Spring Show; 1833 for first RHS flower shows; first Chelsea Flower Show 1913 Theme: Five Days that Shape the Gardening Year (more of a title than theme) Opening Times: 20-23 May 08.00-20.00; 24 May 08.00-17.30 Ticket Prices: Tuesday 20 May All day Members only £68 3.30pm Members only £38 5.30pm Members only £28 Wednesday 21 May All day Members only £58 3.30pm Members only £36 5.30pm Members only £26 Thursday 22 May All day Members £45 3.30pm Members £32 5.30pm Members £23 All Day Public £58 3.30 Public £36 5.30 Public £30 Friday 23 May All day Members £45 3.30pm Members £32 5.30pm Members £23 All Day Public £58 3.30 Public £36 5.30 Public £30 Saturday 24 May All day Members £45 All day Public £58 Charity Gala Preview: Limited numbers with champagne, canapés and music. Tickets start at £392 for individual tickets; RHS members receive a £25 discount There are no group rates and all tickets must be booked in advance; there are no ticket sales at the gate. Members can book a total of four tickets at members price Public tickets subject to £2 fee per transaction. -
Spring Garden Masterpieces of England and the RHS Chelsea Flower Show 2023
Spring Garden Masterpieces of England and the RHS Chelsea Flower Show 2023 16 MAY – 26 MAY 2023 Code: 22311 Tour Leaders John Patrick Physical Ratings Combine a day at the renowned Chelsea Flower Show with some of England's finest gardens incl. Rousham, Hidcote, Bourton, Broughton Grange, Sezincote, Great Dixter, Sissinghurst & Highgrove Gardens. Overview Join John Patrick on this cultural garden tour of England that combines a day at the renowned Chelsea Flower Show with some of England's finest gardens such as Rousham, Hidcote, Kiftsgate, Bourton, Sezincote, Great Dixter and Sissinghurst. Immerse yourself in the lovely medieval city of Oxford and visit Magdalen College gardens. Study the development of the English country house from 17th-century Rousham House to 20th- century Great Dixter. Be treated to the contemporary gardens of Pettifers and Tom Stuart-Smith's Broughton Grange, partly influenced by the Dutch Wave movement. Visit private gardens such as Througham Court Gardens and HRH The Prince of Wales' Highgrove House Gardens.* Make a special visit to the Royal Botanic Gardens, Kew, with Richard Barley, Director of Horticulture. Explore Australian Marylyn Abbott's award-winning West Green House Gardens; and visit Ightham Mote, a wonderful example of a small medieval moated manor house, perfectly located within a peaceful garden surrounded by woodland. Wander through picturesque Cotswold villages including Stow-on-the-Wold. Enjoy a farewell meal at the Kew Gardens Botanical Restaurant. * Note: we are unable to confirm a number of the private garden visits until February 2023. Overnight Oxford (6 nights) • Royal Tunbridge Wells (1 night) • London (3 nights) Testimonials For me the garden tour was an indulgent treat to myself. -
The RHS Lindley Library IBRARY L INDLEY RHS, L
Occasional Papers from The RHS Lindley Library IBRARY L INDLEY RHS, L VOLUME NINE DECEMBER 2012 The history of garden history Cover illustration: Engraved illustration of the gardens at Versailles, from Les Jardins: histoire et description by Arthur Mangin (c.1825–1887), published in 1867. Occasional Papers from the RHS Lindley Library Editor: Dr Brent Elliott Production & layout: Richard Sanford Printed copies are distributed to libraries and institutions with an interest in horticulture. Volumes are also available on the RHS website (www. rhs.org.uk/occasionalpapers). Requests for further information may be sent to the Editor at the address (Vincent Square) below, or by email (brentelliottrhs.org.uk). Access and consultation arrangements for works listed in this volume The RHS Lindley Library is the world’s leading horticultural library. The majority of the Library’s holdings are open access. However, our rarer items, including many mentioned throughout this volume, are fragile and cannot take frequent handling. The works listed here should be requested in writing, in advance, to check their availability for consultation. Items may be unavailable for various reasons, so readers should make prior appointments to consult materials from the art, rare books, archive, research and ephemera collections. It is the Library’s policy to provide or create surrogates for consultation wherever possible. We are actively seeking fundraising in support of our ongoing surrogacy, preservation and conservation programmes. For further information, or to request an appointment, please contact: RHS Lindley Library, London RHS Lindley Library, Wisley 80 Vincent Square RHS Garden Wisley London SW1P 2PE Woking GU23 6QB T: 020 7821 3050 T: 01483 212428 E: library.londonrhs.org.uk E : library.wisleyrhs.org.uk Occasional Papers from The RHS Lindley Library Volume 9, December 2012 B. -
Mary Shelley, Frankenstein, and the Spectacle of Masculinity Author(S): Bette London Source: PMLA, Vol
Mary Shelley, Frankenstein, and the Spectacle of Masculinity Author(s): Bette London Source: PMLA, Vol. 108, No. 2 (Mar., 1993), pp. 253-267 Published by: Modern Language Association Stable URL: http://www.jstor.org/stable/462596 Accessed: 24-02-2018 15:52 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Modern Language Association is collaborating with JSTOR to digitize, preserve and extend access to PMLA This content downloaded from 158.135.1.176 on Sat, 24 Feb 2018 15:52:34 UTC All use subject to http://about.jstor.org/terms Bette London Mary Shelley, Frankenstein, and the Spectacle of Masculinity BETTE LONDON, associate IN A STRIKING MEMORIAL to the Shelleys-commis- professor of English at the sioned by their only surviving child, Sir Percy, and his wife, Lady Shelley-the couple is impressed in the image of Michelan- University of Rochester, is the gelo's Pietd (fig. 1). Mary Shelley kneels, breast exposed, in the author of The Appropriated traditional posture of a Madonna humilitatis, supporting the lifeless Voice: Narrative Authority in body of her drowned god and idol. Superimposing a Christian Conrad, Forster, and Woolf narrative onto a notorious Romantic "text"-a scandalous life story ( U of Michigan P, 1990). -
Exceptional Examples of the Masters of Etching and Engraving : the Print Collection of the Late J. Harsen Purdy, of New York
EXCEPTIONAL EXAMPLES OF THE MASTERS OF ETCHINa AND ENGRAVING THE PRINT COLLECTION OF THE LATE J. HARSEN PURDY, of new york city TO BE SOLD AT UNRESTRICTED PUBLIC SALE ON TUESDAY AND WEDNESDAY EVENINGS APRIL 10th and 11th, 1917 UNDER THE MANAGEMENT OF THE AMERICAN ART ASSOCIATION AMERICAN ART GALLERIES MADISON SQUARE SOUTH NEW YORK CITY smithsoniaM INSTITUTION 3i< 7' THE AMERICAN ART ASSOCIATION DESIGNS ITS CATALOGUES AND DIRECTS ALL DETAILS OF ILLUSTRATION TEXT AND TYPOGRAPHY ON PUBLIC EXHIBITION AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK ENTRANCE, 6 EAST 23rd STREET BEGINNING THURSDAY, APRIL 5th, 1917 MASTERPIECES OF ENGRAVERS AND ETCHERS THE PRINT COLLECTION OF THE LATE J. HARSEN PURDY, of new york city TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY ORDER OF ALBERT W. PROSS, ESQ., AND THE NEW YORK TRUST COMPANY, AS EXECUTORS ON TUESDAY AND WEDNESDAY EVENINGS APRIL 10th and 11th, 1917 AT 8:00 O'CLOCK IN THE EVENINGS AT THE AMERICAN ART GALLERIES ALBRECHT DURER, ENGRAVING Knight, Death and the Devil [No. 69] EXCEPTIONAL EXAMPLES OF THE MASTERS OF ETCHING AND ENGRAVING THE PRINT COLLECTION OF THE LATE J. HARSEN PURDY, of new york city TO BE sold at unrestricted PUBLIC SALE BY ORDER OF ALBERT W. PROSS, ESQ., AND THE NEW YORK TRUST COMPANY, AS EXECUTORS ON TUESDAY AND WEDNESDAY, APRIL 10th AND 11th AT 8:00 O'CLOCK IN THE EVENINGS THE SALE TO BE CONDUCTED BY MR. THOMAS E. KIRBY AND HIS ASSISTANTS, OF THE AMERICAN ART ASSOCIATION, Managers NEW YORK CITY 1917 ——— ^37 INTRODUCTORY NOTICE REGARDING THE PRINT- COLLECTION OF THE LATE MR. -
10609- 18Th Century George III Set of Six Mezzotints
- O'Sullivan Antiques Export date: Sat Sep 25 17:10:08 2021 / +0000 GMT 10609- 18th Century George III Set of Six Mezzotints Item Categories: Prints, Drawings and Watercolours Item Page: https://osullivanantiques.com/item/10609-18th-century-george-iii-set-of-six-mezzoti nts/ Item Description 18th Century George III set of six mezzotints depicting Lucretia, circa 1780, 'Domestic Happiness', 'The Elopement', 'The Virtuous Parent', 'Dressing for Masquerade', 'The Tavern Door', 'The Fair Penitent'. Engraved by John Raphael Smith, (1751 - 1812) and painted by George Morland, (1763 - 1804). Engraved by John Raphael Smith, (1751 - 1812) was a British painter and mezzotinter, son of Thomas Smith of Derby, the landscape painter, and father of John Rubens Smith, a painter who emigrated to the United States. Smith became a London publisher from 1781, including among his clients the radical writer and artist William Blake. A prolific mentor of apprentices, he shared plates with at least thirty other London printers. In this group was J. M. W. Turner, Charles H. Hodges, William Ward, Thomas Girtin and James Ward, who were among his registered pupils were William Hilton, Charles Howard Hodges, Christiaan Josi, Samuel William Reynolds, James and William Ward (engraver), and Peter de Wint. As a mezzotint [ Export product details as PDF file has been powered by WooCommerce PDF & Print plugin. ] | Page 1/4 | - O'Sullivan Antiques Export date: Sat Sep 25 17:10:08 2021 / +0000 GMT engraver Smith occupies the very highest rank. His prints are delicate, excellent in drawing and finely expressive of colour. Among his small full-length portraits in pastels and crayons the best is of Fox, the Whig leader which in 1802 was exhibited in the Royal Academy. -
3 Dunstan Woolner
Thomas Woolner’s “Bad Times for Sculpture”: Framing Victorian Sculpture in Vocabularies of Neglect Angela Dunstan In 1890, one of the Victorian era’s most successful sculptors, Thomas Woolner, bemoaned what he perceived to be the declining cultural value of his profession, writing that “people do not care for sculpture very much” (Letter to Henry Parkes 8 December 1890). Perhaps little has changed.1 As Jason Edwards recently observed, “In spite of the sustained re-investigation of Victorian culture in recent decades nineteenth century British sculpture continues to be neglected” (201). This article will revisit this history of neglect, considering the second half of the nineteenth century as a key era for sculpture; a time of fluctuating cultural, aesthetic and economic value for the art. Drawing on the case study of Pre-Raphaelite sculptor, Thomas Woolner, I will show how he pragmatically cast and recast his profession as both high art and a popular art form in order to defend the dignity and technical complexity of sculpture whilst maintaining a living by it. Towards the end of the nineteenth century, capitalising on cultural developments as varied as British imperialism, growing opportunities for travel and the phenomenon of celebrity became increasingly imperative to a sculptor’s success. By necessity, Woolner’s generation of sculptors had to modify their methods to remain competitive in a mass market rapidly crowded by replicas, statuettes and the ephemera which were invading everyday life and becoming characteristic of modernity. Woolner’s rhetorical moulding of sculpture as an art appealing both to the elite and to the popular markets makes a useful case study in the plasticity of Victorian sculptors themselves as they responded to the changes in the aesthetic and economic value of their art, adapting their methods and adopting new approaches in ways which would reframe the cultural value of the profession by the end of the nineteenth century. -
The Runaway Wagon Signed and Inscribed ‘I.WARD.X/Paddington’ (On the Wagon) Oil on Canvas 61 X 76.2 Cm (24 X 30 In)
James Ward (London 1769 - Cheshunt 1859) The Runaway Wagon signed and inscribed ‘I.WARD.x/Paddington’ (on the wagon) oil on canvas 61 x 76.2 cm (24 x 30 in) An exhilarating and urgent chase is depicted in The Runaway Wagon as a man desperately pursues his wagon pulled by two horses as they speed away in a full gallop. James Ward is best known for his accomplished animal studies although he also expertly captured people and landscapes; in this composition, he brings all three components together to create an engaging scene. The tumultuous energy of the scene is heightened by the dark and stormy clouds in the sky and the shadowy ground beneath, and Ward’s vigorous brush strokes and strong colours add to the drama. Central to the composition are two horses showing off their powerful muscles and lustrous coats as they strain to escape the burden of the wagon. The lead horse is turned away but the second horse turns his finely formed head to challenge the viewer. Ward often painted animals in a state of agitation or movement and his preparatory drawings such as Studies of a Horse in Motion in The Fitzwilliam Museum, Cambridge, reveal his interest in capturing the specifics of anatomy and the range of movements that were necessary for executing a convincing animal painting. Chaos abounds in The Runaway Wagon, and can be seen in the details of the basket and bundles about to tumble to the ground, and the pigs scurrying from underneath the wagon in fright. A man, presumably the owner of the wagon, runs after it in a state of dishevelled frenzy, while on the left of the composition another man appears terrified as he hastens to close the gate and halt the oncoming horses. -
Nathaniel Hitch and the Making of Church Sculpture Claire Jones
Nathaniel Hitch and the Making of Church Sculpture Claire Jones Housed at the Henry Moore Institute in Leeds is the archive of the now little-known sculptor, architectural sculptor, and sculptor’s modeller, Nathaniel Hitch (1845–1938).1 Unlike the extensive manuscript, printed, and visual material in Hamo Thornycroft’s archive, also held at the Henry Moore Institute, Hitch’s consists of hundreds of photographs pasted into two albums. These demonstrate the range of sculptural activity undertaken by Hitch, including figurative work, architectural sculpture, and anima- lier sculpture. Above all, they represent sculpture intended for Christian places of worship: recumbent effigies; altars; free-standing figures of saints, bishops, and biblical figures; reliefs of biblical scenes; Christ on the cross; Christ in groups; the Virgin Mary and Child; and sculpture for church fur- niture and furnishings. Hitch’s archive therefore offers significant docu- mentation for the study of Victorian sculpture practice outside the more familiar areas of the Academy and ideal classical sculpture: namely, church sculpture. The photographs are taken within Hitch’s studio or workshop. The space itself is only fragmentarily visible, and the sculptor himself is noticea- bly absent from all the photographs. This is distinct to the ‘at home’ and ‘in studio’ photographs of society sculptors such as Thornycroft, which recent scholarship has usefully examined in terms of the private-public domain of the artist’s studio and the role of these studios and photographs in an I would like to thank Claire Mayoh, archivist at the Henry Moore Institute, her maternity cover Janette Martin, and Georgia Goldsmith at the Bulldog Trust for assisting me in my research and for kindly providing the images for this publication.