DOCSLIB.ORG

Immunity from Seizure

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Immunity from Seizure THE NATIONAL GALLERY IMMUNITY FROM SEIZURE JAN GOSSAERT’S RENAISSANCE 23 February 2011 – 30 May 2011 The National Gallery, London. Trafalgar Square, London WC2N 5DN Immunity from Seizure IMMUNITY FROM SEIZURE The National Gallery is able to provide immunity from seizure under part 6 of the Tribunals, Courts and Enforcement Act 2007. This Act provides protection from seizure for cultural objects from abroad on loan to temporary exhibitions in approved museums and galleries in the UK. The conditions are: The object is usually kept outside the UK It is not owned by a person resident in the UK Its import does not contravene any import regulations It is brought to the UK for public display in a temporary exhibition at a museum or gallery The borrowing museum or gallery is approved under the Act The borrowing museum has published information about the object For further enquiries, please contact [email protected] Protection under the Act is sought for the objects listed in this document, which are intended to form part of the forthcoming exhibition, Jan Gossaert’s Renaissance Copyright Notice: no images from these pages should be reproduced without permission. The National Gallery, London. Trafalgar Square, London WC2N 5DN 1 Immunity from Seizure JAN GOSSAERT’S RENAISSANCE 23 February – 30 May 2011 Protection under the Act is sought for the objects listed below: Jan Gossaert (active 1503; died 1532) © RMN, Paris Photo Gérard Blot X6569 Portrait of a Benedictine Monk 1526 Oil on Panel 39 x 28 cm Paris, Musée du Louvre Lender’s name and address Musée du Louvre 34-36 Quai du Louvre Paris 75058 France Accession Number R.F. 23 Provenance (1): Desiré van der Schrieck, Louvain ; her sale, Louvain, April 8-11, n. 48 ; Jean Baptiste Foucart, Valenciennes ; bequeathed in 1872 to the Louvre (1) Published in Foucart 2009 The National Gallery, London. Trafalgar Square, London WC2N 5DN 2 Immunity from Seizure Note that this object has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945. Publication history: Friedländer 1924-1937, vol. 8 (1930), p. 162; Herzog 1968, pp. 126, 127- 128; Friedländer 1967-1976, vol. 8 (1972), p. 100: Foucart 2009 Simon Bening (about 1483 - 1561) © RMN/Gérard Blot/Christian Jean X6992 Landscape with Saint Jerome about 1515-20 Tempera on paper on wood Support: 28.7 x 19.3 cm Paris, Musée du Louvre, Département des Peintures Lender’s name and address Musée du Louvre 34-36 Quai du Louvre Paris 75058 France Accession Number R.F. 1987.28 Provenance (1): This painting was found in customs and bought by the Louvre in 1987 from the Société Labatut. (1) Published in Foucart 2009 This painting has incomplete provenance information for the years 1933-1945. The provenance has been confirmed by the Louvre after further research in their archives. It has been impossible to check the Art Loss Register because of uncertainty over the painting’s attribution.. A copy of the correspondence with the Louvre curator (C. Scaillerez) is on file at the National Gallery. The National Gallery, London. Trafalgar Square, London WC2N 5DN 3 Immunity from Seizure See also: http://cartelfr.louvre.fr/cartelfr/visite?srv=car_not_frame&idNotice=24158&langue=fr Publication history: Scaillerez 1992; Foucart 2009 Jan Gossaert (active 1503; died 1532) © RMN, Paris. Photo Jean-Gilles Berizzi X6568 Adoration of the Magi about 1515-1520 Pen and ink on vellum Support: 27 x 19.4 cm Paris, Musée du Louvre, Département des Arts graphiques Lender’s name address Musée du Louvre 34-36 Quai du Louvre Paris 75058 France Accession number Inv 20000 Provenance (1): Collection P. J. Mariette; bought by the Louvre, 1775 (1) see also: http://artsgraphiques.louvre.fr/fo/visite?srv=mfc&paramAction=actionGetOeuvre&idFicheOe uvre=110153#ancre7 Note that this object has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945. Publication history: Paris 1965, n. 66; Lugt 1968, n. 75; Brou 1981, n. 26 The National Gallery, London. Trafalgar Square, London WC2N 5DN 4 Immunity from Seizure Jan Gossaert (active 1503; died 1532) © Copyright Museo Thyssen-Bornemisza, Madrid X6592 Adam and Eve about 1510 Oil on wood Support: 56.5 x 37 cm Museo Thyssen-Bornemisza, Madrid Lender’s name and address Museo Thyssen-Bornemisza Paseo del Prado 8 28014 Madrid Spain Accession Number 1930.26 Provenance (1): Possibly Hans Wagner of Kulmbach; Neumann collection, Nuremberg; Professor Hartmann; Heinrich Wilhem Campe, Leipzig (before 1827); his sale, Leipzig, September 24, 1827, n. 301; Prince Leopold Friedrich Franz von Anhalt-Dessau, Wörlitz; Gotisches Haus, Wörlitz; Jacques Goudstikker, Amsterdam; Baron Heinrich Thyssen- Bornemisza, Rechnitz and Lugano (1930-1947); Baron Hans Heinrich Thyssen-Bornemisza, Lugano (1947-1993); Museo Thyssen-Bornemisza, Madrid, 1993 (1) Published in New York 2010, p. 114 Note that this painting has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945. The National Gallery, London. Trafalgar Square, London WC2N 5DN 5 Immunity from Seizure Publication history: Friedländer 1924-1937, vol. 8 (1930), pp. 34-35; Rotterdam, Bruges 1965, n. 3; Herzog 1968, pp. 74-75; Friedländer 1967-1976, vol. 8 (1972), pp. 24-25; Paris 1982, n. 22; New York 2010, n. 1 Jan Gossaert (active 1503; died 1532) © Museo de Bellas Artes de Bilbao, Spain X6591 Holy Family 1525-30 Oil on wood Support: 56 x 42 cm Museo de Bellas Artes de Bilbao Lender’s name and address Museo de Bellas Artes de Bilbao Museo Plaza, 2 48011 Bilbao Spain Accession Number 69/110 Provenance (1): Convent of the Carmelites of Cuerva, Toledo; acquired by the Museo de Bellas Artes de Bilbao, 1940 (1) Published in New York 2010, p. 180 Note that this painting has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945. Publication history: Rotterdam, Bruges 1965, n. 26; Friedländer 1967-1976, vol. 8 (1972), p. 113; Bilbao 2000, n. 2; New York 2010, n. 18 The National Gallery, London. Trafalgar Square, London WC2N 5DN 6 Immunity from Seizure Jan Gossaert (active 1503; died 1532) © Kimbell Art Museum, Fort Worth, Texas X6609 Portrait of Henry III of Nassau-Breda? about 1520-5 Oil on wood Support: 57.2 x 45.8 cm Kimbell Art Museum, Fort Worth, Texas Lender’s name and address Kimbell Art Museum 3333 Camp Bowie Boulevard Forth Worth, Texas 76107-2792 USA Accession Number AP 1979.30 Provenance (1): Alfred Charles de Rothschild, London and Buckinghamshire; his daughter Almina Victoria Marie Alexandra Carnarvon, London (until 1925); her sale, London, May 22, 1925, n. 71; Agnew, London; Joseph Duveen, London and New York (before 1927); Ernst Rosenfield, New York (by 1929); Hickox collection, New York and Chicago (by 1936, until 1979); Newhouse Galleries, New York (1979); bought by the Kimbell Art Foundation, 1979 (1) Published in New York 2010, p. 265; See also: https://www.kimbellart.org/Collections/Collections- Detail.aspx?P=&TypeID=&Focus=&cid=8509&prov=true&cons=false#prov The National Gallery, London. Trafalgar Square, London WC2N 5DN 7 Immunity from Seizure The painting’s provenance information is slightly incomplete for the years 1930-1935. The provenance has been confirmed by the Kimbell Museum after further research in their archives and all indications are that the painting was in the USA between 1930 (Friedländer) and 1936 (Van Marle) before entering in the Hickox collection. A copy of the correspondence with the Kimbell Museum and information about the collectors are on file at the National Gallery. Publication history: Friedländer 1924-1937, vol. 8 (1930), pp. 159-160; New York 1929, n. 78; Van Marle 1936, p. 476; Herzog 1968, pp.130, 252-253; Friedländer 1967-1976, vol. 8 (1972), p. 97; Kimbell Art Museum 1981, p. 72; New York 2010, n. 48 Jan Gossaert (active 1503; died 1532) © Chrysler Museum of Art, Norfolk, Virginia X6619 Jan Gossaert Virgin and Child about 1525-30 Oil on wood Support: 47.6 x 36.8 cm Chrysler Museum of Art, Norfolk, VA Gift of Walter P Chrysler, Jr. Lender’s name address Chrysler Museum of Art 245 West Olney Road Norfolk, Virginia 23510 USA Accession number 71.491 The National Gallery, London. Trafalgar Square, London WC2N 5DN 8 Immunity from Seizure Provenance (1): John Rushout, second Baron Northwick, Cheltenham (by 1859); sale, London, 1859; Sir Thomas Phillipps, Middle Hill, 1859; to his daughter, Mrs. Fenwick; Fenwick collection, Thirlestaine House (until 1950); sale, London, 1950 ; David Koetser, London –New York (until 1952); Walter P. Chrysler, Jr.; Gift of Walter P. Chrysler, Jr. to the Chrysler Museum, 1971 (1) Published in Harrison 1994, p. 3-13; New York 2010, p. 281 Note that this painting has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945. Publication history: Greig 1951, p. 84; Herzog 1968, pp. 345-346; Harrison 1994, pp. 3-13; New York 2010, n. 55a Jan Gossaert (active 1503; died 1532) © The J. Paul Getty Museum. Los Angeles, California X6920 Portrait of Francisco de los Cobos y Molina about 1530-2 Oil on panel Support: 43.8 x 33.7 cm The J. Paul Getty Museum, Los Angeles Lender’s name address The J. Paul Getty Museum 1200 Getty Center Drive Los Angeles, CA 90049-1687 USA Accession number 88.PB.43 The National Gallery, London. Trafalgar Square, London WC2N 5DN 9 Immunity from Seizure Provenance (1): Prof. Odilon Lannelongue, Castéra-Verduzan (until 1911); Castéra-Verduzan, Musée Lannelongue (1911-1938); Castéra-Verduzan, collection Lannelongue (until 1986); sale, Auch-en-Gascogne, 12th July 1986; London, Edward Spelman (1987-1988); Los Angeles, J.
Load more

Recommended publications
  • The Commemorated Page Numbers in Bold Type Refer to Illustrations
    Church Monuments Vols I–XXXII (1985–2017) The Commemorated Page numbers in bold type refer to illustrations Abbott, Christopher, 1686, XXIX: 80, 82 Allington, Lionel and Dorothe, 1638, V: 62, Abbys, Thomas, 1532/3, XXXII: 30 63; VII: 46, 74 Abell, William, 1500, XVI: 123 Allington, Richard, 1561, VII: 38; XXIII: 93 Aberford, Henry of, c.1328, XIII: 109 Alonso, Infante, 1493, VII: 27 Abernoun, John d’, 1327, I: 10; VI: 5; VIII: 5, Alphonse and Jean, sons of Louis VIII, king of 7; IX: 38; XV: 12 France, 1213, XXX: 51 Abernoun, John III d’, 1335–50, II: 13, 17–19; Alsace, Marguerite d’, 1194, XXIV: 28, 29, VII: 17 30, 31, 43 Abney, George and Ellen, 1577/8, VI: 38 Alsace, Mathieu d’, 1173, XXIV: 31, 33, 36, Accarigi, Tommaso, XXIII: 110 38 Acé, Hugues d’, 1333, XII: 23, 24, 33 Anast, Thomas d’, bishop of Quimper, 1322, Achard, Robert, 1353, IX: 46; XXXII: 24 XXX: 45 Acton, John and Elizabeth, 1625, XXIII: 81 Ancaster see Bertie Acton, Thomas, 1489, XXXII: 30 Anderson, Alexander, 1811, XV: 99 Adair family, 1852–1915, XVI: 92, 123 Anderson, Edmond, 1638, XXX: 129, 130 Adams, Richard, 1635, XXIX: 75 Anderson, Edmund, 1670, IX: 84, 85, 86 Adderley, Ralph, Margaret and Philota, 1595, Anderson, Francis, VII: 89, 90, 91, 93 VI: 40 André, Philippe and Marie, 1845, XV: 91, 93, Adelaide of Maurienne, queen of France, 1154, 96 XIX: 34 Andrew, Thomas, Frances and Mary, 1589, Adornes, Jacques, 1482, VII: 28 VIII: 54 Adyn, Edith, c.1560, XXIX: 82 Andrew, Thomas, Katherine and Mary, 1555, Aebinga, Hil van, XXXI: 118 n.
    [Show full text]
  • Royal Monastery of Brou
    EN ROYAL MONASTERY The masterpiece OF BROU of an emperor’s daughter The Royal Monastery of Brou, an exceptional monument, is the result of the determination at the dawn of the Renaissance of a European Princess: Margaret of Austria (1480 – 1530), daughter of an emperor, Duchess of Savoy and Regent of the Netherlands. Its church, built to commemorate her love for her deceased husband Philibert the Handsome, is famous for its elegant tombs carved in marble and alabaster. The unity of its construction, its lavish decoration and its polychrome, glazed tiles make it a masterpiece of the Flamboyant Gothic style. The three two-storey cloisters, which reveal both the skill of the builders and the life of the monks, contain the Princess’s apartments and the rich collections of the Museum of Fine Art. The monastery Ground floor I D A Reception-ticket desk 19 B Gift and book shop 18 C Lift 10 D Toilets 11 20 9 8 7 21 E Church 25 24 F 22 H 6 6 F Convent buildings 12 5 and museum 4 2 G Parvis and sundial E 1 H Gardens 23 I Surrounding areas 3 A B C D Key features Entrance Exit 7-9 The tombs G 14 The Princess’s apartments 15 The great hall 16 The monks’ sleeping First Floor quarters Museum 19 What a Project! 17 13 16 15 14 C The Royal Monastery of Brou consists of three cloisters on two levels and over 4,000 m² of buildings for a community of between twelve and thirty monks.
    [Show full text]
  • Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic.
    [Show full text]
  • J. J. González García, Charles V and the Habsburgs' Inventories, RIHA
    RIHA Journal 0012 | 11 November 2010 Charles V and the Habsburgs' Inventories. Changing Patrimony as Dynastic Cult in Early Modern Europe Juan uis !on"#lez !arc$a Peer revie% and editing organized by& Instituto Amatller de Arte Hispánico, Barcelona 'evie%ers& Antoni José itarch, "antia#o Alcolea Blanc! (bstract Apart from a deep respect for the achievements of the Habsburgs, Emperor Maximilian I transmitted to his heirs a practical attitude towards their art collections. Pearls and precious stones were extracted from set pieces to produce new ones; old fashioned !eweller" or silver ob!ects were melted down; and tapestries, paintings and sculptures were publicl" sold to pay off debts. #" stud"ing how some of these goods were reused, recycled, and recirculated among the Habsburg famil" members, I will explain how crown patrimon" changed owners and $ingdoms, and how the cult of their d"nast", activel" promoted b" %harles &, heightened the notion of a collective consciousness which served as a topos for aristocratic collecting in the 'enaissance. Contents Introduction $!e %r#ani&ation o' (arl) Habsbur# Inventories and t!e Hierarchy o' *edia +!an#in# $aste and t!e *anipulation o' t!e %b,ect +!arles -'s Inventories and t!e +reation o' an (mpire /)nastic *arria#es, /)nastic Inventories Introduction ()* +he ro"al inventories of the Habsburgs are documents of extraordinar" importance for the anal"sis of art collecting in the Modern Age. +he" are often the onl" available tools to interpret the value, arrangement, uses and original functions of the ever changing princel" possessions , today !ust partiall" preserved ,, and provide us with references about the best European painters, sculptors, goldsmiths, weavers, or armourers of the time, to name but a few.
    [Show full text]
  • J. J. González García, Charles V and the Habsburgs' Inventories, RIHA
    RIHA Journal 0012 | 11 November 2010 Charles V and the Habsburgs' Inventories. Changing Patrimony as Dynastic Cult in Early Modern Europe Juan Luis González García Peer review and editing organized by: Instituto Amatller de Arte Hispánico / Amatller Institute of Hispanic Art, Barcelona Reviewers: Antoni José Pitarch, Santiago Alcolea Blanch Abstract Apart from a deep respect for the achievements of the Habsburgs, Emperor Maximilian I transmitted to his heirs a practical attitude towards their art collections. Pearls and precious stones were extracted from set pieces to produce new ones; old-fashioned jewellery or silver objects were melted down; and tapestries, paintings and sculptures were publicly sold to pay off debts. By studying how some of these goods were reused, recycled, and recirculated among the Habsburg family members, I will explain how crown patrimony changed owners and kingdoms, and how the cult of their dynasty, actively promoted by Charles V, heightened the notion of a collective consciousness which served as a topos for aristocratic collecting in the Renaissance. Contents Introduction The Organization of Early Habsburg Inventories and the Hierarchy of Media Changing Taste and the Manipulation of the Object Charles V's Inventories and the Creation of an Empire Dynastic Marriages, Dynastic Inventories Introduction [1] The royal inventories of the Habsburgs are documents of extraordinary importance for the analysis of art collecting in the Modern Age. They are often the only available tools to interpret the value, arrangement, uses and original functions of the ever-changing princely possessions – today just partially preserved –, and provide us with references about the best European painters, sculptors, goldsmiths, weavers, or armourers of the time, to name but a few.
    [Show full text]
  • 635 List of Illustrations
    Cross, northern Netherlands (county of LIST OF ILLUSTRATIONS Holland), c. 1500−30. Boxwood, diam. 50 mm. Copenhagen, Statens Museum FIG. 1 for Kunst, inv. no. KMS 5552 (cat. no. 14) Adam Dircksz and workshop, Prayer Nut with Scenes from the Life of Mary FIG. 9 Magdalen and St Adrian of Nicomedia Adam Dircksz and workshop, Devotional (closed), northern Netherlands (county Tabernacle with the Crucifixion, the of Holland), c. 1519−30. Boxwood, Entombment, and Other Biblical Scenes, diam. 65 mm. Riggisberg, Abegg-Stiftung, northern Netherlands (county of Holland), inv. no. 7.15.67 (cat. no. 32) c. 1510−30. Boxwood, h. 267 mm. Vienna, Hofgalerie Ulrich Hofstätter (cat. no. 40) FIG. 2 Prayer Nut with Scenes from the Life FIG. 10 of Mary Magdalen and St Adrian of Adam Dircksz and workshop, Triptych Nicomedia (fig. 1), open with the Virgin in Sole and Saints, northern Netherlands (county of Holland), FIG. 3 c. 1500−30. Boxwood, h. 185 mm. Adam Dircksz and workshop, Prayer Nut Amsterdam, Rijksmuseum, with the Crucifixion, the Carrying of the inv. no. BK-BR-946-h; on permanent loan Cross, and Other Biblical Scenes, northern from Museum Catharijneconvent, Utrecht, Netherlands (county of Holland), c. 1500−30. since 2013 (cat. no. 48) Boxwood, diam. 69 mm. Munich, Schatzkammer der Residenz, inv. no. FIG. 11 ResMü.Schk.0029 WAF (cat. no. 28) Adam Dircksz and workshop, Triptych with the Nativity, the Annunciation to the FIG. 4 Shepherds, and Other Biblical Scenes, Jan Gossaert, Virgin and Child, Utrecht, northern Netherlands (county of Holland), c. 1522. Oil on panel, 38.5 x 30 cm.
    [Show full text]
  • A Portrait by Jacob Esselens by Wolfgang Stechow - 3
    ALLEN MEMORIAL ART MUSEUM OBERLIN COLLEGE FALL 1963 The covet design by Forbes Whiteside is based upon his design for the Allen Memorial Art Museum monogram. ALLEN MEMORIAL ART MUSEUM BULLETIN VOLUME XXI, NUMBER 1 FALL 1963 Contents A Portrait by Jacob Esselens by Wolfgang Stechow - 3 Cezanne and a Pine Tree by Ellen H. Johnson - - - - 11 Viaduct at I'Estaque: A Footnote by Ellen H. Johnson 25 Christina of Denmark by Michael Coxie by Patricia Rose ----- 29 Nils Gosta Sandblad 52 Notes Baldwin Lecture Series 1963-64 53 Oberlin Archaeological Society - - - - - 53 Fall and Winter Exhibitions - - - - - 53 Friends of Art Film Series ----- 54 Loans to Museums and Institutions - - - - - 55 Friends of the Museum - - - - - - 57 Printed three times a year by the Department of Art of Oberlin College, Oberlin, Ohio. $6.00 a year, this issue $2.00; mailed free to members of the Oberlin Friends of Art. 1. Jacob Esselens, Portrait of a Lady Oberlin A Portrait by Jacob Esselens Again and again in the course of a comprehensive view of Dutch painting of the seventeenth century, one is struck by the phenomenon of a master of secondary rank surpassing his ordinary level of achieve­ ment and approaching that of the elect few. The circumstances in which this occurs vary: a special meeting of mind between teacher and pupil, the discovery of unsuspected developments in other artistic centers of the land, a journey abroad, a theme or a sitter holding a particular personal appeal to the painter — all these may accomplish it. No collection known to this writer can boast of more happv surprises of this kind than that of one of the great connoisseurs of our time, Mr.
    [Show full text]
  • Black Nobility
    DON TRUMP, IRAN, & BLACK NOBILITY BLACK NOBILITY PALLAVICINI Prince Moroello Diaz della Vittoria Pallavicini and his brother Prince Sigieri Diaz della Vittoria Pallavicini are top members of the international banking mafia and the primary owners of the Armenian Mafia with some financial interests in the Lucchese crime family. The Pallavicinis have an Austrian branch and also a Hungarian branch which manage some Slavic-Serbian mafia clans. The Pallavicinis are nobles of Milan, Rome, Vienna, and Genoa. The Genoese were the most dominant bankers for centuries. They financed the creation of what is today called the Bank of America and the Genoese nobles the Pallavicinis, Odescalchis, Dorias, and Cattaneos have covert shares in. Prince Sigieri Pallavicini has worked with Merrill Lynch stated on his business profile for Athena Investments and Bank of America owns Merrill Lynch. The Pallavicinis invest in crime families for the other Black Nobility. Mafias are business enterprises and it costs money to create them and costs money to protect them. Prince Moroello and Prince Sigieri have worked at various international banks and created Global Wealth Management Gwm a private investment firm in Italy, Malta, Switzerland, and Luxembourg and together with JP Morgan in December of 2019 purchased multiple buildings including one in front of the American embassy in Rome. The Pallavicinis have an Italian Muslim branch which are Imams in Milan with Prince Imam Yahya Sergio Yahe Pallavicini. The Pallavicinis are related to ancient Iranian royals and the Pahlavi dynasty which later established itself in Armenian as the Pahlavunis. Mohammad Reza Pahlavi the Shah or Iran was a Vatican Knight of the Order of the Golden Spur.
    [Show full text]
  • Large Print Guide
    The Waddesdon Bequest Funded by The Rothschild Foundation Contents Section 1 5 Section 2 9 Section 3a 13 Section 3b 27 Section 4a 43 Section 4b 61 Section 5a 75 Section 5b 91 Section 6a 101 Section 6b 103 Section 6c 107 Section 6d 113 Section 6e 119 Section 6f 123 Section 6g 129 Section 6h 135 Section 7a 141 Section 7b 145 Section 7c 149 Section 7d 151 Section 7e 153 Section 7f 157 Section 7g 163 Section 7h 169 Section 7i 173 Section 7j 179 Section 8 187 Entrance 8 2 3a 7j 1 7i 7h 3b 6a 7g 4a 6b 7f 6c 7e 6d 7d 4b 6e 7c 5a 6f 7b 6g 7a 6h 5b 4 Section 1 Entrance 8 2 3a 7j 1 7i 7h 3b 6a 7g 4a 6b 7f 6c 7e 6d 7d 4b 6e 7c 5a 6f 7b 6g 7a 6h 5b 5 The Waddesdon Bequest is a collection of outstanding quality generously bequeathed to the British Museum in 1898 by Baron Ferdinand Rothschild MP (1839–1898). It is a family collection, formed by a father and son: Baron Anselm von Rothschild (1803–1874) of Frankfurt and Vienna, and Baron Ferdinand, who became a British citizen in 1860, and a Trustee of the British Museum in 1896. Named after Baron Ferdinand’s Renaissance-style château, Waddesdon Manor in Buckinghamshire, the Bequest is a 19th-century recreation of a princely Kunstkammer or ‘art chamber’ of the Renaissance. The collection demonstrates how, within two generations, the Rothschilds expanded from Frankfurt to become Europe’s leading banking dynasty.
    [Show full text]
  • RAYMOND V. SCHODER, S.J. (1916-1987) Classical Studies Department
    y RAYMOND V. SCHODER, S.J. (1916-1987) Classical Studies Department SLIDE COLLECTION OF FIFTH CENTURY SCULPTURES 113 slides Prepared by Laszlo Sulyok Ace. No. 89-15 Computer Name:SCULPTSC.SCH 1 Metal Box Loca lion: 17B The following slides of Fifth Century Sculptures arc from the collection of Fr. Raymond V. Schoder, S.J. They are arranged numerically in the order in which they were received at the archives. The list below provides a brief description of the categorical breakdown of the slides and is copied verbatim from Schoder's own notes on the material.· The collection also contains some replicas of the original artifacts. I. SCULPT: Owl, V c (A crop.) # 2. SCULPT: 'Leonidas' (Sparta) c.400 3. SCULPT: Vc: Boy ded. by Lysikleidcs at Rhamnous, c. 420:30" (A) 4. SCULPT: Vc. Girl, Rhamnous (A) 5. SCULPT: V c. hd, c.475 (Cyrene) 6. SCULPT: Peplophoros * B arberini, c. 475 (T) 7. SCUPLT: Horse, fr. Thasos Hcracles T. pediment, c. 465 (Thas) 8. SCULPT: Base for loutrophoros, Attic, c. 410: Hermes (1), Dead w. apples (Elysian?) (A) 9. SCULPT: Aphrod. on Turtle, aft. or.c. 410 1459 (E. Berlin) 10. SCULPT: fem. fig. fr. frieze Arcs T? (Ag) II. SCULPT: V c. style hd: Diomedes (B) 12. SCULPT: v C. Hercules (Mykonos) 13. SCULPT: V c. style goddcs hd. colossal: Roman copy (Istb) 14. SCULPT: Vc Goddes; Farn. 6269; Rom. (N) 15. SCULPT: Gk. Here. pre-Lysippus (Csv) 16. SCULPT: Choiseui-Gouffier Apollo·· aft early V c (BM) 17. SCULPT: Choiseui/Gouffier Apollo, c. 460 (BM) 18.
    [Show full text]
  • Church Monuments Vols I–XXXIV (1985–2019) the Commemorated Page Numbers in Bold Type Refer to Illustrations
    Church Monuments Vols I–XXXIV (1985–2019) The Commemorated Page numbers in bold type refer to illustrations Abbott, Christopher, 1686, XXIX: 80, 82 Alix, duchess of Brittany, 1221 and Yolande, Abbys, Thomas, 1532/3, XXXII: 30 1272, XXXI: 70 Abell, William, 1500, XVI: 123 Alleyne family, 1790s, XII: 79–83, 80, 82 Aberford, Henry of, c.1328, XIII: 109 Allington, Lionel and Dorothe, 1638, V: 62, Abernoun, John d’, 1327, I: 10; VI: 5; VIII: 5, 63; VII: 46, 74 7; IX: 38; XV: 12 Allington, Richard, 1561, VII: 38; XXIII: 93 Abernoun, John III d’, 1335–50, II: 13, 17–19; Almain, Henry of, 1271, XXXIV: 24, 25 VII: 17 Alonso, Infante, 1493, VII: 27 Abney, George and Ellen, 1577/8, VI: 38 Alphonse and Jean, sons of Louis VIII, king of Accarigi, Tommaso, XXIII: 110 France, 1213, XXX: 51 Acé, Hugues d’, 1333, XII: 23, 24, 33 Alsace, Marguerite d’, 1194, XXIV: 28, 29, Achard, Robert, 1353, IX: 46; XXXII: 24 30, 31, 43 Acton, John and Elizabeth, 1625, XXIII: 81 Alsace, Mathieu d’, 1173, XXIV: 31, 33, 36, Acton, Thomas, 1489, XXXII: 30 38 Adair family, 1852–1915, XVI: 92, 123 Anast, Thomas d’, bishop of Quimper, 1322, Adams, Richard, 1635, XXIX: 75 XXX: 45 Adderley, Ralph, Margaret and Philota, 1595, Ancaster see Bertie VI: 40 Anderson, Alexander, 1811, XV: 99 Adelaide of Maurienne, queen of France, 1154, Anderson, Allan, 1856, XXXIV: 188, 190 XIX: 34 Anderson, Edmond, 1638, XXX: 129, 130 Adornes, Jacques, 1482, VII: 28 Anderson, Edmund, 1670, IX: 84, 85, 86 Adyn, Edith, c.1560, XXIX: 82 Anderson, Francis, VII: 89, 90, 91, 93 Adynet, William, 1409, XXXIV: 94 André, Philippe and Marie, 1845, XV: 91, 93, Aebinga, Hil van, XXXI: 118 n.
    [Show full text]
  • November 2006 Journal
    historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 23, No. 2 www.hnanews.org November 2006 A Newly Discovered Rubens at the Getty Peter Paul Rubens, The Calydonian Boar Hunt (c. 1611-1612) Oil on panel, 59 × 90.2 cm. The J. Paul Getty Museum, Los Angeles (Courtesy of the J. Paul Getty Museum) HNA Newsletter, Vol. 23, No. 2, November 2006 1 From the President In Memoriam I begin this brief editorial on a sad note: I recently learned of the death this past July of our colleague, Cynthia Lawrence, after an extremely lengthy and exhausting battle with cancer. To those of us who knew her, we fondly remember a first-rate scholar and, more importantly, a first-rate person who enriched the lives of all of us who were fortunate enough to have befriended her. She will be sorely missed. Please be sure to read the obituary that our colleague, Barbara Haeger, prepared especially for this issue of the Newsletter. I have recently returned to teaching and administrative duties here at Syracuse University after having enjoyed a sabbatical during the 2005-06 academic year. Despite the added work loads and constraints on my already limited time, this re-entry into academe has been thoroughly enjoyable. Instead of spending the entire year myopically focused on the topic of my own research – Hendrick ter Brugghen – my renewed responsibilities have forced me to think in much broader terms about our discipline, more specifically, about the various fields in which our membership curates, teaches, and writes.
    [Show full text]