Being an Addendum to the 1996 Genealogical Review of the Hollyer Family, Compiled by Peter Walker and Jim Hollyer, with Additional Material from Many Family Members
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The Art of Victorian Photography
THE ART OF VICTORIAN Dr. Laurence Shafe [email protected] PHOTOGRAPHY www.shafe.uk The Art of Victorian Photography The invention and blossoming of photography coincided with the Victorian era and photography had an enormous influence on how Victorians saw the world. We will see how photography developed and how it raised issues concerning its role and purpose and questions about whether it was an art. The photographic revolution put portrait painters out of business and created a new form of portraiture. Many photographers tried various methods and techniques to show it was an art in its own right. It changed the way we see the world and brought the inaccessible, exotic and erotic into the home. It enabled historic events, famous people and exotic places to be seen for the first time and the century ended with the first moving images which ushered in a whole new form of entertainment. • My aim is to take you on a journey from the beginning of photography to the end of the nineteenth century with a focus on the impact it had on the visual arts. • I focus on England and English photographers and I take this title narrowly in the sense of photographs displayed as works of fine art and broadly as the skill of taking photographs using this new medium. • In particular, • Pre-photographic reproduction (including drawing and painting) • The discovery of photography, the first person captured, Fox Talbot and The Pencil of Light • But was it an art, how photographers created ‘artistic’ photographs, ‘artistic’ scenes, blurring, the Pastoral • The Victorian -
Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013
Updated Wednesday, February 13, 2013 | 2:36:43 PM Last updated Wednesday, February 13, 2013 Updated Wednesday, February 13, 2013 | 2:36:43 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required (*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Ford Madox Brown The Seeds and Fruits of English Poetry, 1845-1853 oil on canvas 36 x 46 cm (14 3/16 x 18 1/8 in.) framed: 50 x 62.5 x 6.5 cm (19 11/16 x 24 5/8 x 2 9/16 in.) The Ashmolean Museum, Oxford, Presented by Mrs. W.F.R. Weldon, 1920 William Holman Hunt The Finding of the Saviour in the Temple, 1854-1860 oil on canvas 85.7 x 141 cm (33 3/4 x 55 1/2 in.) framed: 148 x 208 x 12 cm (58 1/4 x 81 7/8 x 4 3/4 in.) Birmingham Museums and Art Gallery, Presented by Sir John T. -
Download PDF Version
100 Books With Original Photographs 1846–1919 PAUL M. HERTZMANN, INC. MARGOLIS & MOSS 100 BOOKS With ORIGINAL PHOTOGRAPHS 1846–1919 PAUL M. HERTZMANN, INC. MARGOLIS & MOSS Paul M. Hertzmann & Susan Herzig David Margolis & Jean Moss Post Office Box 40447 Post Office Box 2042 San Francisco, California 94140 Santa Fe, New Mexico 87504-2042 Tel: (415) 626-2677 Fax: (415) 552-4160 Tel: (505) 982-1028 Fax: (505) 982-3256 E-mail: [email protected] E-mail: [email protected] Association of International Photography Art Dealers Antiquarian Booksellers’Association of America Private Art Dealers Association International League of Antiquarian Booksellers 90. TERMS The books are offered subject to prior sale. Customers will be billed for shipping and insurance at cost. Payment is by check, wire transfer, or bank draft. Institutions will be billed to suit their needs. Overseas orders will be sent by air service, insured. Payment from abroad may be made with a check drawn on a U. S. bank, international money order, or direct deposit to our bank account. Items may be returned within 5 days of receipt, provided prior notification has been given. Material must be returned to us in the same manner as it was sent and received by us in the same condition. Inquiries may be addressed to either Paul Hertzmann, Inc. or Margolis & Moss Front cover and title page illustrations: Book no. 82. 2 introduction his catalog, a collaborative effort by Paul M. Hertzmann, Inc., and Margolis & Moss, T reflects our shared passion for the printed word and the photographic -
Century British Photography and the Case of Walter Benington by Robert William Crow
Reputations made and lost: the writing of histories of early twentieth- century British photography and the case of Walter Benington by Robert William Crow A thesis submitted to the University of Gloucestershire in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts and Technology January 2015 Abstract Walter Benington (1872-1936) was a major British photographer, a member of the Linked Ring and a colleague of international figures such as F H Evans, Alfred Stieglitz, Edward Steichen and Alvin Langdon Coburn. He was also a noted portrait photographer whose sitters included Albert Einstein, Dame Ellen Terry, Sir Arthur Conan Doyle and many others. He is, however, rarely noted in current histories of photography. Beaumont Newhall’s 1937 exhibition Photography 1839-1937 at the Museum of Modern Art in New York is regarded by many respected critics as one of the foundation-stones of the writing of the history of photography. To establish photography as modern art, Newhall believed it was necessary to create a direct link between the master-works of the earliest photographers and the photographic work of his modernist contemporaries in the USA. He argued that any work which demonstrated intervention by the photographer such as the use of soft-focus lenses was a deviation from the direct path of photographic progress and must therefore be eliminated from the history of photography. A consequence of this was that he rejected much British photography as being “unphotographic” and dangerously irrelevant. Newhall’s writings inspired many other historians and have helped to perpetuate the neglect of an important period of British photography. -
“He Hath Mingled with the Ungodly”
―HE HATH MINGLED WITH THE UNGODLY‖: THE LIFE OF SIMEON SOLOMON AFTER 1873, WITH A SURVEY OF THE EXTANT WORKS CAROLYN CONROY TWO VOLUMES VOLUME I PH.D. THE UNIVERSITY OF YORK HISTORY OF ART DECEMBER 2009 2 ABSTRACT This thesis focuses on the life and work of the marginalized British Pre-Raphaelite and Aesthetic homosexual Jewish painter Simeon Solomon (1840-1905) after 1873.This year was fundamental in the artist‘s professional and personal life, because it is the year that he was arrested for attempted sodomy charges in London. The popular view that has been disseminated by the early historiography of Solomon, since before and after his death in 1905, has been to claim that, after this date, the artist led a life that was worthless, both personally and artistically. It has also asserted that this situation was self-inflicted, and that, despite the consistent efforts of his family and friends to return him to the conventions of Victorian middle-class life, he resisted, and that, this resistant was evidence of his ‗deviancy‘. Indeed, for over sixty years, the overall effect of this early historiography has been to defame the character of Solomon and reduce his importance within the Aesthetic movement and the second wave of Pre-Raphaelitism. It has also had the effect of relegating the work that he produced after 1873 to either virtual obscurity or critical censure. In fact, it is only recently that a revival of interest in the artist has gained momentum, although the latter part of his life from 1873 has still remained under- researched and unrecorded. -
Realismus – Impressionismus – Symbolismus
Realismus – Impressionismus – Symbolismus Wintersemester 2018/2019 9. Vorlesung 24.01.2019 •Barringer, Timothy J. [Hrsg.]: Pre-Raphaelites. Victorian Avant-Garde, London 2012. •Hönnighausen, Gisela [Hrsg.]: Die Präraffaeliten. Dichtung, Malerei, Ästhetik, Rezeption. Stuttgart 2000. •Kemp, Wolfgang: John Ruskin. Leben und Werk, München [u.a.] 1993. •Waggoner, Diane: The Pre-Raphaelite lens. British photography and painting, 1848 – 1875, Washington 2010. Presenting the female body: Challenging a Victorian fantasy John William Waterhouse, Hylas and the Nymphs, 1896, Manchester „Our removal of Waterhouse’s naked nymphs painting ‘Members of the public have stuck Post-it notes on the wall giving was art in action“ – Sonia Boyce their reaction.’ Photograph: Manchester Art Gallery Triumphe der Kunst über die Realität? Edward Burne-Jones, left, with William Morris at the Grange, Ramsgate, in 1874. Photograph: National Portrait Gallery London Laus Veneris (In Praise of Venus) by Sir Edward Coley Burne- Jones, Bt ARA. 1873-75. Oil on canvas, 47 x 71 inches. The Laing Art Gallery, Newcastle-upon- Tyne. Study for Laus, Veneris, Sir Edward Variant Study for Head of the Queen Coley Burne-Jones, Bt ARA (1833- in Laus Veneris - Sir Edward Burne- 1898), Pencil,8 1/4 x 6 1/2 inches Jones St. Cecilia window by Sir Edward Burne-Jones in Second Presbyterian Church, Chicago, IL, installed 1903. Sir Edward Coley Burne-Jones, Bt 1833–1898, King Cophetua and the Beggar Maid, Oil paint on canvas, 293,4 x 135,9 cm, London: Tate Gallery Edward Burne-Jones (1833–1898), Georgiana Burne-Jones, their children Margaret and Philip in the background, 1883, oil on canvas, 76 x53 cm, Source: Sotheby's Edward Burne-Jones (1833–1898), Phyllis and Demophoon, 1870, Bodycolour and watercolour with gold medium and gum arabic on composit layers of paper on canvas, 93,8 x 47, 5 cm, Birmingham Museum and Art Gallery. -
NGA | Pre-Raphaelites: Victorian Art and Design, 1848-1900
National Gallery of Art Pre-Raphaelites Victorian Art and Design, 1848 – 1900 February 17 – May 19, 2013 4 Introduction 6 Origins 11 Literature and History 17 Nature 22 Salvation 29 Beauty 35 Paradise 42 Mythologies 49 Biographies Pre-Raphaelites Introduction Queen Victoria had been on the throne for little more than a decade when seven fervent young men formed a secret society in London in 1848 with the aim of rejuvenating the arts in industrial-age Britain. Bonding over their mutual passion for medieval art and disdain for contemporary painting practices, they called their group the Pre- Raphaelite Brotherhood (PRB) in acknowledgment of their admiration of art prior to Raphael (1483 – 1520). The three most talented members were John Everett Millais, Dante Gabriel Rossetti, and William Holman Hunt — ages nineteen, twenty, and twenty-one, respectively. Along with other artists in their circle, most significantly their men- tor Ford Madox Brown, they sowed the seeds of a self-consciously avant-garde movement, one whose ideals they published in a short-lived journal, The Germ. Pre-Raphaelite paintings often addressed subjects of moral seriousness, whether pertaining to history, literature, religion, or modern society. While the artists emulated the pure colors, spatial flatness, and linear draftsmanship of late Gothic and early Renaissance art, their unconventional style — with its hyperrealism and brilliant palette — looked shocking to the public when their first paintings were exhibited in 1849. As an official group, the Pre-Raphaelites stayed together for only five years. But a second generation of artists, centered on Rossetti and led by Edward Burne-Jones and William Morris, arose in the 1860s with the aim of cultivating beauty in everyday life. -
Exhibition Of
,' ` ýl ýiIMý ýýýýý ..T----- '189c). CATALOGUE-OF- ThF"lY"EXHIBITION OF. 'r'cir. n. ilA. r+Ann w wýrrý ""'r AýY U r. ' YC1UI U1141ýf-1Pilll: " JALU N DUDL'Y.GALLERY, -PICCADILIY() i ý '1ýýýý .. .. ý. ý/ý ýýý- ý, ýýs _- '. ý"ý: i. OPEN FPOOM fF. P'rFMBEkTHr 2"I , TO "At. 71 OF NOVEMBER, J T YI IEI AUTOTYPELONDON.COMPANY, :i ýýý-ýýýýý. vý PERMANENT AUTOTYPE REPRODUCTIONS of FAMOUS \CORKS of ART from the PRINCIPAL NATIONAL COLLECTIONS OF EUROPE. The Series embraces almost the whole of the Masterpieces of the Great Artists of the Fifteenth, Sixteenth, and Seventeenth Centuries, and is rich in Examples of the Italian, Flemish, Dutch, German, French, and Spanish Schook of Painting. NUJIFXOL-S F.YAMPLC'S OF MODERN AND CONTEMPORARY ART, includingBl1RNE-JONES, Per- manent Copies of Wcrks by LORD LEICHTON, SIR EuWARI) G. F. WATTS, DANTE GABRIEL RossETTI, FORD MADOX BROWN, FREDERICK SHIELDS, HOLMAN HUNT, ALBERT MOORE, HENRY RYLAND, RUDOLPH LEHMANN, HERBERT SCHMALZ, and many others. SELECTED PICTURES from the PARIS SALONS. A NEW SERIES OF AUTOTYPE REPRODUCTIONS from the NATIONAL GALLERY, LONDON, now in course of publication. Each print ii sold separately. Price, Its. each. At the AUTOTYPE FINE ART GALLERY may he seen numerousexamples of PERMANENT AUTOTYPE COPIES, framed in special Moulding of appropriate design, suitable for the decoration of Hall, Library, Boudoir, &c. NOIV READY. The AUTOTYPE COMPANY'S FINE ART CATALOGUE of 184 page,, and REUSED ILLUSTRATED) SUPPLEMENT, containing 86 Miniature Reproduction. of Selected Autotypes. Price, Post free, ONE Sit I1.1. I Nt:. IPI-ý-1-6--ý-opl-ý--"ý -, THE AUTOTYPE COMPANY, FINE ART GALLERY, 74, NEW OXFORD STREET, LONDON, W. -
For Pictorial Photography You Must Have a " Sanderson."
-:nr^n::rx;^^-^i-:rrriv,:^':^':~:":^;:: T"vt^":'""'^rr' '-T^^!?!g?^,^7^:^g^T^ gHg For Pictorial Photography [Ifa I you must have a " Sanderson." CATALOGUE of the . Year to and yeir out the « Sanderson " Hand Camera maintain* its fepremsey. Other cameras appear, aio *d«c--;ts«l, and disappear into the ofclrvion. of tie Thirteenth Annual Exhibition of the tu?V Selves or the sale.ami exchange columns. But the " Saivdersoo * is heiivfi ir.-de to ci-er-iiicreiaiii^ iranit^ ttety year! No one ever want* to . sell a " Sanderson " unless be fa-either going to buy another ot fiive up the' bobby altogether. We have written to dozens of people who hate; advertised PHOTOGRAPHIC SALON ** £*ndern.iiJ ** for talei but In nine eases out of ten flw advertise! i» going to buy another ** Sanderson," a different sue, perhaps, 01 adilTctent patlcffl—bo* always another "Sanderson.'* The tenor of t' e replies Wy be •tnniued »p in one short sentence, wlii^.1 we quote from a !:• • r Kc;i*;Iy iteei.td from the editor or a well- knosin dai!y pap-r— 1 "I woi-M rather five tip photo graphy (ha a be without a 'Saad*Moa/M rj H:.«f YOU tcetiscd <•' yet that, it fa the short- _ comings, (he incrtifeal' "*T£J88BEK of the ordinary I eawiii that pfc-cit yjur ^^^^^^_^^^^^^_-____^^^_ •J rtflg goudwQtW Are JKHf picture* hong at'thc leading exhibitions? I>o Ibe edito:* of the :;•; pho:o,jrap&ie papers a&yon to seed lli>''» p.*»»tR for reproduction? Is it sot -< because yo, hate to apcbd io mitco time over your camera thai yoo cannot 1: dt i -..-.-ii'.ioc to alt the little detaiti that go to molte a saccesini! pfcli Thiofc-It ouv Settle with, y--;. -
Samuel and Mary R. Bancroft Pre-Raphaelite Manuscript Collection
Samuel and Mary R. Bancroft Pre-Raphaelite Manuscript Collection A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum Acquisition Information Bequest of Samuel and Mary R. Bancroft, 1935 Extent 47 linear feet Processed Betty Elzea, 1992 Access Restrictions Some restrictions apply to materials in Boxes 36 and 37A Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 www.delart.org Preferred Citation Samuel and Mary R. Bancroft Pre-Raphaelite Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum Table of Contents History of the Collection Scope and Contents Note Organization of the Collection Description of the Collection Added Material – Bancroft Archives Drawer List – Bancroft Archives History of the Collection The Samuel and Mary R. Bancroft Collection of Pre-Raphaelite Art at the Delaware Art Museum in Wilmington, Delaware, is unique. No other art collection is devoted specifically to this important nineteenth century movement, and it is doubtful that there are many other collections so thoroughly documented. The collection came about through the personal taste and enthusiasm of Samuel Bancroft, Jr. (1840- 1915), a Wilmington Quaker industrialist, and his family and business connection with Manchester, England. Bancroft was the son of Joseph Bancroft (1803-1874) of Rockford (now part of the city of Wilmington), who emigrated from Lancashire to the U.S.A. in 1824. Joseph was following his brother John, who had emigrated in 1821, and his parents, John and Elizabeth (Wood) Bancroft who, with their other eleven children had emigrated in 1822. -
If We All Waited to Publish Our One-Name Study Until We Felt We Had Found the Ultimate Answer, We Would Probably Not Publish at All
What does it all mean? If we all waited to publish our one-name study until we felt we had found the ultimate answer, we would probably not publish at all WHAT does it all mean? What’s the point? Why am I ings and assembled some pedigrees, convinced that doing this and how long will it take me? These are with a little more research they would prove that all surely questions just about every one-namer has the various Hollyer families were related. After all, asked themselves at some stage of their researches, given the fact that so many of the different families especially when feeling overwhelmed with the all seemed to have an artistic streak, surely there sheer weight of the results! In this special article, must be a connection? Guild Chairman PETER WALKER asks himself the Indeed, my Hollyers were signwriters, artists on same questions – and tries to give the answers. glass and the more traditional artists on canvas. The In February the Guild is holding a seminar on other large group of Hollyers were engravers and Publishing Your One-Name Study and we hope photographers. It occurred to me that these Peter’s article of extended length and detail about researchers – all from the USA and Canada – had not his own study will give other members some idea of done any basic collection of BMDs, since they were at least one approach to the topic. working on the other side of the Atlantic with no easy way to acquire the information stored away at F I WERE AN academic, I would have called that time in Somerset House. -
Lawrence Alma Tadema: Spring
LAWRENCE ALMA TADEMA Spring LAWRENCE ALMA TADEMA Spring Louise Lippincott GETTY MUSEUM STUDIES ON ART MALIBU, CALIFORNIA 1990 © 1991 The J. Paul Getty Museum 17985 Pacific Coast Highway Malibu, California 90265-5799 Mailing Address: P.O. Box 2112 Santa Monica, California 90407-2112 Library of Congress Cataloging-in-Publication Data Lippincott, Louise, 1953— Lawrence Alma Tadema : Spring / Louise Lippincott. p. cm. — (Getty Museum studies on art) Includes bibliographical references (p. ). ISBN 0-89236-186-7 1. Alma-Tadema, Lawrence, Sir, 183 6-1912. Spring. 2. Alma- Tadema, Lawrence, Sir, 1836-1912—Criticism and interpretation. I. Title. II. Series. ND497.A4A755 1991 759.2—dc2o 90-49669 CIP Cover, foldout: LAWRENCE ALMA TADEMA (British, 1836-1912). Spring, 1895. Oil on canvas, 178.4x80 cm (701/4 x 31 1/2 in.). Malibu, J. Paul Getty Museum 72.PA.3. Frontispiece: LAWRENCE ALMA TADEMA. Self-Portrait, 1896. Oil on canvas, 65.7x 53.5 cm (251/2x 21 in.). Florence, Galleria degli Uffizi. All photographs are reproduced courtesy of the owners and institutions with the following exceptions: frontis. (The Bridgeman Library, London); figs. 3 (Hanover Studios, London); 4 (© Elke Walford); 5, 25 (Alinari/Art Resource, New York [Anderson]); 7 (Walker Art Gallery, Liverpool; photo: John Mills); 8 (photo: O. E. Nelson, New York); 13 (courtesy of Kurt E. Schon, Ltd.); 15 (courtesy of Christie, Manson & Woods, London); 19 (Walker Art Gallery, Liverpool); 53 (courtesy of Sotheby's, New York); and 66 (courtesy of Academy of Motion Picture Arts and Sciences). CONTENTS Alma Tadema and Spring 7 Spring's Festival 10 The Importance of Details 40 Art and Empire 72 Notes 91 Selected Bibliography 94 Acknowledgments 9 7 Alma Tadema and Spring SIR LAWRENCE ALMA TADEMA (frontispiece) was a successful artist and a fundamentally happy man.