C2. Artists: Designers, Sculptors and Craftsmen

Total Page:16

File Type:pdf, Size:1020Kb

C2. Artists: Designers, Sculptors and Craftsmen C2. ARTISTS: DESIGNERS, SCULPTORS AND CRAFTSMEN Full references to sculptors are given in Rupert Gunnis, Dictionary of British Sculptors 1660–1851, 1953 (rev. edn 1968); more recent published material is included in the bibliography in M. Whinney, rev. J. Physick, Sculpture in Britain: 1530–1830, Pelican History of Art, 1988. Also see A. White’s Ph.D. thesis ‘Church Monuments in Britain 1560– 1660’, 1992. Information on stained glass can be found in Journal of the British Society of Master Glass Painters (from 1983 the Journal of Stained Glass). ADAMS, Robert (1917-84) Grieve, A. 1992 The Sculpture of Robert Adams ARMITAGE, Joseph (1880–1945) Armitage, E. 1982 Joseph Armitage, craftsman, 1880–1945, Thirties Society Journal 3, 25–30 ARMITAGE, Kenneth (1916-) Woollcombe, T. 1997 Kenneth Armitage, life and work AYRES, Arthur J.J. (1902–85) 1986 An Architectural Sculptor, Arthur J.J. Ayres (pamphlet from exhibition at the R.I.B.A. Heinz Gallery, London) BACON, John, the elder (1740–99, sculptor) Cox-Johnson, A. 1961 John Bacon, St Marylebone Publications 4 BAKEWELL, Robert (d.1755) Edwards, I. 1962 A great gatesmith reassessed, Country Life 132 (27 September), 716–7 BANKS, Thomas (1735–1805) Bryant, J. 1985 The church memorials of Thomas Banks, Church Monuments Journal 1, part 1, 49–64 BAYES, Gilbert (1872-1953) Irvine, L., & Atterbury, P. 1998 Gilbert Bayes Artists: Designers, Sculptors & Craftsmen 1 BELL, John (1812-1895) Barnes, Richard 1999 John Bell: the sculptor’s life and work BIRD, Francis (1667–1731) Rendel, R. 1976 Francis Bird, 1667–1731, sculptor, Recusant History 2, no. 4, 206 BOEHM, Joseph Edgar (1834–90) Stocker, M. 1988 The Church Monuments of Joseph Edgar Boehm, Church Monuments 3, 61–75 Stocker, M. 1988 Royalist and Realist. ‘The Life of Sir Joseph Edgar Boehm’, Ph.D. thesis, University of Hull BRANGWYN, Sir Frank (1867–1956) Brangwyn, R. 1978, 2nd ed. 1980 Brangwyn Furst, H. 1924 The Decorative Art of Frank Brangwyn Galloway, V 1962 The Oils and Murals of Sir Frank Brangwyn Homer, L. 2002 Brangwyn and the Japanese connection Decorative Arts Society Journal 26, 72-83 Macer-Wright, P. 1940 Brangwyn: A Study of Genius at Close Quarters Sparrow, W.S. 1910 Frank Brangwyn and His Work BRIDGEMAN, Charles (d.1738) Willis, P. 1977, 2nd ed. 2002 Charles Bridgeman and the English Landscape Garden BROMSGROVE GUILD (working 1898-1966) Watt, Q. (ed). 1999 The Bromsgrove Guild: an illustrated history BURNE-JONES, Sir Edward (1833–98) See also DB2; O’Connor, D. Sir Edward Burne-Jones (catalogue of exhibition at the 1967 Fulham Library, London), M. Bell, M. 1893, 2nd ed. Edward Burne-Jones: a record and review 2 Artists: Designers, Sculptors & Craftsmen BUSHNELL, John (d.1701) Esdaile, K.A. 1927 John Bushnell, Walpole Society 15 Esdaile, K.A. 1933 Additional notes on John Bushnell, Walpole Society 21 CARR, Eric (d.1991) Richardson, A.F. 1992 Eric Carr, Artist and Sculptor of Liverpool CARTER, Benjamin (d.1766) and Thomas (d.1795) Gunnis, R. 1958 The Carters, Georgian sculptors, Architectural Review 123 (May), 334 CHANTREY, Sir Francis (1781–1841) Dunkerley, S. 1995 Francis Chantrey, Sculptor Lieberman, I.D. 1990 Sir Francis Chantrey’s Early Monuments to Children, and Neoclassical Sensibilities, Church Monuments 5, 70–80 Potts, A. 1981 Chantrey as the national sculptor of early-nineteenth- century England, Oxford Art Journal 4, 17 Potts, A. 1981 Sir Francis Chantrey, 1781–1841 (exhibition catalogue) Yarrington, A., Lieberman, I., Potts, A., and Baker, M. 1991 An Edition of the Ledger of Sir Francis Chantrey, R.A., at the Royal Academy 1809–41, Walpole Society 56 CHEERE, Sir Henry (1703–81) and John (1709–87) Baker, M. 1986 Sir Henry Cheere and the response to the Rococo in English sculpture, The Rococo in England (Georgian Group symposium, 1984, ed. C. Hind), 143–60 Friedman, T., and Clifford, T. 1974 The Man at Hyde Park Corner. Sculpture by John Cheere, 1709–1787 (exhibition catalogue, Temple Newsam, Leeds, and at Marble Hill House, Twickenham) Webb, M.I. 1958 Henry Cheere, sculptor and businessman, and John Cheere, Burlington Magazine 100, 232–40 and 274–9 CIBBER, Caius Gabriel (1630–1700) Faber, H. 1926 Artists: Designers, Sculptors & Craftsmen 3 Caius Gabriel Cibber 1630–1700: life and work Manners, Lady V. 1930 Garden sculpture by Caius Gabriel Cibber, Country Life 68 (27 September), 382 CLAYTON, J.R. (1827–1913), and BELL, Alfred (1848–1895) Clayton and Bell, J.B.Soc.M.G.Ptrs. 4, 142–5 1932 Galiki, M. 1987 Clayton and Bell, Victorian and Edwardian Stained Glass: the work of five London studios 1855–1910 (English Heritage), 7–12 Larkworthy, P. 1984 Clayton and Bell, stained glass artists and decorators (Ecclesiological Society) COADE, Eleanor (firm active 1769–1820), see also F7 Kelly, A. 1990 Mrs Coade’s Stone COX, Stephen Bann, S. 1995 The Sculpture of Stephen Cox CRACE, family Aldrich, M., ed. 1990 The Craces: Royal Decorators 1768–1899 CRANE, Walter (1845-1915) Smith, G., and Hyde, S., eds. 1989 Walter Crane: Artist, Designer & Socialist (catalogue of an exhibition at the Whitworth Art Gallery, Manchester) DAY, Lewis Foreman (1845–1910) Ross, D. 1929 Lewis Foreman Day, designer and writer on stained glass, J.B.Soc.M.G.Ptrs. 3, 5–8 DOBSON, Frank (1886-1963) Jason, N, and Thompson-Pharoah, L. 1994 The Sculpture of Frank Dobson DORN, Marion (1896–1964) Boydell, C. 1996 The Architect of Floors: modernism, art and Marion Dorn designs EARP, Thomas (1828–93) Mitchell, A. 1990 4 Artists: Designers, Sculptors & Craftsmen Thomas Earp, Master of Stone Mitchell, A. and Mitchell, O. 2002 Thomas Earp: eminent Victorian sculptor EPSTEIN, Sir Jacob (1880–1959) Silbeck, E. 1986 The Sculpture of Epstein 1940, 2nd ed. 1962 An Autobiography EVESHAM, Epiphanius (1570–after 1633) Esdaile, E. 1981 A most exquisite ‘artist’, the work of Epiphanius Evesham, Country Life 169 (11 June), 1690 FARMER, William (1823–79), and BRINDLEY, William (1832–1919) Hardy, E. 1993 Farmer and Brindley: Craftsman Sculptors 1850–1930, Victorian Society Annual FLAXMAN, John (1755–1826) Bindman, D., ed. 1979 John Flaxman (catalogue of exhibition at the Royal Academy, London) Bindman, D. ed. 2003 John Flaxman 1755-1826: master of the purest line Irwin, D. 1979 John Flaxman, 1755–1826, sculptor, illustrator, designer Symmons, S. 1975 The Spirit of Despair: patronage, primitivism and the art of John Flaxman, Burlington Magazine 117, 644–50 Webster, M. 1980 A poet and his protégé sculptor, Country Life 168 (4 September), 774–7 Whinney, M.D., and Gunnis, R. 1967 The Collection of Models by John Flaxman R.A. at University College, London FLEMING, Ronald (1896–1968) Powers, A. 1995 Ronald Fleming and Vogue Regency, Decorative Arts Society Review 19, 51-8 FLOWER, Barnard (active c.1500–17) Oswald, A. 1952 Barnard Flower, the King’s glazier, J.B.Soc.M.G. Ptrs.11, 8–21 Artists: Designers, Sculptors & Craftsmen 5 FORSYTH, Moira (1905–87) Mole, S. 1986–7 Moira Forsyth, Journal of Stained Glass 18 (2), 215–20 FOWLER, John, see D6, Cornforth 1985 FRAMPTON, Edward (1850–1929) Wilkinson, A. 1953 Edward Frampton, 1850–1929, master glass-painter, J.B.Soc.M.G.Ptrs. 11, 70–1 FRAMPTON, Sir George (1860–79) Jezzard, A. 1996 ‘An all round craftsman’ – George Frampton’s Church Monuments, Church Monuments 11, 61–70 GEDDES, Wilhelmina (1887–1955) Gordon-Bowe, N. 1988 Wilhelmina Geddes 1887–1955 Her Life and Work – A Reappraisal, J.B.Soc.M.G.Ptrs. 18 (3), 275–301 GIBBONS, Grinling (1648–1721) Beard, G. 1989 The Work of Grinling Gibbons Esterley, D. 1998 Grinling Gibbons and the Art of Carving Green, D. 1964 Grinling Gibbons: his work as carver and statuary Stewart, J.D. 1963 Some unrecorded Gibbons monuments, Burlington Magazine 105, 125–6 Tipping, A.H. 1914 Grinling Gibbons and the Woodwork of His Age GIBSON, JOHN (1790-1866) Matthews, T. 1911 The Biography of John Gibson R.A. GILBERT, Sir Alfred (1854–1934) Dorment, R. 1986 Sir Alfred Gilbert Dorment, R. 1986 Alfred Gilbert: sculptor and goldsmith (catalogue of exhibition at the Royal Academy, London) GILL, Eric (1882–1940) 6 Artists: Designers, Sculptors & Craftsmen Gill, E.R. 1964 Inscriptional Work of Eric Gill: an inventory McCarthy, F. 1989 Eric Gill Peace, D. 1994 Eric Gill: The Inscriptions, a descriptive catalogue GUELFI, G.B. (1714–34) Webb, M.I. 1955 Giovanni Battista Guelfi, Burlington Magazine 97, 139–45 and 260 HEATON, Clement (1824–82), BUTLER, James (1830–1913), and BAYNE, Robert (1837–1915) Galiki, M. 1987 Heaton, Butler and Bayne, Victorian and Edwardian Stained Glass: the work of five London studios 1855–1910 (English Heritage), 13–16 HOLIDAY, Henry George (1839–1927) Baldrey, A.L. 1930 Henry Holiday, Walker’s Quarterly Holiday, H. 1914 Reminiscence of My Life London Borough of Waltham Forest 1989 Henry Holiday 1839–1927 (catalogue of exhibition at the William Morris Gallery, London) HUMPHREYS, H.N. (1810–79) Leathlean, H. 1995 From Gardenesque to Home Landscape: The Garden Journalism of Henry Noel Humphreys, Garden History 23, no. 2, 175–91 JAMES, Robert – 8th Baron Petre (1713–43) Chambers, D. 1991 Painting with Living Pencils: Lord Petre, Garden History 19 (2), 60–76 JEKYLL, Gertrude (1843–1932) Brown, J. 1982 Gardens of a Golden Afternoon Hinge, D. 1982 Gertrude Jekyll: 1843–1932. A bibliography of her writings, Journal of Garden History 2, 285–99 Jekyll, F. 1934 Artists: Designers, Sculptors & Craftsmen 7 Gertrude Jekyll: a memoir Tooley, M., and Alexander, P. 1996 Essays on the Life of a Working Amateur JELLICOE, Geoffrey (see Architects) JOHN, William Goscombe (1860–1952) Pearson, F., ed. 1979 Goscombe John at the National Museum of Wales (catalogue of exhibition at the National Museum of Wales) KAUFFMAN, Angelica (1741–1807) Roworth, W.W., ed.
Recommended publications
  • Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
    MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as
    [Show full text]
  • Annual Report 2018–2019 Artmuseum.Princeton.Edu
    Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb.
    [Show full text]
  • CASE 6 Shelf 1 #1 Fancy Opaque Glass 1982.65 WATER Challinor Taylor and Paneled Flower Funds Provided PITCHER Co., Pittsburgh, PA, Pattern, No
    CASE 6 Shelf 1 #1 Fancy Opaque Glass 1982.65 WATER Challinor Taylor and Paneled Flower Funds provided PITCHER Co., Pittsburgh, PA, pattern, No. 23, by the Fifth patent June 1, 1886 pressed purple slag Annual Benefit opaque soda-lime Antiques Show glass Shelf 1 #2 Fancy Opaque Glass 1990.78 ELECTRIC New Martinsville Peachblow or Gift of Mrs. LIGHT Glass Mfg. Co., New Sunburst line, shaded Betty Woods SHADE Martinsville, WV, pink mold-blown Daniel about 1905-1910 glass with iridescent gold lining 1982.183AB BRIDE’S New Martinsville New Martinsville Gift of Mrs. BOWL ON Glass Mfg. Co., New Peachblow, pink Betty Woods STAND Martinsville, WV, shaded to white Daniel about 1905-1910 mold-blown glass, silver plated stand Shelf 1 #3 Opalescent and Iridescent 1981.138 BERRY Northwood Glass Diamond Funds provided BOWL Company, Indiana, Spearhead pattern, by Mr. Arthur B. PA, about 1900 deep blue shaded to Beaumont opalescent pressed glass 1990.109.1 TWO Dugan Glass Co., Diamond Museum 1990.109.2 MATCHING Indiana, PA, about Spearhead pattern, purchase INDIVIDUAL 1910 deep blue shaded to BERRY opalescent pressed BOWLS glass Shelf 1 #4 Opalescent and Iridescent 1000.164 DISH Dugan Glass Co., Peach opalescent Museum Indiana, PA, about pressed soda-lime purchase 1910-1914 glass with iridescent finish CASE 6 - Page 1 1989.72 BOWL Dugan Glass Co., Petals and Fans Museum Indiana, PA, about pattern on front with purchase 1910-1914 Jeweled Heart pattern on back, amethyst pressed soda-lime glass with deep iridescent finish 1994.39 PLATE Dugan Glass Co., Persian
    [Show full text]
  • Literary Miscellany
    Literary Miscellany Including Recent Acquisitions. Catalogue 286 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.reeseco.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request.
    [Show full text]
  • 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.
    [Show full text]
  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) Casting Rodin’s Thinker Sand mould casting, the case of the Laren Thinker and conservation treatment innovation Beentjes, T.P.C. Publication date 2019 Document Version Other version License Other Link to publication Citation for published version (APA): Beentjes, T. P. C. (2019). Casting Rodin’s Thinker: Sand mould casting, the case of the Laren Thinker and conservation treatment innovation. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:07 Oct 2021 Chapter 2 The casting of sculpture in the nineteenth century 2.1 Introduction The previous chapter has covered the major technical developments in sand mould casting up till the end of the eighteenth century. These innovations made it possible to mould and cast increasingly complex models in sand moulds with undercut parts, thus paving the way for the founding of intricately shaped sculpture in metal.
    [Show full text]
  • Books Available to Buy
    The Stained Glass Centre: Books Available to Buy If you are interested in purchasing any of the books listed below, please get in contact with the Friends Administrator by post or email: The Stained Glass Centre Friends Administrator, c/o York Glaziers Trust, 6 Deangate, York YO1 7JB, or [email protected] Books can be picked up from the centre by arrangement, made available to collect at any of our upcoming events, or will be posted to you. Postage and packaging prices will be dependent on the weight and size of purchase. Many thanks The Stained Glass Centre Author Title Price Stock History of York Minster (no cover so title and author £1.00 1 unknown) Albutt, R. Stained Glass Windows of AJ Davies of the £25.00 1 Bromsgrove Guild, Worcestershire Albutt, R. Stained Glass Windows of Bromsgrove and Redditch, £8.00 1 Worcestershire Angus, M. Modern Stained Glass in British Churches £5.00 3 Archer, M. Introduction to English Stained Glass £2.00 7 Archer, M. Stained Glass £1.00 4 Armitage, L. Stained Glass £10.00 1 Atterbury, P. Pugin £25.00 2 Aubert, M. Stained Glass of the Xiith and Xiiith Centuries from £12.00 1 French Cathedrals Aubert, M. Le Vitrail en France £5.00 1 Baker, E. Church Archaeology £5.00 1 Baker, J. English Stained Glass of the Medieval Period (83 £10.00 3 Plates) Beaulah, K. Church Tiles of the Nineteenth Century £1.00 1 Beckett, L. & A. York Minster £3.00 1 Hornak Beckett, W. & G. Pains of Glass: The Story of the Passion from King's £2.00 2 Pattison College Chapel, Cambridgeshire Bell, C.C.
    [Show full text]
  • Conference New Sculptors, Old Masters: the Victorian Renaissance of Italian Sculpture Friday 9 March 2019, 10.00–17.30 Henry Moore Lecture Theatre, Leeds Art Gallery
    Conference New Sculptors, Old Masters: The Victorian Renaissance of Italian Sculpture Friday 9 March 2019, 10.00–17.30 Henry Moore Lecture Theatre, Leeds Art Gallery Programme 10.00–10.15 Welcome and Opening Remarks Dr Charlotte Drew (University of Bristol) 10.15–12.15 Site and Seeing: Encountering Italian Sculpture in the Nineteenth Century Chair: Dr Charlotte Drew (University of Bristol) 10.15–10.35 Prof. Martha Dunkelmann (Canisius College, Buffalo) ‘Augustus Saint-Gaudens and Donatello’ 10.35–10.55 Thomas Couldridge (Durham University) ‘South Kensington’s Cupid and Modern Receptions: A New Chapter’ 10.55–11.15 Discussion Chair: Dr Melissa Gustin (Henry Moore Institute) 11.15–11.35 Dr Deborah Stein (Boston College) ‘Charles Callahan Perkins’ Outline Illustrations of his Art Historical Scholarship on Early Italian Renaissance Sculpture’ 11.35–11.55 Dr Lynn Catterson (Columbia University, New York) ‘New Sculptors, New Old Masters: The Manufacture of Italian Renaissance Art in the Late Nineteenth-century Art Market’ 11.55–12.15 Discussion 12.15–13.30 Lunch 13.30–15.00 Italian Sculpture and the Decorative Chair: TBC 13.30–13.50 Dr Juliet Carroll (Liverpool John Moores University) ‘Encountering the Unique: The Della Robbia Pottery of Birkenhead and the Architectural Bas-reliefs of Luca della Robbia’ 13.50–14.10 Samantha Scott (University of York) ‘Lithophanes and the Italian Renaissance: Translation between Two and Three Dimensions’ 14.10–14.30 Dr Ciarán Rua O’Neill (University of York) ‘More Versatile than Most: Alfred Gilbert and Benvenuto Cellini’ 14.30–15.00 Discussion 15.00–15.30 Tea Break 15.30–17.00 Old Masters, New Mistresses Chair: Prof.
    [Show full text]
  • 'Daylight Upon Magic': Stained Glass and the Victorian Monarchy
    ‘Daylight upon magic’: Stained Glass and the Victorian Monarchy Michael Ledger-Lomas If it help, through the senses, to bring home to the heart one more true idea of the glory and the tenderness of God, to stir up one deeper feeling of love, and thankfulness for an example so noble, to mould one life to more earnest walking after such a pattern of self-devotion, or to cast one gleam of brightness and hope over sorrow, by its witness to a continuous life in Christ, in and beyond the grave, their end will have been attained.1 Thus Canon Charles Leslie Courtenay (1816–1894) ended his account of the memorial window to the Prince Consort which the chapter of St George’s Chapel, Windsor had commissioned from George Gilbert Scott and Clayton and Bell. Erected in time for the wedding of Albert’s son the Prince of Wales in 1863, the window attempted to ‘combine the two ele- ments, the purely memorial and the purely religious […] giving to the strictly memorial part, a religious, whilst fully preserving in the strictly religious part, a memorial character’. For Courtenay, a former chaplain- in-ordinary to Queen Victoria, the window asserted the significance of the ‘domestic chapel of the Sovereign’s residence’ in the cult of the Prince Consort, even if Albert’s body had only briefly rested there before being moved to the private mausoleum Victoria was building at Frogmore. This window not only staked a claim but preached a sermon. It proclaimed the ‘Incarnation of the Son of God’, which is the ‘source of all human holiness, the security of the continuousness of life and love in Him, the assurance of the Communion of Saints’.
    [Show full text]
  • Indoor Glass Cleaning Brochure
    Clean Windows and Glass Faster, Safer and with Less Chemicals Indoor Glass Cleaning A Complete Line For All Glass Cleaning Needs ungerglobal.com Safely and Efficiently Clean All Your Indoor Glass Cleaning professionals face two key challenges when cleaning indoor surfaces such as windows, mirrors and elevators: safety and efficiency. Current window and glass cleaning tools lead to time-consuming and dangerous issues, like re-arranging furniture and reaching high or unusually positioned windows. Unger’s line of indoor window and glass cleaning tools increase productivity and safety by eliminating time spent moving furniture or climbing ladders. Clean Windows The Award Winning Choice 25% Faster and use for Indoor Glass Cleaning The Unger Stingray Ultimate Indoor 39% Less Chemicals Cleaning Tool provides a variety of glass and * window cleaning options, while the multiple than traditional spray and cloth cleaning lightweight extension poles enable you to clean high access areas without the use of ladders! The cleaning solution is powered by 3M Scotchgard™ Protection, which reduces the need to clean glass as often over time and can clean up to 1600 sq. ft. of windows before replacement. SRKT8 Stingray® Indoor Cleaning Kit - Deluxe 10’ shown *Source: Market Research – Professional Window Cleaners. Germany/UK, 2015, SR Strategy Routes Stingray® Indoor glass and window cleaning with Maximum Refillable System The Unger Stingray Flexibility, with new Refillable Refillable System allows ™ you to use your preferred Bottles and QuikPads window cleaning solution while still gaining all the QuikPad™ eliminates the need for laundering safety, speed and cleaning benefits Stingray provides. The QuikPad™ provides even more flexibility, allowing you to clean Adapter Plate used without having to launder with QuikPad™ Refillable bottle allows pads.
    [Show full text]
  • The Gothic Revival Character of Ecclesiastical Stained Glass in Britain
    Folia Historiae Artium Seria Nowa, t. 17: 2019 / PL ISSN 0071-6723 MARTIN CRAMPIN University of Wales THE GOTHIC REVIVAL CHARACTER OF ECCLESIASTICAL STAINED GLASS IN BRITAIN At the outset of the nineteenth century, commissions for (1637), which has caused some confusion over the subject new pictorial windows for cathedrals, churches and sec- of the window [Fig. 1].3 ular settings in Britain were few and were usually char- The scene at Shrewsbury is painted on rectangular acterised by the practice of painting on glass in enamels. sheets of glass, although the large window is arched and Skilful use of the technique made it possible to achieve an its framework is subdivided into lancets. The shape of the effect that was similar to oil painting, and had dispensed window demonstrates the influence of the Gothic Revival with the need for leading coloured glass together in the for the design of the new Church of St Alkmund, which medieval manner. In the eighteenth century, exponents was a Georgian building of 1793–1795 built to replace the of the technique included William Price, William Peckitt, medieval church that had been pulled down. The Gothic Thomas Jervais and Francis Eginton, and although the ex- Revival was well underway in Britain by the second half quisite painterly qualities of the best of their windows are of the eighteenth century, particularly among aristocratic sometimes exceptional, their reputation was tarnished for patrons who built and re-fashioned their country homes many years following the rejection of the style in Britain with Gothic features, complete with furniture and stained during the mid-nineteenth century.1 glass inspired by the Middle Ages.
    [Show full text]
  • Review of 'Sculpture Victorious: Art in an Age of Invention, 1837–1901' At
    Review of ‘Sculpture Victorious: Art in an Age of Invention, 1837–1901’ at the Yale Center for British Art, 11 September to 30 November 2014 Jonathan Shirland Stepping out of the elevator onto the second floor, the trio demand attention immediately, and thereby recalibrate our (stereotyped) relation- ship to Victorian sculpture at a stroke. They are impossible to ignore, or walk past. Yet they are a difficult grouping, with the darkly coloured, male, full-length statue of James Sherwood Westmacott’s Saher de Quincy, Earl of Winchester of 1848–53 in uncertain relation to the two very different yet equally captivating busts of Victoria positioned to his left (Fig. 1). Francis Leggatt Chantrey’s rendering from 1840 makes the nineteen-year-old queen sexy: the animated mouth and nostrils, bare neck and shoulders, and subtle folding of the tiara into the plaits of hair reinforcing an exem- plary demonstration of the sensuality of marble. Yet, Alfred Gilbert’s mon- umental three-foot bust made between 1887 and 1889 for the Army & Navy Club in London looms over the shoulder of Chantrey’s young queen; the multiple textures, deep undercutting, and surface detail present an ageing Victoria at her most imposing. So what is Westmacott’s piece doing here as an adjunct to this pairing of sculptural portraits? The curators were perhaps keen to show off the first of their many coups by immediately pre- senting to us a novel sculptural encounter: Westmacott’s Earl is normally removed from close scrutiny, looking down on the chamber of the House of Lords from a niche twenty-five feet above the floor, alongside statues of seventeen other barons and prelates who in 1215 helped to secure the signing of the Magna Carta.
    [Show full text]