DOCSLIB.ORG

Gallery Guide Houghton Hall

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gallery Guide Houghton Hall COVER: John Wootton (English, 1682–1765). Sir Robert Walpole (detail), ca. 1725. Oil on canvas. Marquess of Cholmondeley, Houghton Hall. Photo: Bridgeman Art Library BACK COVER: Exterior view of Houghton Hall, Norfolk, England. Photo by Derry Moore Downtown Nashville 919 Broadway Nashville, TN 37203 fristcenter.org is exhibition is organized by the Museum of Fine Arts, Houston, in collaboration with Houghton Hall. An indemnity has been granted by the Federal Council on the Arts and the Humanities. e Frist Center for the Visual Arts is supported in part by: SIR ROBERT WALPOLE Catherine Shorter Maria Skerrett F –M , (1682–1737) (1702–1738) 1 E O P M (1676–1745) his landmark exhibition showcases the art and architecture of Houghton Hall, one of England’s grandest country houses. Located in Norfolk, roughly one hundred miles northeast of London, Houghton was built in the early 1700s for Britain’s rst prime minister, Sir Robert Walpole (1676–1745). Although Walpole spent Robert Walpole Margaret Rolle Mary Walpole George Cholmondeley Horace Walpole 2 E O (1709–1781) (1705–1731) 3 E C 4 E O most of the year at his London residences, which included 10 Downing Street when he was rst lord of the (1700–1751) (1702–1770) (1717–1797) treasury, the lavish rural retreat was a testament to his sophistication and wealth, as well as to his new position in government. Decorated by William Kent, the interior was lled with elaborate furniture designed specically for George Walpole George Cholmondeley Hester Edwardes 3 E O V M (ca. 1728–1794) each room, Walpole’s noted collections of Old Master paintings and Roman antiquities, generations of family (1730–1791) (1724–1764) portraits, and ne porcelain, silver, tapestries, and other objets d’art. George James Cholmondeley Georgiana Charlotte Bertie After Robert Walpole died in 1745, the family fortune experienced a sharp decline, culminating in the sale of his 4 E 1 M C (1764–1838) (1749–1827) paintings by his grandson to Russia’s Catherine the Great in 1779. Shortly thereafter, the estate passed to the Cholmondeley family through the grandson of Sir Robert’s daughter Mary, but the house was rarely occupied. George Horatio Cholmondeley William Henry Cholmondeley Marcia Arbuthnot It came alive again in the early twentieth century when the 5th Marchioness, Lady Sybil, took interest in the 2 M C 3 M C (1804–1878) home and carefully restored it to its former splendor. Her patronage of and close relationship with many artists, (1792–1870) (1800–1894) including John Singer Sargent, brought new works into Houghton, as did the inheritance of paintings and decorative art objects from her brother, Sir Philip Sassoon, a notable collector. Today, Houghton Hall is home Charles George Cholmondeley Susan Dashwood V M (d. 1891) to her grandson David Cholmondeley, the current marquess, and to his family. (1829–1869) With nearly two hundred objects on loan from the estate, this exhibition re-creates some of the key architectural George Henry Cholmondeley Winifred Kingscote spaces of Houghton, such as the impressive Stone Hall, made of marble, stucco, and limestone; the stately 4 M C (1862–1938) (1858–1923) Saloon, covered in rich crimson velvet; the ornate Marble Parlour, thought to be Britain’s rst dedicated dining room; and the mahogany-paneled Library. Highlighted objects include a pair of chairs and stools designed by George Horatio “Rock” Cholmondeley Sybil Sassoon Kent, still upholstered in the original fabric; a set of seventeenth-century woven tapestries depicting various 5 M C (1894–1989) seasonal activities; a silver-gilt punch bowl commissioned by King George I; and numerous examples of Sèvres (1883–1968) porcelain, an artform collected by many members of the residing family. e Picture Gallery features paintings made by artists ranging from Anthony van Dyck to éodore Géricault to Sir Edward Coley Burne-Jones, while Hugh Cholmondeley Lavinia Leslie portraits of Walpoles and Cholmondeleys by Pompeo Batoni, William Hogarth, Sir Joshua Reynolds, and 6 M C (b. 1921) (1919–1990) Sargent are spread throughout the installation. Together, these objects present a captivating story of three centuries of British art, history, and politics. David Cholmondeley Rose Hanbury 7 M C (b. 1960) Katie Delmez, curator, Frist Center for the Visual Arts.
Load more

Recommended publications
  • Anya Gallaccio
    ANYA GALLACCIO Born Paisley, Scotland 1963 Lives London, United Kingdom EDUCATION 1985 Kingston Polytechnic, London, United Kingdom 1988 Goldsmiths' College, University of London, London, United Kingdom SOLO EXHIBITIONS 2019 NOW, The Scottish National Gallery of Modern Art, Edinburgh, Scotland Stroke, Blum and Poe, Los Angeles, CA 2018 dreamed about the flowers that hide from the light, Lindisfarne Castle, Northumberland, United Kingdom All the rest is silence, John Hansard Gallery, Southampton, United Kingdom 2017 Beautiful Minds, Thomas Dane Gallery, London, United Kingdom 2015 Silas Marder Gallery, Bridgehampton, NY Lehmann Maupin, New York, NY Museum of Contemporary Art San Diego, San Diego, CA 2014 Aldeburgh Music, Snape Maltings, Saxmundham, Suffolk, United Kingdom Blum and Poe, Los Angeles, CA 2013 ArtPace, San Antonio, TX 2011 Thomas Dane Gallery, London, United Kingdom Annet Gelink, Amsterdam, The Netherlands 2010 Unknown Exhibition, The Eastshire Museums in Scotland, Kilmarnock, United Kingdom Annet Gelink Gallery, Amsterdam, The Netherlands 2009 So Blue Coat, Liverpool, United Kingdom 2008 Camden Art Centre, London, United Kingdom 2007 Three Sheets to the wind, Thomas Dane Gallery, London, United Kingdom 2006 Galeria Leme, São Paulo, Brazil One art, Sculpture Center, New York, NY 2005 The Look of Things, Palazzo delle Papesse, Siena, Italy Blum and Poe, Los Angeles, CA Silver Seed, Mount Stuart Trust, Isle of Bute, Scotland 2004 Love is Only a Feeling, Lehmann Maupin, New York, NY 2003 Love is only a feeling, Turner Prize Exhibition,
    [Show full text]
  • Hogarth in British North America
    PRESENCE IN PRINT: WILLIAM HOGARTH IN BRITISH NORTH AMERICA by Colleen M. Terry A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History Summer 2014 © 2014 Colleen Terry All Rights Reserved UMI Number: 3642363 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3642363 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 PRESENCE IN PRINT: WILLIAM HOGARTH IN BRITISH NORTH AMERICA by Colleen M. Terry Approved: ___________________________________________________________ Lawrence Nees, Ph.D. Chair of the Department of Art History Approved: ___________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts & Sciences Approved: ___________________________________________________________ James G. Richards, Ph.D. Vice Provost for Graduate and Professional Education I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ___________________________________________________________ Bernard L. Herman, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy.
    [Show full text]
  • Norfolk TALES Don Jolly Uses Two Wooded Club Sites As Bases from Which to Uncover a Host of East Anglian Attractions
    CLUB SITES THE SANDRINGHAM ESTATE & THE COVERT Norfolk TALES Don Jolly uses two wooded Club sites as bases from which to uncover a host of East Anglian attractions T FIRST glance, the Club’s two A shop reached along a tree-lined Snettisham, found on The Wash, is a quayside, the Custom House. Nearby If that sounds too energetic, you can There can’t be many caravan sites with Not to be missed: west Norfolk sites – The footpath offers basic foodstuffs, while must for all self-respecting birdwatchers. stands a statue of local lad Captain relax on ‘Sunny Hunny’s’ sandy beach a Second World War armoured vehicle at a mass take-off at Snettisham RSPB Sandringham Estate and The nearby West Newton’s village store sells One of the natural world’s spectacular George Vancouver, famous for exploring backed by red and white ‘layer cake’ cliffs, the entrance, but that’s what you’ll find A reserve Covert – appear very similar. Both lie meat from the royal estate. More down- sights is the mass take-off of thousands of North America’s Pacific coast. visit the Sea Life Sanctuary or take a boat at The Covert. ‘Little Audrey’, a within forest, but closer inspection reveals to-earth, the mobile Village Fryer calls on wading birds as the tide approaches. Miss A quarter of an hour away by car, Castle trip to view seal colonies. Beyond Cromwell tank, commemorates the five ❖ important differences. Monday, Wednesday and Friday evenings the moment and you could console yourself Rising has a superb Norman castle, while, Hunstanton, Norfolk’s north coast has months members of the 7th Armoured Most obviously, Sandringham is handy with fish and chips.
    [Show full text]
  • 'The Little-Ingenious Garrick and the Ingenious Little Hogarth'
    Video transcript 'The little-ingenious Garrick and the ingenious little Hogarth' Robin Smith Honorary Professor of English, University College London and William Chubb Actor The Queen’s Gallery, Buckingham Palace Wednesday, 23 April 2014 ROBIN SIMON: In July 1746 the great actor David Garrick wrote a reply to an invitation from the reverend John Hoadly – [CAPTION: The Revd John Hoadly (right) detail from double portrait with Dr Maurice Greene, 1747, National Portrait Gallery] WILLIAM CHUBB: Your invitation to the Old Alresford I most cordially accept of and the little ingenious Garrick with the ingenious little Hogarth will get up on a horseblock. Mount a couple of quadrupeds, or one if it carries double and high away to the reverend Rigdom Funnydose there to be merry, facetious, mad and nonsensical. ' ROBIN SIMON: Well they were certainly facetious. The house party acted, at least to their great enjoyment, what was described as a little bawdy play by Garrick, entitled Rag-and-jaw – rag and jaw. At this stage I think I ought to make one thing clear about Georgian life and humour, it’s, well how shall we put it, very down to earth. And so if you wish you may put your hands over your ears now. Rag-and-jaw is a skit upon the relationship between Brutus and Cassius in Julius Caesar, only now of course inevitably the characters are Brute-arse and Cassy-arse. I didn't say that Georgian, Georgian hjour was subtle. <Footer addr ess> Accompanied by Lucius, oh sorry Loose-arse. Garrick played Cassy-arse and the reverend John Hoadly was Brute-arse.
    [Show full text]
  • Given a Free Rein? Representations of Power in the Stables at Houghton Hall, Norfolk, and John Wootton's Sir Robert Walpole Wi
    VIDES III JEMIMA HUBBERSTEY Given a free rein? Representations of power in the stables at Houghton Hall, Norfolk, and John Wootton’s Sir Robert Walpole with his Hunter and Groom When Sir Robert Walpole first rose to political power from humble origins, he had much to prove to the world. In order to consolidate his position as Prime Minister against the backdrop of the new Hanoverian dynasty, Walpole capitalised on extravagant displays of power, impressing political peers and local squires alike by inviting them for entertainment and hunting at his estate at Houghton Hall, Norfolk. This was hardly coincidental: although relatively unexplored in scholarship, historically, horses served as vehicles to showcase a man’s elite social standing and ability to govern. However, it was also important for Walpole to recognise the limits of his power in order to demonstrate that he was no threat to the monarchy. This study examines the stable architecture at Houghton Hall and the equestrian portrait of Walpole by John Wootton (1726) in order to demonstrate the extent to which equestrian representations could function as a metaphor for both power and submission, which is particularly pertinent when applied to the hierarchical relations between Prime Minister and King. riting to the Prince of Wales on July 14, 1731, Lord Hervey would remark that Sir Robert Walpole’s Houghton Hall in Norfolk was a paradigm of W‘taste, expense, state and parade.’1 This comment in itself is perhaps unsurprising – country houses, after all, have always been about display, founded and embellished as part of a conscious mission to establish a dynastic ‘line’.2 However, what makes this comment so interesting in Walpole’s case is that as the first Prime Minister, Walpole was essentially a commoner who had risen to power.
    [Show full text]
  • 441044 Vol2.Pdf
    THE LITERARY REMAINS OF CHARLES HOWARD, THIRD EARL OF CARLISLE (1669 -1738) A CRITICAL EDITION WITH INTRODUCTION AND NOTES TWO VOLUMES with separate Appendix VOLUME 2 QUENTIN HARCOURT WILSON PHD JULY 2006 TABLE OF CONTENTS Page VOLUME 2 CHAPTER 4 ELDER STATESMAN: i POLITICIAN i Some Observations upon a Paper 277 CHAPTER 5 INTERLUDE iA Riddle upon a Game called Quadrille 309 CHAPTER 6 EL. DER STA TESMAN: ii PHILOSOPHER 1 Introduction to this group of Manuscripts 324 11 Background, Structure and Content 331 111 An Essay upon God and His Prophets 353 1V An Essay on Man and Nature 376 V An Essay on God, Man and Reason 388 Vi Remaining Mss relating to the "Essays" 398 Vii Poem: Reason, a Goddess 430 CHAPTER 7 LAST THINGS i Introduction to these Manuscripts 443 ii Poem: Advice to his Son (1738 Tex t) 461 iii Poem: Advice to his Son (mid-C 19th) 472 CONCLUSION 481 SUPPLEMENT A Letter of Carlisle to Sunderland dated 28/9/1720 (CH/J8/1/696) 484 BIBLIOGRAPHY 488 276 CHAPTER 4 ELDER STATESMAN: POLITICIAN Some Observations upon a Paper intituled The List [1733] 277 277 INTRODUCTION Some Observations upon a Paper intituled The List is the only document included here not existing in manuscript form at Castle Howard. Although anonymous, its attribution to Carlisle is confidently made from archive evidence. It is included as a significant document in the political life of the period, demonstrating Carlisle's involvement with contemporary events. Amongst letters addressed to Carlisle are two from Horatio Walpole, Cofferer to the Royal Household, and younger brother of Sir Robert.
    [Show full text]
  • The Morgan Presents the Satirical Drawings of Celebrated British
    Press Contacts Noreen Khalid Ahmad 212.590.0310 [email protected] Shaili Shah 212.590.0311 [email protected] The Morgan Presents the Satirical Drawings of Celebrated British Artist William Hogarth Hogarth: Cruelty and Humor May 24, 2019 to September 22, 2019 New York, NY, Wednesday, April 3, 2019 — The Morgan Library & Museum announces a new exhibition of satirical drawings and prints by renowned artist William Hogarth (1697–1764). Best known for his humorous political commentary, Hogarth’s work engaged a broad audience and agitated for legislative and social change. His intricate drawings and richly anecdotal scenes depict the ills and injustices of eighteenth-century urban life, exploring the connections between violence, crime, alcohol abuse, and cruelty to animals. He hoped his William Hogarth (1697–1764), Detail of Fourth Stage of Cruelty, 1750–51, red chalk, some graphite, on paper, incised with stylus. The Morgan Library & Museum, III, 32e, purchased by graphic work would amuse, shock, and Pierpont Morgan (1837–1913) in 1909. Photography Steven H. Crossot, 2014. ultimately edify his audience. Opening May 24, Hogarth: Cruelty and Humor tells the story of Hogarth’s iconic images and the social realities of life in Georgian London that inspired him to advocate for reform through popular works of art. It is the first show at the Morgan devoted to this artist, whose style was so influential in British art that the word “Hogarthian” remains a recognizable way of describing works of satire. Featuring over twenty works, the show investigates Hogarth’s creative process and examines his embrace of humor, highlighting the Morgan’s exceptional cache of preparatory drawings for his two most acclaimed print series from 1751: Beer Street and Gin Lane, and The Stages of Cruelty.
    [Show full text]
  • Download Tour Itinerary
    Discover the hidden treasures of North-west Norfolk Private “connoisseur” visits to 3 magnificent houses where William Kent worked: Houghton, Holkham & Raynham Other private houses & gardens not normally accessible also included Wonderful gardens at their late summer best Comfortable country house style hotel in idyllic surroundings Holkham Hall North Norfolk's broad rolling acres have long been home to great estates and important country houses; the income from agriculture one source of much of the area’s wealth. A second, equally important source was trade with North West Europe and Scandinavia, managed through the mighty Hanseatic League, of which King’s Lynn was an important member. At the outset of this tour, a day will be spent in and around King’s Lynn, and we shall be guided by the town’s most informed local guide. He has arranged private access to the town’s most important recently restored historic house, in addition to some of the town’s fine churches and civic buildings. Thereafter, our days will be spent exploring the houses, gardens and wonderful churches of this part of the world, subject to any government restrictions that may be in force when we visit. A remarkable figure looms large over the best of these houses – the Yorkshire genius, William Kent. Houghton Hall was a ‘new build’ mansion, commissioned by the Prime Minister, Sir Robert Walpole, where Kent was called in to ‘mastermind’ the interiors and their decoration, most of which are remarkably well preserved. Raynham Hall was already a fine house when Kent was employed to adapt it to the latest ideas associated with a revival of interest in all things ‘Palladian’, his expertise honed during his time in Italy.
    [Show full text]
  • The Rise of Consumerism in Rural England, 1675-1750
    UNIVERSITY OF CALIFORNIA SANTA CRUZ ENGLISH PURCHASING POWER: THE RISE OF CONSUMERISM IN RURAL ENGLAND, 1675-1750 A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in HISTORY by J. BRIEN O’CONNELL December 2012 The Dissertation of J. Brien O’Connell is approved: _____________________________________________ Professor Buchanan Sharp _____________________________________________ Professor Jonathan Beecher _____________________________________________ Professor Lynn Westerkamp ________________________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies TABLE OF CONTENTS Page LIST OF TABLES AND CHARTS.……..…………………………………….iv CHAPTER 1 INTRODUCTION………………………………………………1 Statement of Purpose……………………………………………2 Scope…………………………………………………………....9 2 HISTORICAL OVERVIEW…….……………………………..12 Cambridgeshire….…….……………………………………….12 Agricultural Systems.…….…………………………………….18 Land Organization...……………………………………………31 3 SIGNIFICANCE OF GRAIN MARKETS…………………….49 The Fens…………...…………………………………………...49 Local Discontent…………….…………………………………64 Corn Trade and Transport…..……………………………….....81 4 THE EVIDENCE OF WEALTH………………………………93 Architecture…………………………………………………....98 Contents of Interior…………………………………………...125 5 ASSESSMENT OF LUXURY GOODS……………………..130 Early Modern Debates………………………………………..131 Evidence of Internal Wealth………………………………….140 iii China………………………………………………………….146 Books………………………………………………………....152 Silver and Pewter……………………………………………..153 Linen and New Draperies…………………………………….157 Beds and
    [Show full text]
  • Graves of Artists and Architects Buried There
    Graves of architects and artists in the Chiswick Churchyard and Old Burial Ground A noteworthy feature of the burial ground associated with St Nicholas, Chiswick, is the remarkable number of graves of artists and architects buried there. This article records the graves of an important eighteenth-century architect and garden designer, a respected bricklayer and site manager, two well-regarded Victorian sculptors, and no fewer than six painters and printmakers. In comparison, I know of only one literary figure who was buried there: the maverick Italian poet and patriot, Ugo Foscolo (1778–1827). But perhaps he does not count, since his bones were exhumed in 1871 and returned to Italy for re-burial in Sta Croce, Florence. The churchyard harbours the tomb of only one theatrical figure, Charles Holland (1733–1769), but – as far as I am aware – of not one single composer. Two possible reasons for this bias in favour of the visual arts may be connected with two leading figures in the British eighteenth-century art world who were associated with St Nicholas, Chiswick. Lord Burlington (1694–1753) and William Hogarth (1697–1764) were close contemporaries, although they seldom if ever saw eye to eye. Lord Burlington was the architect of his ground- breaking Chiswick Villa, and he was also a celebrated aesthete and connoisseur. During highly profitable visits to Italy in the second decade, he amassed an important collection of Italian Renaissance and Baroque paintings. Chiswick Villa was designed in part specifically to display this collection, which enhanced Burlington’s status in the British art scene. His semi-permanent residence at Chiswick in the last 20 or so years of his life, and the inheritance of his estate by the Dukes of Devonshire from 1764, perhaps attracted other artists to the area, seeking aristocratic and royal patronage.
    [Show full text]
  • Global Encounters and the Archives Global Encounters a Nd the Archives
    1 Global Encounters and the Archives Global EncountErs a nd thE archivEs Britain’s Empire in the Age of Horace Walpole (1717–1797) An exhibition at the Lewis Walpole Library, Yale University October 20, 2017, through March 2, 2018 Curated by Justin Brooks and Heather V. Vermeulen, with Steve Pincus and Cynthia Roman Foreword On this occasion of the 300th anniversary of Horace In association with this exhibition the library Walpole’s birthday in 2017 and the 100th anniversary will sponsor a two-day conference in New Haven of W.S. Lewis’s Yale class of 2018, Global Encounters on February 9–10, 2018, that will present new and the Archives: Britain’s Empire in the Age of Horace archival-based research on Britain’s global empire Walpole embraces the Lewis Walpole Library’s central in the long eighteenth century and consider how mission to foster eighteenth-century studies through current multi-disciplinary methodologies invite research in archives and special collections. Lewis’s creative research in special collections. bequest to Yale was informed by his belief that “the cynthia roman most important thing about collections is that they Curator of Prints, Drawings and Paintings furnish the means for each generation to make its The Lewis Walpole Library own appraisals.”1 The rich resources, including manuscripts, rare printed texts, and graphic images, 1 W.S. Lewis, Collector’s Progress, 1st ed. (New York: indeed provide opportunity for scholars across Alfred A. Knopf, 1951), 231. academic disciplines to explore anew the complexities and wide-reaching impact of Britain’s global interests in the long eighteenth century Global Encounters and the Archives is the product of a lively collaboration between the library and Yale faculty and graduate students across academic disci- plines.
    [Show full text]
  • Nicolas Lancret: Dance Before a Fountain
    NICOLAS LA1VCRET Dance Before a r~zfountain~ NICOLAS LA1VCRET Dance Before a r~Tfountain~ MARY TAVENER HOLMES WITH A CONSERVATION NOTE BY MARK LEONARD THE J. PAUL GETTY MUSEUM LOS ANGELES This book is dedicated to Donald Posner GETTY MUSEUM STUDIES ON ART Library of Congress Cataloging-in-Publication Data © 2006 J. Paul Getty Trust Holmes, Mary Tavener. Nicolas Lancret : Dance before a fountain / Mary Tavener Holmes ; Getty Publications with a conservation note by Mark Leonard. I2OO Getty Center Drive, Suite 5OO p. cm. — (Getty Museum studies on art) Los Angeles, California ^004^^-1682 Includes bibliographical references and index. www.getty.edu ISBN-I3: 978-0-89236-83^-7 (pbk.) ISBN-IO: 0-89236-832-2 (pbk.) I. Lancret, Nicolas, 1690—1743- Dance before a fountain. 2- Lancret, Christopher Hudson, Publisher Nicolas, 1690 —1743"Criticism and interpretation. 3- Genre painting, Mark Greenberg, Editor in Chief French — l8th century. I. Leonard, Mark, 1954 ~~ H- Lancret, Nicolas, 1690 — 1743. III. J. Paul Getty Museum. IV. Title. V. Series. Mollie Holtman, Series Editor ND553.L225A65 2006 Abby Sider, Manuscript Editor 759.4-dc22 Catherine Lorenz, Designer 2005012001 Suzanne Watson, Production Coordinator Lou Meluso, Anthony Peres, Jack Ross, Photographers All photographs are copyrighted by the issuing institutions or by their Typesetting by Diane Franco owners, unless otherwise indicated. Figures 14, 16, 18, 29, 3^, 43> 57» 60, Printed in China by Imago 63 © Reunion des Musees Nationaux/Art Resource, New York. Figures 21, 30, 31, 34, and 55 are use<i by kind permission of the Trustees of the Wallace Collection, London. Frontispiece: Michel Aubert (French, 1700 —1757)> Nicolas Lancret [detail], engraving, from Antoine Joseph Dezallier d'Argenville (French, 1680 — 1765), Abrege de la vie des plus fameux peintres (Paris, I745~52)> vol.
    [Show full text]