The William Shipley Group for Rsa History
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ROPEWALK THREE PIGEONS BRUNSWICK HOUSE Arch 52, London Road, 30 Wandsworth Road, Maltby Street, Milton Common, Vauxhall, Bermondsey, Oxfordshire OX9 2JN London SW8 2LG London SE1 3PA www.lassco.co.uk +44 (0)1844 277188 +44 (0) 20 7394 2100 +44 (0)20 7394 8061 [email protected] [email protected] [email protected] SIR WILLIAM CHAMBERS' DOORCASE An important carved Portland Stone doorcase c.1769, by Chambers (1723-1796) for his own house in Berners Street Westminster the triangular pediment with dentil mouldings above the rusticated cushion moulded frieze centred by a keystone in Coade Stone modelled in relief with a female mask, the jambs constructed with alternating rusticated quoins, DIMENSIONS: 432cm (170") High, 244cm (96") Wide, 198 (78.5) wide at jambs, Aperture = 315 x 152cm (124 x 59.75 STOCK CODE: 43528 HISTORY Sir William Chambers (1723-96) is one of the most revered of Georgian neo-classical architects. In his early career he was appointed architectural tutor to the Prince of Wales, later George III. In 1766, he became Architect to the King, (this being an unofficial title, rather than an actual salaried post with the Office of Works). He worked for Augusta, Dowager Princess of Wales building exotic garden buildings at Kew (the pagoda is his), and in 1757 he published a book of Chinese designs which had a significant influence on contemporary taste. He developed his Chinese interests further with his Dissertation on Oriental Gardening (1772), a fanciful elaboration of contemporary English ideas about the naturalistic style of gardening in China. -
The Railway Poster in Britain
Features Railways and Tourism (part 2) The Railway Poster in Britain Dieter W. Hopkin and Beverley Cole Museum’s extensive collection (see pp. bills and notices were similar to those that The National Railway Museum 25–28). The story of railways in Britain had been used by the stagecoaches. A has been reflected in the development of simple statement of the services the rail- The National Railway Museum (NRM) in the railway poster. This art form illustrates ways offered was enough to show that York is part of the National Museum of the major changes that have occurred in they were preferable and often quicker Science and Industry of Britain. It was British society over the years and captures and cheaper. These letterpress posters opened in 1975 and is probably the big- the spirit and character of British life over were produced using standard printing gest museum of its type in the world. Its that period. Railway posters also provide blocks and included no individual graphic collections are the largest, the most com- historical information about the geo- design. When illustrative elements were prehensive, and the most significant in graphical growth of the network and about introduced, they were generally standard their field anywhere in the world and in- the people for whom they were designed. patterns depicting generic locomotives clude 100 locomotives, nearly 200 car- As such, they are material evidence of Brit- and carriages that were combined to form riages and wagons and artefacts of every ish culture and are social documents. trains. description from uniforms to signalling They illustrate styles in art, the changing By the 1850s, rivalry between the large equipment. -
Gothic Visions of Classical Architecture in Hablot Knight Browne's 'Dark' Illustrations for the Novels of Charles Dickens
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Birkbeck Institutional Research Online Janes, Dark illustrations, revised version, p. 1 Gothic Visions of Classical Architecture in Hablot Knight Browne’s ‘Dark’ Illustrations for the Novels of Charles Dickens Figs. 1. A. W. N. Pugin, detail, ‘Contrasted Residences for the Poor’, Contrasts (1836). 2. H. K. Browne, ‘The Mausoleum at Chesney Wold’, Bleak House (1853). 3. H. K. Browne, ‘Little Dorrit’s Party’, Little Dorrit (1856). 4. H. K. Browne, ‘Damocles’, Little Dorrit (1857). 5. H. K. Browne, ‘The Birds in the Cage’, Little Dorrit (1855). 6. H. K. Brown, working sketch, ‘The River’, David Copperfield, Elkins Collection, Free Library of Philadelphia (1850). 7. H. K. Browne, ‘The River’, David Copperfield (1850). Early Victorian London was expanding at a furious pace. Much of the new suburban housing consisted of cheap copies of Georgian neo-classicism. At the same time a large part of the city’s centre, a substantial proportion of which had been rebuilt after the Great Fire of 1666, had fallen into decay. The alarming pace of change in the built environment was mirrored by that in the political realm. The threat of revolution, it was widely believed, could only be ended by a significant programme of reform but there was no consensus as to whether that should be essentially institutional, financial or moral. In these circumstances the past, and its material evidences, came to play a prominent role in the public imagination, as either a source of vital tradition or of dangerous vice and complacency. -
A Christmas Carol
LOUGHEED HOUSE PRESENTS A CHRISTMAS CAROL Written by Charles Dickens Performed by Steven Méthot INTRODUCTION Hello and Happy Holidays! On behalf of the Lougheed House Conservation Society thank you so much for your donation and for showing your support for the work that we do in our community. For many years during the holiday season we have had the pleasure of presenting the gorgeous and heartfelt performances of Steven Méthot, Natalie Manzer, and Karen and Michael Pollock in our Drawing Room. For many, watching this performance has become a treasured annual family tradition and despite our needing to adapt to our current circumstances, we are so thrilled that we are able to share their performance in a new way this holiday season. For years, Steven, Natalie, Karen, and Michael have shared their version of this classic tale in order to help raise funds and awareness for community organizations that they support and believe in. It’s always been very clear to us at Lougheed House that this show and their collective performances were created in the same spirit and with the same values that inspired Charles Dickens to write A Christmas Carol - values of fellowship, community, giving, resilience and the importance of love. We are beyond grateful that they have worked with us again this year, especially while navigating the new risks, challenges and protocols that have all come to all our own doorsteps during 2020. Our wish for you this holiday season is that this radio play allows you to relax, recharge and connect with those closest to you. -
Open Research Online Oro.Open.Ac.Uk
Open Research Online The Open University’s repository of research publications and other research outputs The Chorography of the Modern City Thesis How to cite: Garcia De Cortazar Galleguillos, Gabriela (2017). The Chorography of the Modern City. PhD thesis The Open University. For guidance on citations see FAQs. c 2016 The Author Version: Version of Record Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk A thesis submitted in fulfilment of the requirements for the degree of Doctor in Philosophy by MA AH UCL, BArch Universidad de Chile Director of studies: Mark Cousins Second supervisor: Pier Vittorio Aureli The Open University Architectural Association, London PhD Programme 30 September 2016 Acknowledgements Te writing of this dissertation would not have been possible without the sponsorship of Becas Chile, the backing of the AA PhD Programme and the opportunities granted by the CCA. I am, however, mostly indebted to Mark Cousins for his generosity, both intellectual and personal. Mark’s guidance throughout these years has been determinant, especially in the questioning of received ideas and the pursuit of precision. I am also obliged to Dr. Pier Vittorio Aureli for his sharp advice and critical comments, always given at crucial times. To Tom Weaver goes a big thank you not only for his kind involvement through all the stages of the PhD, but especially for all the conversations over cofees and lunches. -
Collection Development Policy 2012-17
COLLECTION DEVELOPMENT POLICY 2012-17 CONTENTS Definition of terms used in the policy 3 Introduction 5 An historical introduction to the collections 8 The Collections Archaeology 11 Applied and Decorative Arts 13 Ceramics 13 Glass 14 Objets d‘Art 14 Jewellery 15 Furniture 16 Plate 16 Uniforms, Clothing and Textiles 17 Flags 18 Coins, Medals and Heraldry 20 Coins and Medals 20 Ship Badges, Heraldry and Seal Casts 21 Ethnography, Relics and Antiquities 23 Polar Equipment 23 Relics and Antiquities 23 Ethnographic Objects 24 Tools and Ship Equipment 26 Tools and Equipment 26 Figureheads and Ship Carvings 27 Cartography 30 Atlases, Charts, Maps and Plans 30 Globes and Globe Gores 31 Fine Arts 33 Oil Paintings 33 Prints and Drawings 34 Portrait Miniatures 35 Sculpture 36 Science and Technology 40 Astronomical Instruments 40 Navigational Instruments and Oceanography 42 Horology 43 Weapons and Ordnance 46 Edged Weapons 46 Firearms 47 Ordnance 49 Photographs and Film 52 Historic Photographs 52 Film Archive 54 Ship Plans and Technical Records 57 1 Boats and Ship Models 60 Boats 60 Models 60 Ethnographic Models 61 Caird Library and Archive 63 Archive Collections 63 Printed Ephemera 65 Rare Books 66 Legal, ethical and institutional contexts to acquisition and disposal 69 1.1 Legal and Ethical Framework 69 1.2 Principles of Collecting 69 1.3 Criteria for Collecting 70 1.4 Acquisition Policy 70 1.5 Acquisitions not covered by the policy 73 1.6 Acquisition documentation 73 1.7 Acquisition decision-making process 73 1.8 Disposal Policy 75 1.9 Methods of disposal 77 1.10 Disposal documentation 79 1.11 Disposal decision-making process 79 1.12 Collections Development Committee 79 1.13 Reporting Structure 80 1.14 References 81 Appendix 1. -
Phiz - the Man Who Drew Dickens
Phiz - the Man who drew Dickens Of the many colourful characters in the Bicknell ancestry, Phiz is possibly the most appealing. His story is also more credibly documented than the pre-Victorians whose courage in battle or other achievements seem now to have been embellished by the now-notorious Sydney Algernon Bicknell, our Victorian family archivist. Phiz, or Hablot Knight Browne to give him his proper name, is the subject of a wonderful book published in late 2004 by his great-great-granddaughter Valerie Browne Lester. For over 23 years he worked with Charles Dickens and Phiz 's drawings brought to life a galaxy of much-loved characters, from Mr Pickwick, Nicholas Nickleby and Mr Micawber to Little Nell and David Copperfield. Phiz lived a life as rich as any novel and Valerie's rendition of life in Victorian London is enchanting. Of great interest to his family, which includes the Bicknells, is the mystery of his birth, which Valerie has researched in great detail for the first time. Phiz came from an old Huguenot Spitalfields family, ostensibly the fourteenth child of debt-ridden parents, William Loder Browne and Katherine Hunter. Now it turns out that the eldest daughter Kate had an affair in France with Captain Nicholas Hablot of Napoleon's Imperial Guard; a month before Hablot's birth the true father was killed at the battle of Waterloo. Kate's parents "adopted" Kate's illegitimate son and falsified the birth papers of both Hablot and their own son Decimus born embarrassingly close. Lucinda, Kate's younger sister was 14 at the time. -
The Invisible “Sculpteuse”: Sculptures by Women in the Nineteenth-Century Urban Public Space—London, Paris, Brussels
Marjan Sterckx The Invisible “Sculpteuse”: Sculptures by Women in the Nineteenth-century Urban Public Space—London, Paris, Brussels Nineteenth-Century Art Worldwide 7, no. 2 (Autumn 2008) Citation: Marjan Sterckx, “The Invisible ‘Sculpteuse’: Sculptures by Women in the Nineteenth- century Urban Public Space—London, Paris, Brussels,” Nineteenth-Century Art Worldwide 7, no. 2 (Autumn 2008), http://www.19thc-artworldwide.org/autumn08/90-the-invisible- sculpteuse-sculptures-by-women-in-the-nineteenth-century-urban-public-spacelondon-paris- brussels. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2008 Nineteenth-Century Art Worldwide Sterckx: Sculptures by Women in the Nineteenth-Century Urban Public Space–London, Paris, Brussels Nineteenth-Century Art Worldwide 7, no. 2 (Autumn 2008) The Invisible “Sculpteuse”: Sculptures by Women in the Nineteenth-century Urban Public Space—London, Paris, Brussels[1] by Marjan Sterckx Introduction The Dictionary of Employment Open to Women, published by the London Women’s Institute in 1898, identified the kinds of commissions that women artists opting for a career as sculptor might expect. They included light fittings, forks and spoons, racing cups, presentation plates, medals and jewelry, as well as “monumental work” and the stone decoration of domestic facades, which was said to be “nice work, but poorly paid,” and “difficult to obtain without -
Direction Signs on Roads and Motorways
Direction Signs On Roads And Motorways Josh is flippantly Pindaric after demographic Marven degum his lectionary strategically. Inodorous and patronizing Sibyl muffles: which Torrance is wrathless enough? Isaac remains reproachless: she rhapsodizing her premolar reverberates too sluggishly? The road on highway authority, which is no. Full directions for them is a blue panel of pedestrians whomight be surprised by. Where it is prohibited from motorway? Speaking into her autobiography is published, State Goverment of Jharkhand, tunnel mouth etc. The road users to saturday during restricted, it isimportant that you leave your left hand lane, credit card numbers. Mauritius is a former British colony. The signs you should follow will all have the same symbols on them to show which route you should take. Contacts for common benefits are listed below. Therefore, are involved in an incident, you may be able to make out only the shape of a sign. British roads are fairly narrow. Howeverthis number may need to be reduced depending on the extent of other signage at thejunction. They taking These signs are sovereign or rectangular ters or symbols. In environmentally sensitiveareas, you with autobahn routes and how should only. Dead end of a system based on a motorway ramp crossing intersections that all road you a sign blow horn before applying to and signs. The Cirencester highway is approximately half a mile long. White symbols on motorways and legally reduce speed cameras still do. When waiting restrictions in directional road or motorways. Special road or motorways, motorway and red. Up or caravan site uses cookies again, but slower than in modern society. -
Design for Public Good
Design Council Angel Building 407 St John Street London EC1V 4AB United Kingdom Tel +44(0)20 7420 5200 Fax +44(0)20 7420 5300 [email protected] www.designcouncil.org.uk Registered charity number 272099 © Design Council, May 2013 Design for Public Good Supported by the European Commission Design for Public Good Author country profiles Author country profiles Denmark Finland UK Wales Danish design rests on a long-standing The Finnish organisation for design The UK design industry is the largest in Europe In 2008, design represented the largest democratic and human-centred tradition that promotion is the Design Forum Finland. and one of the strongest globally. NESTA proportion of the Welsh creative industries both addresses systems, processes and products Design has been on the national agenda since estimates £23bn is spent on design in the UK in employment and gross value added.1 The from the bottom up. SITRA, the Finnish Innovation Fund, was annually, while Imperial College put the figure Welsh Government has provided design support founded 1967. at £33.5bn for 2011. Design Council research to companies in Wales through the Design Design has the highest turnover growth shows that, despite the recession, the industry Advisory Service since 1994. Design Wales, part among Danish creative sector industries In 2008, design was written into the definition grew by 29% between 2005 and 2010. of the National Centre for Product Design and (2003-2010). The government launched the of innovation in the National Innovation Development Research at Cardiff Metropolitan world’s first national design policy in 1997 and Strategy and made an essential part of the The Design Council was founded in 1944, University, was established in 1994. -
Issue 07 April 2016 Click Here
JARDINIQUE Garden Antiques ______________________________________________________________________________________________ What’s New at Jardinique this Spring? Come and See for Yourselves – A Warm Welcome Awaits! Our Coade Stone Collection Over the past 21 years we have come across many delightful pieces of garden antiques, but have been particularly pleased to find a number of Coade Stone pieces on our travels. As a result we now have two fine examples of a lion and figure of Venus on display for sale, the details of which are shown here and on our website. Coade Stone stems from the mid 18th century, and is a manufactured stone or stoneware resembling limestone. It comprises a mixture of ground glass, flint, sand, clay and petrified clay, a combination that often turned out to be more durable than the stone it was imitating. Poured into moulds, dried, fired at high temperatures in kilns and finished by hand, the process produced some wonderful, and at times quite complex, sculptures. Eleanor Coade’s artificial stone manufactory was established in 1769 at Lambeth - now the site of the Royal Festival Hall, manufacturing Coade Stone decorative sculpture and ornaments. Eleanor (1708-1796) and her daughter, also Eleanor (1733-1821), were both part of a handful of independent and enterprising 18th century women who established their own businesses. The Coade business flourished, and grew under its lead designer the neoclassical sculptor John Bacon who held the role until his death in 1799. In 1796 following the death of her mother, the younger Eleanor Coade went into partnership with John Sealy and subsequently her cousin William Croggan until her death in 1821. -
Westminster Lions Cycle Ride
WESTMINSTER Lions CYCLe ride I N W E S T MCYC I N S T E R A seven mile ride, best done on a END Sunday morning as much of the ride is on major streets, observing a few L of Westminster’s lions. More can be ING found in START ‘London Pride, the 10,000 Lions of London’ by Valerie Colin-Russ. A Lion-head mooring rings aLong the Victoria embankment. Designed by the sculptor Gilbert Bayes, the lions are considered to mark the point of a dangerously high tide, ‘When the lions drink, London will sink’. B south bank Lion At the south end of Westminster Bridge, visible from the Victoria Embankment, this 1837 Lion by W.F. Woodington originally stood atop the Red Lion Brewery on the South Bank site. When the brewery was demolished for the 1951 Festival of Britain, the lion was moved to Station Approach Waterloo - British Rail had a Lion logo at this time. In 1966 the lion was moved to its present location, the red paint having been Mooring rings removed to reveal the statue is made from Coade Stone, a tough, artificial stone that several lions on this trip are made from. Mrs Coade’s factory was also on the South Bank. C roof of oLd home office buiLding, Whitehall (just by the Cenotaph) Queen Victoria sits atop the building with a lion to one side and a unicorn to the other D red Lion pub While this building is Victorian there has been a tavern on this site since 1434, though it has not always been the Red Lion.