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DALMI WORKING PAPERS on ART & MARKETS the Artistic Migration
DALMI Working Paper No. 15231 DALMI WORKING PAPERS ON ART & MARKETS The Artistic Migration Between Mechelen and Delft (1550–1625) Fiene Leunissen Working Paper no. 15231 https://www.dukedalmi.org/wp-content/uploads/15231-Working-Paper.pdf DUKE ART, LAW & MARKETS INITIATIVE 114 S. Buchanan Blvd. Campus Box 90766 Durham, NC 27708 May 2015 DALMI working papers are circulated for discussion and comment purposes. They have not been peer-reviewed. © 2015 by Fiene Leunissen. All rights reserved. Leunissen May 2015 DALMI Working Paper No. 15231 The Artistic Migration Between Mechelen and Delft (1550–1625) Fiene Leunissen DALMI Working Paper No. 15231 May 2015 ABSTRACT Mechelen (Malines) is a small city in present-day Belgium, positioned between Antwerp and Brussels, along the river the Dijle. While most people today have never heard anything about this city or its history, this small town was once one of the most important cities in the Low Countries. It was also hub for the production of watercolor paintings. During the religious turmoil in the second half of the 16th century a large portion of artists fled the city to find a better life in other European cities. One of these places was Delft, were a group of 24 Mechelen artists settled. In this paper we look at the lives of these artists to better understand the knowledge circulation between the north and the south at the turn of the 17th century. Keywords: Art Markets, Mechelen, Delft, Seventeenth Century JEL: Z11 Leunissen May 2015 DALMI Working Paper No. 15231 Leunissen May 2015 DALMI Working Paper No. -
Print Format
Abel Grimmer (Antwerp 1570 - Antwerp 1618) An Allegory of Summer oil on panel 28.7 x 39.3 cm (11¼ x 15½ in) Seeking shade from the fierce summer sun, a group of harvesters recline under the boughs of a tree sharing a simple meal of bread and cheese. The whole scene bustles with activity as a number of labourers still toil in the field beyond, gathering the carefully scythed corn into neat stooks. Men, women and children all lend a hand giving a sense of dynamic community to the work. A little child dressed in a white smock can be seen wrestling with a bundle of corn far too big for her to manage. Another young child sits in the shade, his back to the viewer as he thirstily drinks from the bowl of milk that has been set upon a spotless, white table cloth. In bare feet a man and a woman frame the activity of the harvesters’ merry picnic; the woman bending forward to eat while the man leans back to drain a flagon of ale. With their hats and scythes cast aside for the brief respite provided by their meal, this group stands in contrast to the hard work still going on behind them. A little dog mischievously sniffs the picnic basket next to his unsuspecting owners, who are oblivious to everything except resting their weary limbs and sating their hunger. This imbues the ritual of the harvest with a sense of light hearted realism. In the composition of An Allegory of Summer, Abel Grimmer creates an almost pictorial narrative aided by a subtle yet highly effective use of light and shade. -
Lucas Van Valckenborch in Wiener Sammlungen
Diplomarbeit Titel der Diplomarbeit Lucas van Valckenborch in Wiener Sammlungen Verfasserin Ulrike Schmidl angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, im November 2010 Matrikel-Nummer: A 0503817 Studienkennzahl: A 315 Studienrichtung: Kunstgeschichte Betreuerin : Ao. Univ.-Prof. Dr. Monika Dachs-Nickel Inhalt I. Einleitung .......................................................................................................... 2 II. Provenienz ........................................................................................................ 4 III. Kostümentwürfe .............................................................................................. 10 1. Entwicklung der Kostümstudie ...................................................................................12 2. Einordnung der Kostümdarstellungen Valckenborchs ................................................13 3. Modische Gewänder in den Gemälden Valckenborchs ..............................................14 IV. Porträts ........................................................................................................... 17 1. Der Stand des Hofmalers im 16. Jahrhundert ............................................................17 2. Entwicklung des höfischen Bildnistypus .....................................................................21 3. Die Porträtliebe des Erzherzogs Matthias ..................................................................28 V. Monatsdarstellungen ..................................................................................... -
6 X 10.Long New.P65
Cambridge University Press 978-0-521-16943-1 - Literature, Mapping, and the Politics of Space in Early Modern Britain Edited by Andrew Gordon and Bernhard Klein Index More information Index Abridgement of all Sea-Lawes (Welwood), 162–3 Bhabha, Homi, 204, 219–20 Accuratissima Orbis Antiqui Delineatio (Horn), 39 Bible, 225–6, 227, 236, 237n.6, 238n.7 Aeneid (Virgil), 178n.16, 192, 201n.61, 253 Billingsley, H., 60 Agas, Ralph, 75, 86n.18, 218 Blaeu, Joan, 242, 254 Albanactus (son of Brutus), 35, 40, 117 Blaeu, Willem, 254 Albania (ancient name for Scotland), 35, 115, Bland, John, 23–4 117 Blundeville, Thomas, 1 Alford, Frances, 29n.10 Borges, Jorge Luis, 4, 77 Allegory of Human Vanity, The (Molenaer), 254–5, Bower of Bliss, 215 Figure 28 Bowyer, Robert, 24, 25, 34n.53 Alpers, Svetlana, 92–3, 106n.29 Braun, Georg, 75, 76, 242 Alsop, J.D., 29n.10 Breviary of Britain, The (Llwyd), 37 Altdorfer, Albrecht, 153n.14 Bridewell, 184, 187, 191 Ambassadors, The (Holbein), 249–50, 255 Bridgewater, Earl of, 42 anatomy, anatomical illustrations, 89–104 Brink, Jean, 210 Anatomy of Melancholy, The (Burton), 243, 248 Bristol, 47 Anna, Queen, 94 Britain/England, distinction between, 5–6 Apian, Pierre, 91, 95 Britannia (Camden), 36, 166, 167, 171, 173, 205, Apollonius of Tyre, 157, 160 206, 208–9, 210, 220, 234, Figure 22 Aratus, 62 Britannia, 47, 48, 50, 63, 166, 167 Arcadia (Sidney), 136n.58, 136n.60, 157 Brutus, 35, 40, 41, 75, 86n.19, 115–6, 132n.18, Arches of Triumph (Stephen Harrison), 87n.26 133n.26 Art of Painting, The (Vermeer), 257–9, Figure 30 Bryskett, -
The Genre of Calendar Illustrations from Origins to Lucas and Maarten Van Valckenborch
GHENT UNIVERSITY FACULTY OF ARTS AND PHILOSOPHY THE CYCLE OF THE YEAR: THE GENRE OF CALENDAR ILLUSTRATIONS FROM ORIGINS TO LUCAS AND MAARTEN VAN VALCKENBORCH. VOLUME I. A Thesis Submitted in 00902394 Partial Fulfillment of the Master in Art Science Requirements for the Degree Academic Year 2009- 2010. Of Master of Arts in Art Science at Ghent University Promoter: Prof. Dr. M. Martens By Nadya Lobkova Promoter: Prof. Dr. M. Martens CONTENTS VOLUME I: TEXT INTRODUCTION CHAPTER I: EMERGENCE AND FORMATION OF THE CALENDAR ICONOGRAPHY. 1. The vision of time and the year cycle in the medieval and Early Modern world picture. 2. Seasons and months in visual arts in antiquity: from allegory to the new concept. 3. Calendar illustrations in Early and High Middle Ages: 3.1. Early Middle Ages: formation of the iconography; 3.2. Moths in the High Middle Ages: regional variations; 3.3. The concept of labour in the Middle Ages. CHAPTER II: TRANSFORMATIONS OF THE GENRE BETWEEN THE LATE MIDDLE AGES AND PIETER BRUEGEL THE ELDER. 1. Calendar illustrations in Très Riches Heurs du Duc de Berry of the brothers Limbourg. 2. Calendar illustrations in XV-XVI centuries: 2.1. Page lay-out. 2.2. Iconography. 2.3. Nature and city. 3. Genre mass-produced: transition into new media. 4. Bruegel‘s Twelve Months: the crossbreeding of calendar and landscape: 5.1. The genre of landscape in the first half of the 16th century. 5.2. Bruegel‘s cycle Twelve Months: the problems of iconography. 5.3. Composition of the cycle. 5.4. Bruegel‘s drawings Spring and Summer. -
Literature, Mapping, and the Politics of Space in Early Modern Britain
LITERATURE, MAPPING, AND THE POLITICS OF SPACE IN EARLY MODERN BRITAIN ANDREW GORDON Birkbeck College, University of London BERNHARD KLEIN University of Dortmund, Germany The Pitt Building, Trumpington Street, Cambridge, United Kingdom The Edinburgh Building, Cambridge ,UK West th Street, New York, –, USA Stamford Road, Oakleigh, , Australia Ruiz de Alarco´n , Madrid, Spain Dock House, The Waterfront, Cape Town , South Africa http://www.cambridge.org © Cambridge University Press This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published Printed in the United Kingdom at the University Press, Cambridge Typeface Baskerville /.pt System Poltype“ [] A catalogue record for this book is available from the British Library hardback Contents List of illustrations page vii Notes on contributors ix Preface xiii Introduction Andrew Gordon and Bernhard Klein Absorption and representation: mapping England in the early modern House of Commons Oliver Arnold A map of Greater Cambria Philip Schwyzer Britannia rules the waves?: images of empire in Elizabethan England Lesley B. Cormack Performing London: the map and the city in ceremony Andrew Gordon Visible bodies: cartography and anatomy Caterina Albano The scene of cartography in King Lear John Gillies v vi Contents Unlawful presences: the politics of military space and -
Antiquarian Maps Collection, 1493 - 1962
http://oac.cdlib.org/findaid/ark:/13030/ft1199n59s No online items Guide to the Antiquarian Maps Collection, 1493 - 1962 Processed by Margaret Sowers; machine-readable finding aid created by Steven Mandeville-Gamble Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://www-sul.stanford.edu/depts/spc/ © 2001 The Board of Trustees of Stanford University. All rights reserved. Guide to the Antiquarian Maps Special Collections Antiquarian Maps 1 Collection, 1493 - 1962 Guide to the Antiquarian Maps Collection, 1493 - 1962 Collection number: Antiquarian Maps Department of Special Collections Stanford University Libraries Stanford, California Contact Information Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://www-sul.stanford.edu/depts/spc/ Processed by: Margaret Sowers Date Completed: 1997 Encoded by: Steven Mandeville-Gamble © 2001 The Board of Trustees of Stanford University. All rights reserved. Descriptive Summary Title: Antiquarian Maps Collection, Date: 1493 - 1962 Collection number: Special Collections Antiquarian Maps Creator: Stanford University. Libraries. Dept. of Special Collections. Extent: 5,924 items Repository: Stanford University. Libraries. Dept. of Special Collections. Language: English. Access Restrictions None. Publication Rights Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections. Acquisition Information Various sources of acquisition. Collection was brought together as a whole by the Stanford University Libraries' Department of Special Collections, though many of the maps were either sold to Stanford or given as gifts by Margaret and Roy V. -
Jan Brueghel the Elder: the Entry of the Animals Into Noah's
GETTY MUSEUM STUDIES ON ART JAN BRUEGHEL THE ELDER The Entry of the Animals into Noah's Ark Arianne Faber Kolb THE J. PAUL GETTY MUSEUM, LOS ANGELES © 2005 J. Paul Getty Trust Library of Congress Cover and frontispiece: Cataloging-in-Publication Data Jan Brueghel the Elder (Flemish, Getty Publications 1568-1625), The Entry of the Animals 1200 Getty Center Drive, Suite 500 Kolb, Arianne Faber into Noah's Ark, 1613 [full painting Los Angeles, California 90049-1682 Jan Brueghel the Elder : The entry and detail]. Oil on panel, 54.6 x www.getty.edu of the animals into Noah's ark / 83.8 cm (21/2 x 33 in.). Los Angeles, Arianne Faber Kolb. J. Paul Getty Museum, 92.PB.82. Christopher Hudson, Publisher p. cm. — (Getty Museum Mark Greenberg, Editor in Chief studies on art) Page i: Includes bibliographical references Anthony van Dyck (Flemish, Mollie Holtman, Series Editor and index. 1599-1641) and an unknown Abby Sider, Copy Editor ISBN 0-89236-770-9 (pbk.) engraver, Portrait of Jan Brueghel Jeffrey Cohen, Designer 1. Brueghel, Jan 1568—1625. Noah's the Elder, before 1621. Etching and Suzanne Watson, Production ark (J. Paul Getty Museum) engraving, second state, 24.9 x Coordinator 2. Noah's ark in art. 3. Painting— 15.8 cm (9% x 6/4 in.). Amsterdam, Christopher Foster, Lou Meluso, California—Los Angeles. Rijksmuseum, Rijksprentenkabinet, Charles Passela, Jack Ross, 4. J. Paul Getty Museum. I. Title. RP-P-OP-II.II3. Photographers II. Series. ND673.B72A7 2004 Typesetting by Diane Franco 759.9493 dc22 Printed in China by Imago 2005014758 All photographs are copyrighted by the issuing institutions, unless other- wise indicated. -
Fine Art & Interiors
Bonhams New House 150 Christleton Road Chester CH3 5TD +44 (0) 1244 313936 +44 (0) 1244 340028 fax 21120 Fine Art & Interiors, including Welsh Pictures, Welsh including Art & Interiors, Fine 5, 6, 7 March 2013, Chester 7 March 2013, 6, 5, Fine Art & Interiors including Welsh Pictures Tuesday 5 March 2013 at 11am Wednesday 6 March 2013 at 11am Thursday 7 March 2013 at 11am Chester Fine Art & Interiors, including Pictures by Welsh Artists Antique & Modern Silver Tuesday 5 March 2013 at 11am Pictures featuring works by Welsh artists Wednesday 6 March 2013 at 11am Furniture, Clocks & Works of Art Thursday 7 March 2013 at 11am Bonhams Enquiries Sale Number: 21120 Physical Condition of Lots New House Silver in this Auction 150 Christleton Road Andrew Spicer Catalogue: £12 (£15 by post) Chester CH3 5TD +44 (0) 1244 353 112 PLEASE NOTE THAT THERE IS NO www.bonhams.com [email protected] Customer Services REFERENCE IN THIS CATALOGUE Monday to Friday 8.30am to 6pm TO THE PHYSICAL CONDITION OF Viewing Susannah Davies-Lloyd +44 (0) 20 7447 7447 ANY LOT. INTENDING BIDDERS Friday 1 March 10am to 4pm +44 (0) 1244 353 131 MUST SATISFY THEMSELVES AS TO [email protected] THE CONDITION OF ANY LOT AS Sunday 3 March 10am to 1pm Please see back of catalogue SPECIFIED IN CLAUSE 15 OF THE Monday 4 March 10am to 4pm for important notice to bidders Francesca Garvey NOTICE TO BIDDERS CONTAINED Tuesday 5 March 10am to 4pm +44 (0) 1244 313 936 AT THE END OF THIS CATALOGUE. -
A Panoramic Mountain Landscape, with a City, Possibly Frankfurt, Beyond Oil on Canvas 53.5 X 81 Cm (21 X 31⅞ In)
Lucas van Valckenborch (Leuven c.1530 - Frankfurt am Main 1597) A Panoramic Mountain Landscape, with a City, possibly Frankfurt, beyond oil on canvas 53.5 x 81 cm (21 x 31⅞ in) This panoramic scene is typical of Lucas van Valckenborch’s mountainous landscape paintings. The left- hand side of the work is dominated by a bare crag, projecting into the sky. In its shadow lies a dense forest, a fiercely flowing river, and a mill. Beyond this precipitous foreground is vast river valley containing a large sprawling city. This painting is actually a larger version of a work in the Liechtenstein Princely Collections. Our work is painted on canvas, whereas the Liechtenstein version is on panel, although this change of support is not unusual for van Valckenborch, who also frequently used copper. The Liechtenstein version is dated 1595, towards the end of van Valckenborch’s career, and it therefore seems likely that ours is a similarly mature work. In a discussion of the Liechtenstein version, Walter Liedtke suggests that the city nestling in the river valley is probably based on Frankfurt.¹ Van Valckenborch certainly included faithful topographical depictions of other cities, such as Linz or Antwerp, in his work, and the Liechtenstein painting dates from his Frankfurt period. As Liedtke points out, ‘the long bridge that crossed the city’s wall between the town of Sachsenhausen and Frankfurt met the city’s walls at a square tower like the one seen here’.² Liedtke also points to the fact that many of the many details, such as the round and square towers, or the scale and style of the Cathedral, recall contemporary depictions of Frankfurt. -
Catalogue Xvi Single Owner Collection of the British Isles
CATALOGUE XVI SINGLE OWNER COLLECTION OF THE BRITISH ISLES CLIVE A. BURDEN LTD Christopher & John Greenwood. (Item 139) CATALOGUE XVI A SINGLE OWNER COLLECTION Item 76. Terms & Conditions All items are original maps or books printed at the time indicated. If an item is coloured the following terms are used. Early colour means an item was coloured at or near the time of publication. Modern colour refers to an item coloured within the last few decades. All measurements are given in centimetres, height by width. The condition of each item is described noting serious flaws. If a buyer is not satisfied for any reason they may return the item for a full refund of the purchase price, provided it is sent back within seven days of receipt at the expense of the buyer, properly wrapped in the condition and manner in which it was received and fully insured. All items are offered subject to prior sale and remain the property of Clive A. Burden Ltd. until payment has been received in full. Prices are net and exclude the cost of postage. All orders are sent by registered or recorded mail, by air to overseas customers, unless the customer requests a couri- er service at their own expense. Prices are quoted in £ sterling unless otherwise indicated and payment may be made with a personal cheque, banker’s draft or debit card. For credit card payments we require the name, number and ex- piry date of the card, security code if required, a contact phone number and the full billing address of the card for shipping purposes. -
Fall Fine Art and Antique Auction Saturday, October 1, 2011 9:30 Am EST
Fall Fine Art and Antique Auction Saturday, October 1, 2011 9:30 am EST Case Antiques, Inc., Auctions & Appraisals www.caseantiques.com [email protected] www.facebook.com/caseantiques Knoxville Ph: (865) 558-3033 Knoxville Fax: (865) 558-3032 Nashville Ph: (615) 812-6096 Gallery and Auction located at The Historic Cherokee Mills Building 2240 Sutherland Avenue Knoxville, TN 37919 Tennessee’s leading auction gallery for investment quality art and antiques is now accepting consignments for our Winter auction to be held January 28, 2012. Below is a sampling of items st from our May 21 Auction. Our cataloged auctions offer art and antique buyers the opportunity to participate through simultaneous • Online Internet bidding, • Telephone-assisted bidding, Lloyd Branson watercolor, panoramic landscape Sold $3,450 • Absentee maximum bid offers, East TN Miniature or Redware Jug, Mort • In-person bidding at the event. Sold $19,550 Regardless of how collectors find us, consignors can trust that their items are getting maximum worldwide exposure under the stewardship of knowledgeable professionals. ACCREDITED Ojime beads, APPRAISERS Civil War Tin Type Miniature TN Cherry shibayama, ivory, East TN Soldier Press w/ Two Drawers cinnabar Sold $5,290 Sold $17,825 Sold $5,520 We offer a full range of estate appraisal Record Setting Sales From Past Auctions and liquidation services. Sold Sold Sold $7,150 $36,800 $18,400 Next Event: Left: 19th c. Coin WINTER AUCTION Silver Coffee Pot Center: Circa 1860 TN Sat., Jan. 28, 2012 Redware Jar by C. A. Haun Right: To submit items for consignment, Jan Frederik Pieter Portielje Interior Scene, Oil on Board email photos and descriptions to (Dutch, 1829-1908) [email protected].