Newsletter 209 February 2018

Total Page:16

File Type:pdf, Size:1020Kb

Newsletter 209 February 2018 The Furniture History Society Newsletter 209 February 2018 In this issue: A Patent Worth Protecting: Jupe’s Improved Expanding Dining Table | Society News | Future Society Events | Occasional and Overseas Visits | Other Notices | Book Reviews | Reports on the Society’s Events A Patent Worth Protecting: Jupe’s Improved Expanding Dining Table ne day in early 1835 , upholder Robert O Jupe ( c. 1791 –1841 ) handed machinist Joseph Read a cardboard circle cut into four quadrants, and asked him to devise a mechanism to expand these quadrants outwards to form a larger circle. 1 He was testing whether his idea was viable: to create a table that expanded radially from a common centre and could then be fitted with leaves to create larger surfaces. Models were made in the workshop, and at least two mechanisms to achieve this end were developed. 2 In March, Jupe filed a patent application for an ‘improved expanding dining table’, making careful note that the invention consisted in the construction of a table that expanded from a common centre, rather than any particular means used to achieve that goal. The improved design applied not only to round, but also to oval and rectangular shapes, each cut into wedges that could be Fig. 1 Robert Jupe, Patent 6788 , National expanded radially from a common centre, Archives, Kew: C 54 /11260 , no. 12 . Detail of scroll showing one of two inserted drawings, extending both the width and breadth of ink and watercolour on parchment. the table. The original written specification Photo: Kathleen Morris for patent no. 6788 , sealed on 11 March and enrolled on 11 September 1835 , can be Since early 1832 , Jupe had been in found at the National Archives, Kew, 3 partnership with John Johnstone 5 as where it is accompanied by two large Johnstone, Jupe & Co., operating from 67 sheets of designs (Fig. 1), which were later New Bond Street. The firm immediately translated to an engraving for publication. 4 began advertising the tables, requesting 2 furniture history society newsletter, no. 209, february 2018 that the ‘nobility and gentry’ visit their simple but significant differences in the showrooms to witness how the round means of achieving an expanded round table could be expanded ‘immediately, and table, he seems to have hoped to capture without the slightest difficulty’ to various some portion of this promising market. sizes ‘even in the hands of the most His table top also was cut into wedges, inexperienced servant’.6 It differed from but rather than being drawn out radially the telescoping table patented by Richard along slides as the table top was pulled or Gillow in 1800 (patent no. 2396), which rotated, as was Jupe’s, his mechanism extended laterally, and it was seen as an drew the wedges to their eventual improvement over previous expanding positions by means of two motions — round tables, which had been achieved by horizontal and then vertical. The end means such as clipping extensions to the result was the same: an expanding round outer rim of the core table. table that grew in circumference from a Evidently, from the beginning the new common centre, with the resulting gaps design met with success,7 and it would go fitted with leaves. on to become one of the firm’s most Jupe filed suit against Pratt for patent enduringly popular products. Jupe and infringement. Among the pleas filed by Johnstone therefore were quick to take Pratt’s attorney were that Jupe’s patent action when Samuel Luke Pratt (1805–78) was not original, and that his client’s began advertising what they saw to be a product was quite different. A trial took pirated version of the table in 1836,8 place on 6 December 1836. The leading to the patent dispute case known distinguished lawyer and politician Sir as ‘Jupe v. Pratt’. Frederick Pollock (1783–1870) represented Pratt, who with his father (Samuel Jupe as plaintiff. The case was argued Pratt, d. 1849) had been in business for before a special jury with Judge James some years in the furniture, equipment Scarlett, 1st Baron Abinger (1769–1844) and antiques trade,9 was well acquainted presiding. Pratt was represented by a Mr with the importance of patents. Between M. D. Hill.12 Sir Frederick presented copies 1815 and 1836, the Pratts patented at least of the two sheets of patented drawings as six of their own inventions, and in the evidence and used models to explain 1840s took over control of a carving Jupe’s invention. The drawings, exactly machine patent assigned to William duplicating the original drawings filed Irving.10 Pratt was markedly with the patent, also survive in the entrepreneurial; beyond his activity in National Archive collections (Fig. 2).13 inventing patented improvements for Pratt’s attorney called no witnesses, household and travelling accoutrements, confident in his argument that his client’s his role in reviving interest in medieval invention was wholly unrelated to the armour as well as his role in the patented designs of Jupe. On the other subsequent trade in these objects (whether hand, Sir Frederick called at least fourteen real or faked) is well known.11 By some witnesses, including engineers, furniture furniture history society newsletter, no. 209, february 2018 3 Fig. 2 Robert Jupe (British, c. 1791–1841), Designs for patented table, submitted as evidence in Jupe v. Pratt, 1835, ink and watercolour on parchment, 26 × 34¼ in. (66 × 87 cm), National Archives, Kew: MFC 1/42. Photo: Janice Li workers, cabinet-makers and upholsterers win a new trial. No retrial was pursued, (among them civil engineer William and thus the matter ended positively for Carpmael, cabinet-maker Thomas Banting Johnstone, Jupe & Co. and draughtsman Henry Whittaker), all of While neither defendant nor plaintiff whom testified that they considered testified in the trial, John Johnstone was Pratt’s table to be a copy of Jupe’s. The present at least during the hearing jury decided in favour of Jupe, but the regarding the retrial, as we learn from a matter did not end there. A few weeks letter he wrote to The Times to correct an later, a lengthy letter disputing the case’s important error in reporting on the decision was submitted to the London outcome of the decision.16 He states that he Journal of Arts and Sciences.14 Hill filed for a was writing on behalf of Jupe, who was non-suit and a new trial; in April 1837, the currently out of town. It appears, however, court dismissed the non-suit but decided that he controlled the interest in the patent, that a new trial would be granted if Pratt since, when he and Jupe parted ways in paid for the entirety of the costs of the January 1839, he quickly advertised that, previous trial.15 The judge admonished despite this dissolution of partnership, his Hill that he should carefully consider firm continued to be ‘sole Patentees and whether he had sufficient argument to Manufacturers’ of the circular expanding 4 furniture history society newsletter, no. 209, february 2018 dining table, as well as Jupe’s patented In December 1891, Johnstone, Norman extending dessert plateau (which was & Co. sold a set of ‘patent circular Dining designed to complement the table).17 tables’ for use at Windsor Castle,19 possibly Jupe moved to 47 Welbeck Street and of a new patented design. In the United died in 1841. States, the firm patented a version of the In 1851, the firm of Johnstone, Jeanes & table that expanded both radially and Co. exhibited an example of the laterally20 in advance of the 1893 World’s expanding table in the Great Exhibition at Columbian Exposition in Chicago, at the Crystal Palace (Fig. 3), and they which they were prominent among British exhibited a ‘patent circular expanding firms. At the 1893 fair, the firm’s displays dining table’ at the Paris Universal included a ‘patent circular expanding Exposition of 1878. Although by this time dining table’ as well as a ‘patent circular the original patent would have been long expanding and extending dining table’.21 expired, the continued use of the term In 1894, due at least in part to the ‘patent’ evoked the ingenuity and history enormous financial gamble the firm made of the design.18 The firm continued to on the 1893 exposition, Johnstone, Norman produce and sell the table, and variants of & Co. were in financial failure.22 They were it, to the end of the century. Known tables taken over by Morant & Co. in mid-1894, of this type are marked in a variety of but the firm name continued to be used ways, including examples with stamps until around 1911. and/or brass bosses inscribed ‘Jupe’s Even after the firm’s demise, the Patent’, ‘Johnstone, Jupe & Co.’, ‘Patent original concept of Jupe’s expanding table Johnstone’, ‘Johnstone & Jeanes Patentees’ has shown remarkable longevity. To this and ‘Johnstone, Norman & Co. Patentees’, day, furniture companies market new as well as examples with neither stamps radially expanding tables using Jupe’s nor bosses (Figs 4, 5). name as a touchstone; many of these also Fig. 3 Illustration of table displayed by Johnstone, Jeanes & Co., Art Journal Illustrated Catalogue: The Industry of All Nations (London, 1851), p. 273 furniture history society newsletter, no. 209, february 2018 5 Fig. 4 Johnstone, Jupe & Co., London, ‘Jupe’s Patent’ Extending Dining Table, c. 1839. Mahogany, 70½ in. diameter (without leaves) × 29½ in. high (179 × 75 cm). Apter-Fredericks Ltd, London Fig. 5 Johnstone, Jupe & Co., London, ‘Jupe’s Patent’ Extending Dining Table (view from above showing mechanism), c. 1839. Apter- Fredericks Ltd, London mimic the materials and designs of early acknowledgements Jupe tables.
Recommended publications
  • Heim Gallery Records, 1965-1991
    http://oac.cdlib.org/findaid/ark:/13030/kt5779r8sb No online items Finding aid for the Heim Gallery records, 1965-1991 Finding aid prepared by Isabella Zuralski. Finding aid for the Heim Gallery 910004 1 records, 1965-1991 Descriptive Summary Title: Heim Gallery records Date (inclusive): 1965-1991 Number: 910004 Creator/Collector: Heim Gallery Physical Description: 120.0 linear feet(271 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: London gallery directed by Andrew Ciechanowieck. Records include extensive correspondence with museums, galleries, collectors, and other colleagues in Europe and the United States. Photographs document paintings, drawings, sculptures, and decorative art sold and exhibited by, and offered to the gallery. Stock and financial records trace acquisitions and sales. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note Heim Gallery London began in June 1966 with François Heim (from Galerie Heim, Paris, begun 1954) and Andrew S. Ciechanowiecki as partners. Ciechanowiecki served as director in London while Heim remained in France. The emphasis of the gallery was Old Master paintings, especially French of the 15th - 18th century, Italian paintings of all periods, and sculpture (marble, terracotta and bronze) from the Renaissance to the 19th century. The gallery was known for its scholarly exhibitions and catalogs. Between 1966 and 1989 the gallery presented exhibitions two to three times a year. The gallery did business with museums and individual clients in Europe and the United States.
    [Show full text]
  • DID JOSHUA REYNOLDS PAINT HIS PICTURES? Matthew C
    DID JOSHUA REYNOLDS PAINT HIS PICTURES? Matthew C. Hunter Did Joshua Reynolds Paint His Pictures? The Transatlantic Work of Picturing in an Age of Chymical Reproduction In the spring of 1787, King George III visited the Royal Academy of Arts at Somerset House on the Strand in London’s West End. The king had come to see the first series of the Seven Sacraments painted by Nicolas Poussin (1594–1665) for Roman patron Cassiano dal Pozzo in the later 1630s. It was Poussin’s Extreme Unction (ca. 1638–1640) (fig. 1) that won the king’s particular praise.1 Below a coffered ceiling, Poussin depicts two trains of mourners converging in a darkened interior as a priest administers last rites to the dying man recumbent on a low bed. Light enters from the left in the elongated taper borne by a barefoot acolyte in a flowing, scarlet robe. It filters in peristaltic motion along the back wall where a projecting, circular molding describes somber totality. Ritual fluids proceed from the right, passing in relay from the cerulean pitcher on the illuminated tripod table to a green-garbed youth then to the gold flagon for which the central bearded elder reaches, to be rubbed as oily film on the invalid’s eyelids. Secured for twenty-first century eyes through a spectacular fund-raising campaign in 2013 by Cambridge’s Fitzwilliam Museum, Poussin’s picture had been put before the king in the 1780s by no less spirited means. Working for Charles Manners, fourth Duke of Rutland, a Scottish antiquarian named James Byres had Poussin’s Joshua Reynolds, Sacraments exported from Rome and shipped to London where they Diana (Sackville), Viscountess Crosbie were cleaned and exhibited under the auspices of Royal Academy (detail, see fig.
    [Show full text]
  • Paper Palaces: the Topham Collection As a Source for British Neo-Classicism
    Paper Palaces: the Topham Collection as a source for British Neo-Classicism Adriano Aymonino with Lucy Gwynn and Mirco Modolo Front cover image: Francesco Bartoli, Drawing of decorative mosaics in the vaulting of S. Costanza, c. 1720-25 (see cat. no. 25) Inside cover image: Francesco Bartoli, Drawing of an ancient ceiling from the Palatine, 1721 (see cat. no. 15) Paper Palaces: the Topham Collection as a source for British Neo-Classicism The Verey Gallery, Eton College May - November 2013 Curated by Lucy Gwynn & Adriano Aymonino Accompanied by the Conference: A Window on Antiquity: the Topham Collection at Eton College, 17th May 2013 Catalogue written by Adriano Aymonino with Lucy Gwynn and Mirco Modolo This catalogue is dedicated to the memory of Louisa M. Connor Bulman Contents Many people have given their support to the production of both the exhibition Foreword 4 Section 2 16 and this catalogue, and we would like in particular to thank: Lord Waldegrave of North Hill Robert Adam and his antiquarian sources The Tavolozza Foundation The Humanities Research Institute, the University of Buckingham Introduction 5 Section 3 22 the rationale for the exhibition Robert Adam, the Topham Collection and Country Life Magazine Francesco Bartoli Sir Francis Dashwood Richard Topham & Eton 6 by Lucy Gwynn The National Trust Section 4 40 The Topham Collection’s broader influence: Savills (UK) Limited Catalogue Charles Cameron and other Neo-Classical architects and decorators The authors would also like to thank Frances Sands for the fruitful discussion on the different hands in the Adam drawings; Jeremy Howard and Eleanor Davey for their Cataloguing Notes 8 help and support; Charlotte Villiers and Dennis Wallis for their patience and exquisite Notes 47 contribution in photography and design, Charlotte Villiers for the coordination of the exhibition, Pat McNeaney for his inexhaustible enthusiasm and skill, the Eton College Section 1 10 Buildings Department and Vario Press.
    [Show full text]
  • Renaissance Diplomacy in Practice: the Case of Gregorio Casali, England’S Ambassador to the Papal Court, 1525-33
    Renaissance diplomacy in practice: the case of Gregorio Casali, England’s ambassador to the papal court, 1525-33 Catherine Lucy Fletcher Royal Holloway, University of London Thesis presented for the award of PhD 1 I confirm that the work contained in this thesis is entirely my own. Catherine Fletcher 23 April 2008 2 Abstract THIS thesis investigates the day-to-day practice of Renaissance diplomacy through a case-study of Gregorio Casali, one of a number of Italians in the Roman diplomatic corps who served foreign princes, in Casali’s case King Henry VIII of England. It outlines and analyses the key elements of the resident ambassador’s role, shifting the focus of study from the traditional emphasis on official negotiations and such formal sites for the exercise of power to consider too informal relationships and arenas for diplomacy. Chapters consider the diplomat’s role in Rome (the most developed diplomatic centre of its day); the relevance of family and friendship networks in Casali’s career; the importance of hospitality and liberality in diplomatic life; gift- giving and ‘bribery’. Drawing on recent scholarship relating to such issues as the house, household and gift-giving, the thesis situates Renaissance diplomacy in its broader social context. It thus contributes to the new trend among historians of diplomacy to adopt methods from social and cultural history, but, in applying the methodology of microhistory, takes this to a new level. As well as raising new questions about the role of the resident ambassador and his interaction with other diplomatic and political actors, the case of Casali and his family draws attention to the important issue of the employment of foreigners in diplomatic service during this period, allowing a consideration of how loyalty was understood and allegiances were managed.
    [Show full text]
  • Edward J. Olszewski Dynamics of Architecture in Late Baroque Rome
    Edward J. Olszewski Dynamics of Architecture in Late Baroque Rome. Cardinal Pietro Ottoboni at the Cancelleria Edward J. Olszewski Dynamics of Architecture in Late Baroque Rome. Cardinal Pietro Ottoboni at the Cancelleria Managing Editor: Monika Michałowicz Published by De Gruyter Open Ltd, Warsaw/Berlin Part of Walter de Gruyter GmbH, Berlin/Munich/Boston This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 license, which means that the text may be used for non-commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/3.0/. Copyright © 2015 Edward J. Olszewski ISBN 978-3-11-045245-7 e- ISBN 978-3-11-045246-4 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. Managing Editor: Monika Michałowicz www.degruyteropen.com Cover illustration: © Gabinetto Nazionale delle Stampe, Rome Contents Preface VIII Abbreviation X 1 Introduction 1 1.1 Origins 1 1.2 Papal Patronage 5 2 Architectural Beginnings 17 2.1 The First Architects 17 2.2 Early Theaters 21 2.3 Ottoboni Holdings 25 2.4 G.F. Pellegrini 31 2.5 Nicola Michetti 33 3 Theater Architecture 36 3.1 Ottoboni Theater & Filippo Juvarra 36 3.2 Juvarra’s Theater Drawings 39 3.3 The Lost Theater 40 3.4 Studies of Juvarra’s Theater Drawings 45 3.5 The Fate of Ottoboni’s Theater 53 3.6 Appearance of the Theater 53 4 Other Cancelleria Spaces 73 4.1 The Sala Riaria 73 4.2 Ludovico Rusconi Sassi 73 4.3 The Arcadian Academy 76 4.4 The Bosco Parrasio 78 4.5 San Lorenzo in Damaso 81 5 Architectural Collaboration 87 5.1 The Lateran Façade Competition 87 6 Fugitive Architecture 92 6.1 The Final Decade 92 6.2 Domenico Gregorini 96 6.3 Ottoboni’s Ephemeral Constructions 101 6.4 Alessandro Mauri 111 6.5 G.B.
    [Show full text]
  • Richard Wilson: Landscape Painting for a New Exhibition Culture
    1 Richard Wilson: Landscape painting for a new Exhibition Culture Laura Layfield MA by Research The University of York History of Art Department September 2010 25,040 words 2 ABSTRACT Richard Wilson (1714 – 1782) was considered by his contemporaries „ingenious‟1 and by his followers as „the father of British landscape painting‟.2 Painting in Italy and afterwards in Britain, Wilson was arguably the foremost British landscape painter of the eighteenth century. He painted in a classical style shaped by the works of masters such as Claude Lorrain, Gaspard Dughet and Nicholas Poussin and gained inspiration from his travels and classical literature. His life spanned much of a century which saw an enormous shift in the British art world with the onset of the annual public exhibition. This dissertation will consider Wilson‟s submissions to the Society of Artists‟ annual exhibitions between 1760 and 1768. I will argue that Wilson pursued a highly deliberate strategy of self-advertisement when choosing pieces to submit to these public exhibitions and consider the extent to which Wilson used the venue of the public exhibition to change public perceptions of landscape painting as a genre. 1 J. Reynolds. Fifteen Discourses, ‘The Fourteenth Discourse’ (Reprinted London and New York, 1906) p. 236 2 J. Farington, quoted from the Morning Post in the catalogue accompanying ‘Exhibition of Works by Richard Wilson, RA’ at the Ferens Art Galley, Kingston upon Hull which ran Nov – Dec 1936 3 CONTENTS Page no. List of Illustrations...................................................................................................................4
    [Show full text]
  • John Singleton Copley's Turquerie Portrait of Margaret Kemble Gage
    Graduate Theses, Dissertations, and Problem Reports 2011 An American "Duchess" in Disguise: John Singleton Copley's Turquerie Portrait of Margaret Kemble Gage Elizabeth Rininger West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Rininger, Elizabeth, "An American "Duchess" in Disguise: John Singleton Copley's Turquerie Portrait of Margaret Kemble Gage" (2011). Graduate Theses, Dissertations, and Problem Reports. 4773. https://researchrepository.wvu.edu/etd/4773 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. An American “Duchess” in Disguise: John Singleton Copley’s Turquerie Portrait of Margaret Kemble Gage Elizabeth Rininger Thesis submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Master of Arts in Art History Dr. Rhonda Reymond, Chair Dr. Janet Snyder Prof. Kristina Olson Division of Art and Design Morgantown, West Virginia 2011 Keywords: John Singleton Copley, Orientalism, Margaret Kemble Gage, Colonial America Copyright 2011 Elizabeth Rininger ABSTRACT An American “Duchess” in Disguise: John Singleton Copley’s Turquerie Portrait of Margaret Kemble Gage Elizabeth Rininger A number of portraits that John Singleton Copley painted in the years prior to the American Revolution show women clad in turquerie.
    [Show full text]
  • Architectural Temperance: Spain and Rome, 1700-1759
    Architectural Temperance Spain and Rome, 1700–1759 Architectural Temperance examines relations between Bourbon Spain and papal Rome (1700–1759) through the lens of cultural politics. With a focus on key Spanish architects sent to study in Rome by the Bourbon Kings, the book also discusses the establishment of a program of architectural educa- tion at the newly-founded Real Academia de Bellas Artes de San Fernando in Madrid. Victor Deupi explores why a powerful nation like Spain would temper its own building traditions with the more cosmopolitan trends associated with Rome; often at the expense of its own national and regional traditions. Through the inclusion of previously unpublished documents and images that shed light on the theoretical debates which shaped eighteenth-century architecture in Rome and Madrid, Architectural Temperance provides an insight into readers with new insights into the cultural history of early modern Spain. Victor Deupi teaches the history of art and architecture at the School of Architecture and Design at the New York Institute of Technology and in the Department of Visual and Performing Arts at Fairfield University. His research focuses on cultural politics in the early modern Ibero-American world. Routledge Research in Architecture The Routledge Research in Architecture series provides the reader with the latest scholarship in the field of architecture. The series publishes research from across the globe and covers areas as diverse as architectural history and theory, technology, digital architecture, structures, materials, details, design, monographs of architects, interior design and much more. By mak- ing these studies available to the worldwide academic community, the series aims to promote quality architectural research.
    [Show full text]
  • 2011 (Al 31/12/2011, Approvato Dal Cda Nell’Adunanza Del 19/4/2012)
    Sede Legale: Via San Micheletto 3 55100 Lucca Codice Fiscale 92032240464 Iscritta nel Registro delle Persone Giuridiche al n. 77/2003 BILANCIO 2011 (al 31/12/2011, approvato dal CdA nell’adunanza del 19/4/2012) FLAFR - Bilancio 2011 • ORGANI STATUTARI ....................................................................................................................... 3 • RELAZIONE DEL CONSIGLIO DI AMMINISTRAZIONE ............................... 5 • BILANCIO DI MISSIONE ............................................................................................................. 13 • SCHEMI DI BILANCIO .................................................................................................................. 27 STATO PATRIMONIALE ................................................................................................................ 28 RENDICONTO DELLA GESTIONE ............................................................................................ 30 • ALLEGATI AGLI SCHEMI DI BILANCIO ................................................................... 33 NOTA INTEGRATIVA ...................................................................................................................... 34 CONTRIBUTI DEGLI ADERENTI ............................................................................................... 52 VARIAZIONI DEL PATRIMONIO NETTO .............................................................................. 54 VARIAZIONI DELLA LIQUIDITA’ ...........................................................................................
    [Show full text]
  • Hanley, Bo Else (2016) Commissioning for Purpose: Investigating Commissioning As a Collecting Strategy for Municipal Museums and Galleries 2000-Present
    Hanley, Bo Else (2016) Commissioning for purpose: investigating commissioning as a collecting strategy for municipal museums and galleries 2000-present. PhD thesis. https://theses.gla.ac.uk/7449/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Commissioning for purpose: investigating commissioning as a collecting strategy for municipal museums and galleries 2000–present Bo Els´eHanley BA (Hons), MLitt Submitted in fulfilment of the requirements for the degree of PhD Department of History of Art School of Culture and Creative Arts University Of Glasgow March 2016 c Bo Hanley, 2016 Abstract The use of the ‘commission-accession’ principle as a mechanism for sustainable collecting in public museums and galleries has been significantly under-researched, only recently soliciting attention from national funding bodies in the United Kingdom (UK). This research has assessed an unfolding situation and provided a body of current evaluative evidence for commission-based acquisitions and a model for curators to use in future contemporary art purchases. ‘Commission-accession’ is a practice increasingly used by European and American museums yet has seen little uptake in the UK.
    [Show full text]
  • 0001I-Iidnhbaj XV, 1 Editorial 1 BAJ V, 1 Contents/Editorial
    082-094DNH1 Munsterberg RS corr_baj gs 22/08/2014 18:54 Page 82 Volume XV, No. 1 The BRITISH ART Journal The beginning of British art criticism in the 1760s Marjorie Munsterberg egular reviews of contemporary art first appeared in art academies, established a specific approach to visual London during the 1760s, when the start of temporary analysis that dominated writing about art in the west. It R public exhibitions produced both newsworthy events depended on breaking the work of art into fixed parts – and interested readers. Although much scholarly attention invention, expression, design, colour and handling were has been devoted to these shows and their audiences, rela- common elements for painting – and using historical com- tively little has been given to the writing they occasioned.1 parisons to measure achievement in each of them. The Since the reviews offer possible evidence of how the works reader was assumed to be able to call upon a mental store of might have been seen by their first viewers, they provide his- images by famous artists to follow these discussions. A hand- torians with essential material. However, the writing is bound ful of Italian and French texts provided influential by a variety of constraints and conventions, not all of which codifications of these ideas, with interpretations of the are readily apparent 250 years later. Furthermore, most of the Horatian phrase ut pictura poesis central to many of them.5 criticism counts as incidental writing rather than considered The most important conveyers of this tradition in English essays, and almost all of the authors remain anonymous.
    [Show full text]
  • John Collet (Ca
    JOHN COLLET (CA. 1725-1780) A COMMERCIAL COMIC ARTIST TWO VOLUMES VOLUME I CAITLIN BLACKWELL PhD University of York Department of History of Art December 2013 ii ABSTRACT This thesis focuses on the comic work of the English painter John Collet (ca. 1725- 1780), who flourished between 1760 and 1780, producing mostly mild social satires and humorous genre subjects. In his own lifetime, Collet was a celebrated painter, who was frequently described as the ‘second Hogarth.’ His works were known to a wide audience; he regularly participated in London’s public exhibitions, and more than eighty comic prints were made after his oil paintings and watercolour designs. Despite his popularity and prolific output, however, Collet has been largely neglected by modern scholars. When he is acknowledged, it is generally in the context of broader studies on graphic satire, consequently confusing his true profession as a painter and eliding his contribution to London’s nascent exhibition culture. This study aims to rescue Collet from obscurity through in-depth analysis of his mostly unfamiliar works, while also offering some explanation for his exclusion from the British art historical canon. His work will be located within both the arena of public exhibitions and the print market, and thus, for the first time, equal attention will be paid to the extant paintings, as well as the reproductive prints. The thesis will be organised into a succession of close readings of Collet’s work, with each chapter focusing on a few representative examples of a significant strand of imagery. These images will be examined from art-historical and socio-historical perspectives, thereby demonstrating the artist’s engagement with both established pictorial traditions, and ephemeral and topical social preoccupations.
    [Show full text]