DOCSLIB.ORG

Formed by John H. Mcfadden, Es of Philadelphia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Formed by John H. Mcfadden, Es of Philadelphia OF THE FO RMED BY H F D N E JOH N . MC AD E , S OF PHILADELPHIA , BY W B . RO ERTS PRIVATELY PRINTED AT THE CHISWICK PRESS I 9 1 7 PREFAC E ‘ H IT an admirable steadfastness of purpose , and in spite of the many natural temptations to branch o ut F adden r H . M c M . in other directions , J ohn has adhered to his scheme of forming a collection of pictures this a exclusively by British artists . In doing he has observed o f restraint very unusual among collectors , and the sum total a mi eneric a his efforts is collection g ; and not only this , but n V collection of extraordinary beauty and i terest . ariety is the e r mainspring of collecting, and the greater the variety the ke ne does the instinct of the collector become . It very frequently a nd happens that man begins to collect, a for some time co nfi nes m hi self to , one phase of art ; but just as one book to opens up many others, so the step from one branch of art F another is a matter of easy gradation . rom engravings the collector naturally passes to drawings , thence to pictures in oils , and from one school of artists to another . The question of variety in art collecting is largely a personal matter ; but those ’ Who c a have seen this collection When it was in M r. M F dde n s own home , or When it was on view in the public galleries in N ew Y Philadelphia , Chicago , or ork , Will agree that , though r M c M . F adde n has co nfi ned himself to the E arly British S chool , his collection is remarkable in its variety and in its interest . M r. M cF adden t a ur began to collec a quarter of cent y ago . V A s is the case with many other men who have developed t fi ne u in o collectors , his object in purchasing a pict re now and then was rather to adorn a vacant space on the walls of his dining or sitting room than to form the nucleus of what would ’ ’ ’ ‘ ‘ Z a eflz vzem m ‘ some day become a collection . But fip mangmm ; E so , u , , in the course of time during his freq ent visits to ngland one painting after another was added , and a few pictures de veIOped into an imposing collection entirely different from any other in A merica . ’ M c F a n It is interesting to note that M r. dde s first pur G ’ L R chase was ainsborough s splendid portrait of ady odney , which will always remain one of the gems of the collection , and m which , it may be mentioned by the way , is now com ercially he worth at least five times as much as t owner paid for it. The same may be said , indeed , of the other pictures which were acquired before the great rise in prices of the last few years . Whilst no wise man buys pictures with the same motives as he — buys stocks and shares solely in the - hope of pro fitable divi — ' ’ dends yet it is always a satisfaction to know that one s hobby u n is not an pro fitable one even in the mere matter of money . But the intellectual enjoyment afforded by a fi ne collection of pictures such as this has no money equivalent . The dominating notes , if one may use the phrase , of ’ r M c F ad e M . d n s fine collection , are the series of portraits of R women and men by omney and Raeburn . Probably there is n S not a ywhere in the United tates another gallery in which , either artist is represented by so many characteristic works . Most of these portraits are not only of people who were famous in their own day, but some of them have become part and o f parcel of British history, perhaps not a little with the aid the O artists to whom they sat for their portraits . thers , such as the v i ’ M B S ir o Re no lds s aster unbury of J shua y splendid portrait , died before his time , and he is known to posterity almost ’ x S ir n e clusively as the subject of J oshua s famous picture . O S ir W the other hand , it might almost be said that J ohn atson G ordon , in spite of his high qualities as an artist , owes much of his celebrity with posterity on account of his portrait of the W z N S ir W S . i ard of the orth , alter cott — Hogarth han ds down to us after an interval of nearly two — centuries groups of two distinguished families , both long since x e tinct in the male line , but both of which contributed much to the making of E nglish history When E ngland was not much B H more than an island kingdom . y a happy coincidence ogarth F has , in the ountaine and the Castlemaine groups , bequeathed us exquisite miniature - like representations of the most eminent A n fi r members of both families . unfortunate e completely ’ L M N eltho r destroyed awrence s portrait of iss p , but the beau tiful Miss West is still present with us in all the loveliness of ’ — youth . Lawrence s most successful pupil Harlow who would — have become a serious rival but for his early death is repre L sented by two masterly groups of the eader family, and by r a charming one of M s . Weddell and her pretty children in ’ -so meness a all the frolic and éc mam of the nursery . ’ Turner s magnificent View of the Burning of the Houses of Parliament may justly rank at the head of the pictures other B than portraits . y a happy accident the picture which follows it comprises something of the same scene ninety years before v by a man whom Turner may ha e met in his early boyhood , Richard Wilson . This is one of the earliest existing pictures L W of ondon by ilson , and as a document in the history of B E the capital of the ritish mpire it is of the highest interest , apart from its importance as a very early work of one of the V11 6 rs E fi t and one of the greatest of nglish landscape painters . “ fi ne L Constable , with his ock and other pictures , Crome an d S t N o rwich D C o x L ark of the school , avid , J ohn innell , G M o rlancl E eorge with his three pictures of nglish rural life , G S fi ure eorge tubbs , and that interesting g in the history of A - r F , B nglo rench art onington , all cont ibute to the complete ness of this collection . ’ A M r. M c F adden s word ofthanks , in conclusion , is due to A M r. L n friend , ockett g ew, who has given the writer every assistance in the compilation of the following pages . W R . LON DON . m r S ep te ée I 9 I 7 . !7iii C ONTENTS RIC HARD PARKES BONINGT ON Coast Scene in Normandy HN C T A R . A . The Lock JO ONS BLE , HN CONS T AB LE R . A . Hampstead Heath JO , HN C T A The Dell , Helmingham Park JO ONS BLE , H a fi eld 1 8 D AVI D Co x Going to the y , 49 ’ ’ N ROME JOH C Blacksmith s Shop , Hingham JOHN CROME Woody Landscape R HOMA A O O GH Henrietta, Lady Rodney T S G INSB U , M R R A . HO A A O O GH . C T S G INSB U , lassical Landscape GE ORGE HENRY HARLOW The Misses Leader GEORGE HENRY HARLOW The LeaderI Children R G H GEO E HENRY A RLOW Mrs . Weddell and Children WI LLIAM H OGART H Assembly at Wanstead WILLIAM HOGART H The Fountaine Family F F R A . H n HN O R . o er JO H NE , Mrs pp IR H MA A P R A . S O WR C . T S L EN E, Miss West O LINNE L S E 1 8 HN L N . J , The Storm , 53 GEORGE MORLAND Old Coaching Days GEORGE MORLAND The Fruits of Early Industry GEORGE MORLAND The Happy Cottagers S I R A R R R . A . v HEN Y R EBU N , Lady Belha en S I R R RAE B U RN B issland HEN Y , Master S I R R A R C HEN Y R EBU N , Master John ampbell S IR A R R Co l. C C i HEN Y R EBU N, harles hr stie S IR R A R R . A . E liban k HEN Y R EBU N, Lady S IR HENRY A R . A . M r R R . EBU N , Lawrie of Woodlea ix PAGE m HE NRY R A B R. A . S E URN , Alexander Shaw R A . I R H R R B . S E N Y AE URN , Portrait ofa Gentleman m R. A . S OS HUA RE Y NOLD S P. Master Bunbury J , R . A . S I R OS H UA RE Y NOLDS P. Edmund Burke J , C G E ORG E R O MNEY Mrs .
Load more

Recommended publications
  • Shearer West Phd Thesis Vol 1
    THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON (VOL. I) Shearer West A Thesis Submitted for the Degree of PhD at the University of St. Andrews 1986 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/2982 This item is protected by original copyright THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON Ph.D. Thesis St. Andrews University Shearer West VOLUME 1 TEXT In submitting this thesis to the University of St. Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the I work may be made and supplied to any bona fide library or research worker. ABSTRACT A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between ca745 and 1800 : painting, print and book illustration.
    [Show full text]
  • Guy Peppiatt Fine Art British Portrait and Figure
    BRITISH PORTRAIT AND FIGURE DRAWINGS 2020 BRITISH PORTRAIT AND FIGURE DRAWINGS BRITISH PORTRAIT AND FIGURE DRAWINGS 2020 GUY PEPPIATT FINE ART FINE GUY PEPPIATT GUY PEPPIATT FINE ART LTD Riverwide House, 6 Mason’s Yard Duke Street, St James’s, London SW1Y 6BU GUY PEPPIATT FINE ART Guy Peppiatt started his working life at Dulwich Picture Gallery before joining Sotheby’s British Pictures Department in 1993. He soon specialised in early British drawings and watercolours and took over the running of Sotheby’s Topographical sales. Guy left Sotheby’s in 2004 to work as a dealer in early British watercolours and since 2006 he has shared a gallery on the ground floor of 6 Mason’s Yard off Duke St., St. James’s with the Old Master and European Drawings dealer Stephen Ongpin. He advises clients and museums on their collections, buys and sells on their behalf and can provide insurance valuations. He exhibits as part of Master Drawings New York every January as well as London Art Week in July and December. Email: [email protected] Tel: 020 7930 3839 or 07956 968 284 Sarah Hobrough has spent nearly 25 years in the field of British drawings and watercolours. She started her career at Spink and Son in 1995, where she began to develop a specialism in British watercolours of the late 18th and early 19th centuries. In 2002, she helped set up Lowell Libson Ltd, serving as co- director of the gallery. In 2007, Sarah decided to pursue her other passion, gardens and plants, and undertook a post graduate diploma in landscape design.
    [Show full text]
  • Performing Identities in the Art of John Singer Sargent Leigh Culver
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 1999 Performing Identities in the art of John Singer Sargent Leigh Culver Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the American Art and Architecture Commons Recommended Citation Culver, Leigh, "Performing Identities in the art of John Singer Sargent" (1999). Publicly Accessible Penn Dissertations. 3084. https://repository.upenn.edu/edissertations/3084 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3084 For more information, please contact [email protected]. Performing Identities in the art of John Singer Sargent Abstract In the elegant society portraits by John Singer Sargent, body language created social identities. The fallen dress strap and obvious makeup in Madame X, for example, declared her a “professional beauty”; the costume of Charles Stewart proclaimed him a British lord. Critics often conflated appearance and character in Sargent's images, yet Sargent used theatre and masquerade in numerous works to problematize essentialist links between appearance and character that were fundamental to turn-of-the-century class, gender, and racial stereotypes. This dissertation concentrates on the art Sargent produced after Madame X, as he recovered from the scandal it provoked in 1884 and as he established his patron base in England and America. Many of Sargent's later works can be seen as a response to the issues raised by Madame X concerning the relationship between appearance and character. An analysis of theatrical elements in Sargent's paintings elucidates the function of these images in variously maintaining and challenging notions of social identity. Chapter One discusses the critical reception of Sargent's art in the context of a turn-of-the-century culture engaged in classification and performance activities.
    [Show full text]
  • Portrait Miniatures from the Time of Holbein 1531 to That of Sir Wilhelm Roso 1860
    THE C ONNOISSEUR SERIES. Editedy b Gleeson White. PORTRAIT M INIATURES. THE C ONNOISSEUR SERIES. Edited ky Gleeson White. PORTRAIT M INIATURES: from the time of Holbein, 1 531, to that of Sir William Ross, i860. By GEORGE С Williamson, Lilt.D. With numerous Illustrations. Demy 8vo. 12s. bd. net. HISTORICAL P ORTRAITS: some Notes on the P ainted Portraits of Celebrated Characters of England, Scotland and Ireland. By H. B. Wheatley, F.S.A. Wilh Seventy-four Illustrations taken direct from the originals. Demy 8vo. lew. bd. net. JAPANESE I LLUSTRATION : being a History of t he Arts of Wood-cutting anil Colour Printing in Japan. By Edward F. Strange, M J. S. With Eight coloured and Eighty- eight Black-and-Wliite Illustrations. Deiny.8vo. \2s. (xi. net. RTTHE A OF THE HOUSE. By Rosamund Marriott W atson. With numerous Illustrations. Demy 8vo. (1>. net. PICTURE P OSTERS. By Charles Hiatt. With O ne Hundred and Fifty Reproductions of the most Artistic Examples of all Countries. Demy 8vo. 12s. bd. net. LONDON: G EORGE BELL AND SONS. ANDREW P LIMER. 1763-1837. LADY R AVENSWORTH, LADY PAUL, AND MISS SIMPSON. Ownhr C. J Wertheimer, Esq. PORTRAIT MINIATURES FROMHE T TIME OF HOLBEIN 13 5 1 TO THAT OF SIR WILLIAM ROSS i 860. A HANDBOOK FOR C OLLECTORS BY GEORGE С W ILLIAMSON, Litt.D. LONDON: G EORGE BELL AND SONS YORK S TREET, COVENT GARDEN, MDCCCXCVII CIIISWICK P RESS :—CHARLES WHITUNGHAXI AND CO. TOOKS COURT, CHANCERY LANE, LONDON, л/ PREFACE. In t reating of miniatures it is impossible to avoid reference to the standard book on the subject, — Dr.
    [Show full text]
  • Pembroke College Cambridge Society
    Pembroke College cambridge society annual gazette issue 88 w september 2014 Pembroke College, Cambridge, cb2 1rf Telephone (01223) 338100 Fax (01223) 338163 www.pem.cam.ac.uk © The Master & Fellows of Pembroke College, Cambridge Ted Hughes (1930–1998), poet by Peter Edwards CONTENTS Editor’s Note 4 From the Master 5 A. WRITINGS AND TALKS Sermon – James Gardom 11 Marjorie’s War – Reginald and Charles Fair 14 The Third David Andrews German Lecture – Walter Myer 21 The Rosenthal Art Library – Rosalind P Blakesley 28 Tributes to Howard Erskine-Hill – 24 Richard McCabe and Robert Macfarlane Dame Ivy Compton Burnett Prize for Creative Writing 34 B. COLLEGE NEWS New Fellows 47 Fellows’ News 57 Gifts to the College 59 The Dean’s Report 62 Development Office Report 64 The Valence Mary (1997) Endowment Fund 70 College Clubs and Societies 71 C. THE COLLEGE RECORD The Master and Fellows 2013–2014 97 College Officers 2014–2015 103 Matriculation 2013–2014 104 Annual Examinations, First Class Results 2014 109 College Awards 112 Graduate Scholarships and Awards 118 Higher Degrees Conferred 119 D. THE PEMBROKE COLLEGE CAMBRIDGE SOCIETY Members’ News 125 Annual General Meetings of the Society 128 Dinners and Receptions 129 Local Contacts 135 Rules of the Society 137 Presidents of the Society 139 E. DEATHS AND OBITUARIES List of Deaths 143 Obituaries 146 F. BOOK REVIEWS AV Grimstone, Pembroke Portraits (2013) 179 G. MEMBERS’ CORNER The Frozen North – Baffin Island Expedition 2014 – Rhian Jones 185 4 | pembroke college EDITOR’S NOTE This year’s Gazette celebrates the publication of Bill Grimstone’s fascinating Pembroke Portraits, both with a book review on p 179, and by using some of the portraits featured in Pembroke Portraits to mark the divisions of the different sections of the Gazette.
    [Show full text]
  • Issues) and Cordance Which Significantly Expands the Record of Blake's Begin with the Summer Issue
    AN ILLUSTRATED QUARTERLY lake's Cottag, Blake in the Marketplace, 2008 VOLUME 42 NUMBER 4 SPRING 2009 33ute AN ILLUSTRATED QUARTERLY www.blakequarterly.org VOLUME 42 NUMBER 4 SPRING 2009 CONTENTS Articles Minute Particulars Blake in the Marketplace, 2008 The Man Who Married the Blakes By Robert N. Essick 116 By Morton D. Paley 153 William Blake's Miniature Portraits of the The American Blake Foundation Butts Family By G. E. Bentley, Jr. 155 By M. Crosby 147 Newsletter Blake's Grave; Martin K. Nurmi, 1920-2008 158 ADVISORY BOARD G. E. Bentley, Jr., University of Toronto, retired Nelson Hilton, University of Georgia Martin Butlin, London Anne K. Mellor, University of California, Los Angeles DetlefW Dorrbecker, University of Trier Joseph Viscomi, University of North Carolina at Chapel Hill Robert N. Fssick, University of California, Riverside David Worrall, The Nottingham Trent University Angela Fsterhammer, University of Zurich CONTRIBUTORS David Worrall, Faculty of Humanities, The Nottingham Trent University, Clifton Lane, Nottingham NG11 8NS UK Email: [email protected] ROBERT N. ESSICK, professor emeritus of English, UC River• side, has been a contributor to Blake for forty years. MARK CROSBY ([email protected]) is the Leverhulme Early Career Fellow at Queens University Belfast. He has just completed a monograph on Blake and patronage and is in the early stages of a research project on Blake's apprenticeship. INFORMATION MORTON D. PALEY'S ([email protected]) most recent book is Samuel Taylor Coleridge and the Fine Arts, published by Ox• ford University Press in 2008. BLAKE/AN ILLUSTRATED QUARTERLY is published under the sponsorship of the Department of English, University of Roch• G.
    [Show full text]
  • 18Th and 19Th Century British Drawings and Watercolours 2010
    14007 Guy Peppiatt Spring Cat_v5 21/04/2010 17:19 Page 1 18TH AND 19TH CENTURY BRITISH DRAWINGS AND WATERCOLOURS 2010 14007 Guy Peppiatt Spring Cat_v5 21/04/2010 17:19 Page 2 Guy Peppiatt started his working life at Dulwich Picture Gallery before joining Sotheby’s British Pictures department in 1993. He soon specialised in early British drawings and watercolours and took over the running of Sotheby’s Topographical and Travel sales. Topographical views, whether they be of Britain or worldwide, have remained an abiding passion. Guy left Sotheby’s in early 2004 and has worked as a dealer since then, first based at home, and now in his gallery on Mason’s Yard, St James’s, shared with the Old Master and European Drawings dealer Stephen Ongpin. He advises clients and museums on their collections, buys and sells on their behalf and can provide insurance valuations. 2 14007 Guy Peppiatt Spring Cat_v5 21/04/2010 17:19 Page 3 18TH AND 19TH CENTURY BRITISH DRAWINGS AND WATERCOLOURS 2010 Monday to Friday 10am to 6pm Weekends and evenings by appointment Guy Peppiatt Fine Art Ltd Riverwide House, 6 Mason’s Yard Duke Street, St James’s, London SW1Y 6BU Tel: [+44] (20) 7930 3839 Mobile: [+44] (0) 7956 968284 Fax: [+44] (20) 7839 1504 [email protected] www.peppiattfineart.co.uk 3 14007 Guy Peppiatt Spring Cat_v5 21/04/2010 17:19 Page 4 1 John Downman, A.R.A. (1750-1824) Portrait of Emily Adolphus aged eleven Watercolour and coloured chalks heightened with white, circular Wales, the son of an attorney and came to London to study under Benjamin West and 22.8cm., 9 inches diameter at the Royal Academy.
    [Show full text]
  • Social Convention and Performance Choices""*
    I >epartment of f lumanities I»MIV !•" H *i rr\ <>K The Shakespeare Institute ,\ J « % f i"v?-11 A \ i The University of Birmingham K f KM J 'N Cl li A Vl January 2006 Social Convention and Performance Choices""* in Three Interpretations of Lady Macbeth: Sarah Siddons( 1755-1832), Helen Faucit (1814-1898), and Ellen Terry (1847-1928). By Alexandra Helene Noble A thesis submitted to The University of Birmingham For the degree of Master of Philosophy Lady Macbeth is one of Shakespeare's greatest female roles but she sits uneasily within the patriarchal society of late eighteenth and nineteenth century Britain. In this thesis I explore the ways in which she was made fit for audiences through the interpretations of three leading actresses of the period; Sarah Siddons, Helen Faucit and Ellen Terry. In particular in the first chapter, but throughout the thesis 1 discuss the textual history of the play and the ways in which the alterations changed the balance between Lady Macbeth and her husband. I consider the place of the actress in society and the effect this might have had upon her realization of a character, in particular Lady Macbeth. I show through debates in parliament, articles in newspapers and journals and in the literature of the period, the prevailing patriarchal nature of society but also the challenges to it. From contemporary accounts and the words of Sarah Siddons, Helen Faucit and Ellen Terry, I reconstruct their performances within that society. Theatre is part of its society: this thesis shows the interaction between the ideas of late eighteenth and nineteenth-century society and the realization of one of Shakespeare's major characters.
    [Show full text]
  • Cheffins Clifton House 1 & 2 Clifton Road Cambridge the Fine Art Sale Cambridgeshire CB1 7EA Started 06 Mar 2013 11:00 GMT United Kingdom
    Cheffins Clifton House 1 & 2 Clifton Road Cambridge The Fine Art Sale Cambridgeshire CB1 7EA Started 06 Mar 2013 11:00 GMT United Kingdom Lot Description A Mintons majolica asparagus tray, date symbol for 1877, modelled as a round arched trough of asparagus on a brown underdish with 1 green rounded rectangular rim band with white flower heads central to each side, impressed marks, 25.5cm (10in) (W) 2 A late 18th century white pearlware monkey, its long tail tucked under his feet as he sits on a mound, 7cm (2.75in) high 3 A mid 18th century white saltglaze jug painted with a spray of coloured flowers below the serrated rim, 8cm (3.25in) high A late 18th century Whieldon type creamware George and the dragon group, he rides his green and brown spotted horse over the 4 dragon and lances it in its mouth, 28.5cm (11.25in) high (R) A William Greatbatch teapot and cover printed and painted one side with `Cybele` and on the other with one of the twelve houses of 5 Heaven (2) (D). For illustrations of these subjects, see Davis Barker `William Greatbatch`, plates 146 and 149 A Royal Worcester `Vitreous` dinner service, date codes for 1917, decorated with pattern number 5969 of a central iron red tub of 6 hibiscus within four sprays on the brown edged rims, comprising: two sauce tureens, covers and stands, two vegetable tureens and covers, soup tureen, cover, stand and lad ...[more] `Success to the Orange Cause`, an early 19th century creamware jug, the printed inscription below the spout flanked by Masonic 7 armorials printed in black and painted
    [Show full text]
  • The Royal Academy of Arts and Its Anatomical Teachings; with an Examination of the Art
    THE ROYAL ACADEMY OF ARTS AND ITS ANATOMICAL TEACHINGS; WITH AN EXAMINATION OF THE ART- ANATOMY PRACTICES DURING THE EIGHTEENTH AN]) EARLY NINETEENTH CENTURIES IN BRITAIN UNIVERSITY OF LONDON PhD. THESIS -I-- ANNE CAROL DARLINGTON 1990 I FOR MY GRANDPARENTS 2 "As our art is not a divine gift, so neither is it a mechanical trade. Its foundations are laid in solid science: and practice, though essential to perfection, can never attain that to which it aims unless, it works under the direction of principle." Joshua Reynolds, Discourse VII, 1776. ABSTRACT The thesis investigates the artistic and anatomical practices taking place between circa 1768 and 1810, primarily in the context of the Royal Academy of Arts. In focusing on the educational components of anatomical knowledge, the dissertation examines the style, methodology and the various types of private and public teaching available to artists and medical students during this period. In Chapter One, I examine the social, professional and demographic factors uniting artists and medical men. The social and professional divide that at one time kept such professions apart, was now being filled by informal gatherings. Neither artists nor anatomists however, were solely reliant on venues like the Royal Academy of Arts and private anatomy theatres. Such meetings often began in and around London's social milieu: the coffee-house culture. In Chapter Two, I go on to look at the curriculum used in the Royal Academy Schools. An artist pursuing studies in the human figure would attend life classes, anatomy lectures, dissections, and teachings on physiognomy. The Academy Schools were not immune to the medical and scientific influences of the eighteenth and early nineteenth centuries; the theories and practices of medical men infiltrated artistic training.
    [Show full text]
  • Brush up Your Shakespeare
    16/07/2016 MUSIC AND ART INSPIRED BY SHAKESPEARE Lecture 1 Brush Up Your Shakespeare William Shakespeare Anonymous C17th portrait Angelica Kauffmann The Birth of Shakespeare and Fame Dr William Sterling decorating Shakespeare’s Tomb 1770s Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Henry Fuseli Infant Shakespeare between Tragedy and Comedy 1805 George Romney Shakespeare attended by Nature and the Passions 1790s Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Charles Cattermole from 13 Scenes from the Life of Shakespeare c 1880 Richard Westall Shakespeare between Tragedy and Comedy 1825 George Cruikshank First Arrival of Shakespeare at the Globe 1865 Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk 1 16/07/2016 Solomon Hart Early Reading of Shakespeare 1838 John Faed Shakespeare and Friends at the Mermaid Tavern 1851 Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Procession of Characters Anonymous and Thomas Stothard 1813 Dr William Sterling Sir John Gilbert Shakespeare’s Plays 1849 Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk William Blake Portrait of Shakespeare 1803 Martin Droeshout Title Page of the First Folio 1623 Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk 2 16/07/2016 Thomas Sully Portrait of Gerard Johnson Shakespeare 1864 Shakespeare monument Stratford c 1623 Dr William Sterling Dr William Sterling
    [Show full text]
  • Final Copy 2019 01 23 Kilgar
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Kilgarriff, Tessa M Title: Reproducing Celebrity Painted, Printed and Photographic Theatrical Portraiture in London, c. 1820 - 1870 General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Reproducing Celebrity: Painted, Printed and Photographic Theatrical Portraiture in London,
    [Show full text]