DOCSLIB.ORG

James I and VI by John Hoskins Royal Collection James VI & I by Daniel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
James I and VI by John Hoskins Royal Collection James VI & I by Daniel 19/08/2018 James I and VI by John Hoskins Royal collection James VI & I by Daniel Mytens 1621 NPG Unknown artist James VI & I from Plea Rolls Easter 1623 James by John de Critz c. 1605 wearing the James by John de Critz jewel “the mirror of the kingdom” James by John de Critz c. 1605 James by John de Critz, National Maritime Museum James by John de Critz 1 19/08/2018 James by Hubert Le Sueur James giving works to Oxford Old Quad Bodleian The Lyte Jewel c. 1610 James by Nicholas Hilliard, gift to Thomas Lyte of Lytscary, British Winchester Cathedral Library Museum James by Sir James Palmer, Victoria & Albert Museum James by Nicholas Hilliard, James by Nicholas Hilliard, Royal collection Victoria & Albert Museum The high and mightie prince James by the grace of god King of England Scotland Fraunce James in stained glass window dated 1619 and Ireland defendor of the faith Anne of Denmark by Isaac Oliver Anne of Denmark James in old age, NPG James dressed in white 2 19/08/2018 Anne of Denmark by Paul van Somer 1617 Anne of Denmark attributed to William Larkin Anne of Denmark by Isaac Oliver, Royal Anne of Denmark by John De Critz 1605 in 1612 in mourning for her son Henry, NPG collection Anne of Denmark Engraved by Houbraken Anne of Denmark attributed to Marcus Anne of Denmark by John De Critz 1605 Anne of Denmark in a broadsheet Gheeraerts the Younger Anne of Denmark by Paul van Somer, Queen’s House Greenwich Anne of Denmark by Marcus Gheeraerts Anne of Denmark by Paul van Somer 3 19/08/2018 Margaret, Mary, Robert and Sophia Henry Prince of Wales c. 1610 Prince Henry 1596 unknown artist Henry with Robert Devereux 3rd Earl of Essex by Robert Peake the Elder c. 1605, Met Henry Prince of Wales by Marcus Gheeraerts Henry Prince of Wales by Robert Peake c. the Younger 1610, NPG Henry on horseback by Robert Peake the elder 1606-8, Parham House Henry Prince of Wales by Isaac Oliver, Royal Henry Prince of Wales after Isaac Oliver collection 4 19/08/2018 Prince Henry with the pike 1612 Prince Henry's Room Fleet Street Sword of Henry Prince of Wales English hilt Blade Clemens Horn of Germany 1610-12 Elizabeth by Isaac Oliver, Royal collection Princess Elizabeth by Nicholas Hilliard Charlton House built for Prince Henry by his tutor Adam Newton but not complete at his death Elizabeth by unknown artist c. 1613 Elizabeth by Robert Peake c. 1603 and 1606 Elizabeth by Robert Peake 5 19/08/2018 Elizabeth by Peter Oliver c. 1620, Victoria and Albert Museum Elizabeth by Michael Jansz van Miereveldt 1623 Elizabeth of Bohemia, NPG Elizabeth from studio of Gerrit van Honthorst 1642, NPG Gustavus II Adolphus of Sweden by Maurits Prince of Orange by Michiel Matthaus Merian 1632 Frederick Ulrich of Wolfenbuttel Jansz van Mierevelt Vittorio Amadeo I of Savoy Theophilus Howard 2nd Earl of Suffolk by Henry Howard Earl of Northampton by unknown artist Sylvester Harding Frederick V of the Palatine as a young man 6 19/08/2018 Rupert of the Rhine by Van Dyck Sophia of the Palatine Frederick by Gerrit van Honthorst Frederick as king of Bohemia by Gerrit 1631-2, Kunsthistorisches Vienna van Honthorst Prince Charles attributed to van Charles as Duke of York by Robert Peake Prince Charles as a boy Blijenberch, NPG 1613, Cambridge University Charles as Duke of York by Robert Peake Charles as Prince of Wales Charles as Prince of Wales by Isaac Oliver, Prince Charles by Nicholas Hilliard Royal collection 7.
Load more

Recommended publications
  • British Pa Inters Their Story and Their
    H rTP S BRIT ISH PA INT ERS T H EIR ST O RY A ND T H EIR A RT J E . DGC UMBE ST A LEY A UT H OR OF WA TT EA U A ND H I S SCH OOL ET C . WIT H TWENTY -FO UR EXAMPLES IN C OLOUR O F T H EIR WO RK P RE FA C E “ BRI TI SH P A I NT E RS : Their Story and their Art l o f o f is a presentation, in popu ar form , the Story — - British Painting a well worn but never wearying t o Story , which for ever offers fresh charms young o ld and , and stirs in British hearts feelings of patriotism and delight . In a work o f the size of this volume it is im possible to d o more than lightly sketch the more sa lient features o f the glorious panorama o f seven hundred years . My purpose , in this compilation , —t o is threefold . First bring into stronger light the painting glories o f the earlier artists o f Britain many people are unfamiliar with the lives and s o f work of the precur ors Hogarth . Secondly to t reat especially o f the persons and art of painte rs Whose works are exhibited in o u r Public Galleries pictures in private holding are often inaccessible t o o f and the generality people, besides, they — co nstantly changing locality this is true of T — the Royal Collections . hirdl y t o vindicate the a of t o cl im Britain be regarded as an ancient , vii BRIT I S H P A I NT E RS consistent , and renowned Home of the Fine Arts and to correct the strange insular habit o f self depreciation, by showing that the British are supreme as a tasteful and artistic people .
    [Show full text]
  • British Art Studies September 2020 Elizabethan and Jacobean
    British Art Studies September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr British Art Studies Issue 17, published 30 September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr Cover image: Left portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1605, watercolour on vellum, laid onto table-book leaf, 5.7 x 4.4 cm. Collection of National Portrait Gallery, London (NPG 3063); Right portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1603, watercolour on vellum, laid on card, 4.9 x 4 cm. Collection of Fitzwilliam Museum, Cambridge (FM 3869). Digital image courtesy of National Portrait Gallery, London (All rights reserved); Fitzwilliam Museum, Cambridge (All rights reserved). PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom.
    [Show full text]
  • British Art Studies September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine Macleod and Alexa
    British Art Studies September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr British Art Studies Issue 17, published 30 September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr Cover image: Left portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1605, watercolour on vellum, laid onto table-book leaf, 5.7 x 4.4 cm. Collection of National Portrait Gallery, London (NPG 3063); Right portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1603, watercolour on vellum, laid on card, 4.9 x 4 cm. Collection of Fitzwilliam Museum, Cambridge (FM 3869). Digital image courtesy of National Portrait Gallery, London (All rights reserved); Fitzwilliam Museum, Cambridge (All rights reserved). PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom.
    [Show full text]
  • Student Name Field: Early Modern Europe Courses Taken for Ion C
    Student Name Field: Early Modern Europe Courses Taken for Concentration Credit Fall 2005 Freshman Seminar 39u – Henri Zerner Focused on the development of Printmaking, Art and print culture and art with the Communication advent of the printing press in the fifteenth century, and subsequent printing techniques that developed, such as woodblock, engraving, etc. Looked at original artwork and prints and studied how the medium was used to communicate ideas and styles of art Spring 2006 History of Art and Henri Zerner A survey of western art Architecture 10 – The Western historical trends from the early Tradition Renaissance to the present, focusing on particular artists or movements representative of art historical periods but by no means encompassing the entire history. Spring 2006 English 146 – Sex and Lynne Festa A study of evolving concepts of Sensibility in the Enlightenment literary personas in the English Enlightenment from Eliza Haywood’s Philidore and Placentia (1727) to Jane Austen’s Sense and Sensibility (1811). We looked at changing gender roles in print material and literature, as well as developing concepts of the human body and 20th century analyses of these trends, focusing particularly on Foucault’s A History of Sexuality. Fall 2006 History of Art and Frank A look into trends of art and Architecture 152 – The Italian Fehrenbach inventions specific to the Renaissance Italian Renaissance, looking at the origins of these trends in Medieval Italian Art (from the ninth century at the earliest ) and following them through late sixteenth century mannerism. Focused particularly on the invention of single‐point perspective, oil painting, sculptural trends and portraiture.
    [Show full text]
  • Darnley Portraits
    DARNLEY FINE ART DARNLEY FINE ART PresentingPresenting anan Exhibition of of Portraits for Sale Portraits for Sale EXHIBITING A SELECTION OF PORTRAITS FOR SALE DATING FROM THE MID 16TH TO EARLY 19TH CENTURY On view for sale at 18 Milner Street CHELSEA, London, SW3 2PU tel: +44 (0) 1932 976206 www.darnleyfineart.com 3 4 CONTENTS Artist Title English School, (Mid 16th C.) Captain John Hyfield English School (Late 16th C.) A Merchant English School, (Early 17th C.) A Melancholic Gentleman English School, (Early 17th C.) A Lady Wearing a Garland of Roses Continental School, (Early 17th C.) A Gentleman with a Crossbow Winder Flemish School, (Early 17th C.) A Boy in a Black Tunic Gilbert Jackson A Girl Cornelius Johnson A Gentleman in a Slashed Black Doublet English School, (Mid 17th C.) A Naval Officer Mary Beale A Gentleman Circle of Mary Beale, Late 17th C.) A Gentleman Continental School, (Early 19th C.) Self-Portrait Circle of Gerard van Honthorst, (Mid 17th C.) A Gentleman in Armour Circle of Pieter Harmensz Verelst, (Late 17th C.) A Young Man Hendrick van Somer St. Jerome Jacob Huysmans A Lady by a Fountain After Sir Peter Paul Rubens, (Late 17th C.) Thomas Howard, Earl of Arundel After Sir Peter Lely, (Late 17th C.) The Duke and Duchess of York After Hans Holbein the Younger, (Early 17th to Mid 18th C.) William Warham Follower of Sir Godfrey Kneller, (Early 18th C.) Head of a Gentleman English School, (Mid 18th C.) Self-Portrait Circle of Hycinthe Rigaud, (Early 18th C.) A Gentleman in a Fur Hat Arthur Pond A Gentleman in a Blue Coat
    [Show full text]
  • Anecdotes of Painting in England : with Some Account of the Principal
    C ' 1 2. J? Digitized by the Internet Archive in 2013 http://archive.org/details/paintingineng02walp ^-©HINTESS <0>F AEHJKTID 'oat/ /y ' L o :j : ANECDOTES OF PAINTING IN ENGLAND; WITH SOME ACCOUNT OF THE PRINCIPAL ARTISTS; AND INCIDENTAL NOTES ON OTHER ARTS; COLLECTED BY THE LATE MR. GEORGE VERTUE; DIGESTED AND PUBLISHED FROM HIS ORIGINAL MSS. BY THE HONOURABLE HORACE WALPOLE; WITH CONSIDERABLE ADDITIONS BY THE REV. JAMES DALLAWAY. LONDON PRINTED AT THE SHAKSPEARE PRESS, BY W. NICOL, FOR JOHN MAJOR, FLEET-STREET. MDCCCXXVI. LIST OF PLATES TO VOL. II. The Countess of Arundel, from the Original Painting at Worksop Manor, facing the title page. Paul Vansomer, . to face page 5 Cornelius Jansen, . .9 Daniel Mytens, . .15 Peter Oliver, . 25 The Earl of Arundel, . .144 Sir Peter Paul Rubens, . 161 Abraham Diepenbeck, . 1S7 Sir Anthony Vandyck, . 188 Cornelius Polenburg, . 238 John Torrentius, . .241 George Jameson, his Wife and Son, . 243 William Dobson, . 251 Gerard Honthorst, . 258 Nicholas Laniere, . 270 John Petitot, . 301 Inigo Jones, .... 330 ENGRAVINGS ON WOOD. Arms of Rubens, Vandyck & Jones to follow the title. Henry Gyles and John Rowell, . 39 Nicholas Stone, Senior and Junior, . 55 Henry Stone, .... 65 View of Wollaton, Nottinghamshire, . 91 Abraham Vanderdort, . 101 Sir B. Gerbier, . .114 George Geldorp, . 233 Henry Steenwyck, . 240 John Van Belcamp, . 265 Horatio Gentileschi, . 267 Francis Wouters, . 273 ENGRAVINGS ON WOOD continued. Adrian Hanneman, . 279 Sir Toby Matthews, . , .286 Francis Cleyn, . 291 Edward Pierce, Father and Son, . 314 Hubert Le Soeur, . 316 View of Whitehall, . .361 General Lambert, R. Walker and E. Mascall, 368 CONTENTS OF THE SECOND VOLUME.
    [Show full text]
  • |||GET||| King James VI and I 1St Edition
    KING JAMES VI AND I 1ST EDITION DOWNLOAD FREE Neil Rhodes | 9781351923965 | | | | | King James VI and I: Political Writings / Edition 1 Email address. James hardly understood the rights or the temper of the English Parliament, and he thus came into conflict with it. Henry Howard, son of poet Henry Howard, Earl of Surreyhad been a diligent correspondent with James in advance of the succession James referred to him as "long approved and trusted Howard". James I, painting attributed to John de Critz, c. There was admittedly much that was sensible in his policies, and the opening years of his reign as king of Great Britain were a time of material prosperity for both England and Scotland. Caroline of Ansbach 8 children. The arms were frequently shown with James's personal motto, Beati pacifici. Archibald Douglas, 6th Earl of Angus. The position of the tomb was lost for many years until his lead coffin was found in the Henry VII vault in the 19th century, during an excavation. Subscribe today. As a result, the 16th century became known as linn nan creach King James VI and I 1st edition, the time of King James VI and I 1st edition. Elizabeth of Bohemia. Before James was 12, he had taken the government nominally into his own hands when the earl of Morton was driven from the regency in James IV of Scotland [] 6. Benedicta Henrietta of the Palatinate. Charles's son, Charles IIbecame king after the restoration of the monarchy in Mary was already unpopular, and her marriage on 15 May to James Hepburn, 4th Earl of Bothwellwho was widely suspected of murdering Darnley, heightened widespread bad feeling towards her.
    [Show full text]
  • Acquisitions at the National Portrait Gallery, London, 2009–17
    The Michael Marks Charitable Trust Supplement Acquisitions at the National Portrait Gallery, London, 2009–17 THE COLLECTION OF the National Portrait Gallery, London, holdings. Most notably, this year, we fulfilled an ambition provides a fascinating insight into and commentary on Brit- held for more than 150 years, to acquire a portrait of the ish art, history and culture. Under the Museums and Galler- Duke of Wellington that does justice to such a national ies Act 1992, the Gallery maintains a collection of portraits hero. Painted for the Duke’s friend and admirer Lady Jersey, of the most significant people in British history, from the Thomas Lawrence’s last portrait of Wellington is a powerful, early Tudor period to the present – from Katharine Parr to yet strikingly intimate, portrait of one of the most iconic and Martin Parr. In practice, this means that works are acquired influential men in British history. according to the identity of the sitter and on the basis that We have benefited from the work of the Arts Council, the person represented should have made – or be making most recently in the allocation of the Lucian Freud archive – a substantial contribution to British history and culture. under the Acceptance in Lieu scheme. The allocation in- Within these essential criteria, the Gallery places great im- cludes an unfinished self-portrait (c.1985) and forty-seven portance on ensuring that its portraits reflect social and cul- sketchbooks, plus other drawings, watercolours and letters; tural diversity and represent a broad range of activities and the last-mentioned are currently the subject of a cataloguing achievements.
    [Show full text]
  • From Allegory to Domesticity and Informality, Elizabeth I and Elizabeth II
    The Image of the Queen; From Allegory to Domesticity and Informality, Elizabeth I and Elizabeth II. By Mihail Vlasiu [Master of Philosophy Faculty of Arts University of Glasgow] Christie’s Education London Master’s Programme September 2000 © Mihail Vlasiu ProQuest Number: 13818866 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818866 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 GLASGOW 1 u n iv er sity .LIBRARY: \1S3lS Abstract This thesis focuses on issues of continuity and change in the evolution royal portraiture and examines the similarities and differences in portraying Elizabeth I in the 16th and 17th centuries and Elizabeth II in the 20th century. The thesis goes beyond the similarity of the shared name of the two monarchs; it shows the major changes not only in the way of portraying a queen but also in the way in which the public has changed its perception of the monarch and of the monarchy. Elizabeth I aimed to unite a nation by focusing the eye upon herself, while Elizabeth II triumphed through humanity and informality.
    [Show full text]
  • Medieval Clothing and Textiles
    Medieval Clothing & Textiles 2 Robin Netherton Gale R. Owen-Crocker Medieval Clothing and Textiles Volume 2 Medieval Clothing and Textiles ISSN 1744–5787 General Editors Robin Netherton St. Louis, Missouri, USA Gale R. Owen-Crocker University of Manchester, England Editorial Board Miranda Howard Haddock Western Michigan University, USA John Hines Cardiff University, Wales Kay Lacey Swindon, England John H. Munro University of Toronto, Ontario, Canada M. A. Nordtorp-Madson University of St. Thomas, Minnesota, USA Frances Pritchard Whitworth Art Gallery, Manchester, England Monica L. Wright Middle Tennessee State University, USA Medieval Clothing and Textiles Volume 2 edited by ROBIN NETHERTON GALE R. OWEN-CROCKER THE BOYDELL PRESS © Contributors 2006 All Rights Reserved. Except as permitted under current legislation no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded or reproduced in any form or by any means, without the prior permission of the copyright owner First published 2006 The Boydell Press, Woodbridge ISBN 1 84383 203 8 The Boydell Press is an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk IP12 3DF, UK and of Boydell & Brewer Inc. 668 Mt Hope Avenue, Rochester, NY 14620, USA website: www.boydellandbrewer.com A CIP catalogue record for this book is available from the British Library This publication is printed on acid-free paper Typeset by Frances Hackeson Freelance Publishing Services, Brinscall, Lancs Printed in Great Britain by Cromwell Press, Trowbridge, Wiltshire Contents Illustrations page vii Tables ix Contributors xi Preface xiii 1 Dress and Accessories in the Early Irish Tale “The Wooing Of 1 Becfhola” Niamh Whitfield 2 The Embroidered Word: Text in the Bayeux Tapestry 35 Gale R.
    [Show full text]
  • British Art Studies September 2020 Elizabethan and Jacobean
    British Art Studies September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr British Art Studies Issue 17, published 30 September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr Cover image: Left portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1605, watercolour on vellum, laid onto table-book leaf, 5.7 x 4.4 cm. Collection of National Portrait Gallery, London (NPG 3063); Right portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1603, watercolour on vellum, laid on card, 4.9 x 4 cm. Collection of Fitzwilliam Museum, Cambridge (FM 3869). Digital image courtesy of National Portrait Gallery, London (All rights reserved); Fitzwilliam Museum, Cambridge (All rights reserved). PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom.
    [Show full text]
  • The Case of the Wrong Countess
    Spring 2007 Shakespeare Matters page 1 8:2 “Let me not to the marriage of true minds admit impediments...” Spring 2009 The Case of the Wrong Countess by Bonner Miller Cutting t Wilton House, the ancient country manor home of the Earls of Pembroke, there is a large painting centered on the wall of the majestic Double Cubed Room. In fact, the A th Double Cubed Room was explicitly designed by the eminent 17 century architect Inigo Jones to properly display this painting, which spans seventeen feet across and is eleven feet high. Con- sidered “a perfect school unto itself”1 as an example of the work of Sir Anthony Van Dyck, this massive painting contains ten figures, all life size with the exception of the Earl himself who is slightly larger in scale than the rest of his family, a subtle tribute to his dominance of the family group.2 However, it is not the unique place of this painting in art history or the brilliance of the painter that is called into question, th From left to right, Vice President Gary Withers, Renee Mon- but the identity of the woman in black sitting to the left of the 4 tagne, and Dr. Daniel Wright. Photo by Shakespeare Author- (Continued on p. 13) ship Research Centre, Concordia University - Portland. Concordia Authorship Research Center Set to Open.... The Name within the Ring: Edward de Vere’s “Musical” by Howard Schumann Signature in Merchant of Venice ours of the new Shakespeare Authorship Research Centre took place at the 13th Annual Shakespeare Authorship by Ian Haste TStudies Conference held from April 16th to 19th at Con- cordia University in Portland, Oregon.
    [Show full text]