Ashmolean Museum Annual Report 2000—2001
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Conference Programme Guernsey 28-30 June 2019 Organised by the Victor Hugo in Guernsey Society
IN GUERNSEY CONFERENCE 2019 Conference Programme Guernsey 28-30 June 2019 Organised by The Victor Hugo in Guernsey Society Supported by the Guernsey Arts André Gill illustration for L’Eclipse, 25 April 1869, from the Gérard Pouchain collection. from the Gérard Pouchain April 1869, 25 L’Eclipse, André Gill illustration for Commission About The Victor Hugo In Guernsey Society Welcome from The Victor Hugo In Guernsey Society Victor Hugo wrote many of his greatest works on The Victor Hugo in Guernsey Society welcomes you to its 3rd In~ a letter to his publisher, Lacroix, in December the island of Guernsey, a small British dependency Victor Hugo in Guernsey conference. This weekend in the 1868, after he had announced the publication of 20 miles off the coast of France. Hugo was in exile, but island of Hugo’s exile will focus on the novel Hugo published a new work by Hugo which he characterised as a Roman despite his grief for his family and his homeland he was 150 years ago in 1869, L’Homme qui rit, (The Man who Laughs), historique, the famous novelist wrote: inspired by the beauty of the rocky landscape and seas written on Guernsey and set in England. Our sister island of “When I paint history I make my historical characters that surrounded him to produce magnificent novels – Alderney plays a pivotal part in the narrative, and even our old do only what they have done or could do, their characters including Les Misérables, and Les Travailleurs de la mer – Norman law finds its way into the text. -
International Art
International Art Collectors’ List No. 168, 2013 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: joseflebovicgallery.com 1. Cecil Aldin (Brit., 1870-1935). Miss Camp JOSEF LEBOVIC GALLERY bell’s “April Lady” & “Dame Marigold” Babies, Established 1977 Mr Frank Harrison’s “Champion Angelo” & 103a Anzac Parade, Kensington (Sydney) NSW Mr Duerdin Dutton’s “Starboard” [St Bernard Dogs], 1893. Ink and wash with white highlight, Post: PO Box 93, Kensington NSW 2033, Australia captioned left and right, signed and dated lower Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) left, publishing annotations in pencil in various hands with two stamps verso, 44.1 x 29.7cm. Email: [email protected] • Web: joseflebovicgallery.com Foxing, slight stains, soiling over all. $2,900 Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 Stamps read “Horace Cox, Brear’s Buildings, E. C. The Member of • Association of International Photography Art Dealers Inc. Queen” and “C. Robertson & Co. Artist’s Colourmen. 99 Long Acre and 154 Piccadilly, London.” International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. COLLECTORS’ LIST No. 168, 2013 International Art On exhibition from Sat., 9 November 2013 to Sat., 1 February 2014. All items will be illustrated on our website from 16 November. Prices are in Australian dollars and include GST. Exch. rates as at time of printing: AUD $1.00 = USD $0.96¢; UK £0.59p © Licence by VISCOPY AUSTRALIA 2013 LRN 5523 Compiled by Josef & Jeanne Lebovic, Lenka Miklos, Mariela Brozky, Takeaki Totsuka 2. -
In Ancient Egypt
THE ROLE OF THE CHANTRESS ($MW IN ANCIENT EGYPT SUZANNE LYNN ONSTINE A thesis submined in confonnity with the requirements for the degm of Ph.D. Graduate Department of Near and Middle Eastern Civiliations University of Toronto %) Copyright by Suzanne Lynn Onstine (200 1) . ~bsPdhorbasgmadr~ exclusive liceacc aiiowhg the ' Nationai hiof hada to reproduce, loan, distnia sdl copies of this thesis in miaof#m, pspa or elccmnic f-. L'atm criucrve la propri&C du droit d'autear qui protcge cette thtse. Ni la thèse Y des extraits substrrntiets deceMne&iveatetreimprimCs ouraitnmcrtrepoduitssanssoai aut&ntiom The Role of the Chmaes (fm~in Ancient Emt A doctorai dissertacion by Suzanne Lynn On*, submitted to the Department of Near and Middle Eastern Civilizations, University of Toronto, 200 1. The specitic nanire of the tiUe Wytor "cimûes", which occurrPd fcom the Middle Kingdom onwatd is imsiigated thrwgh the use of a dalabase cataloging 861 woinen whheld the title. Sorting the &ta based on a variety of delails has yielded pattern regatding their cbnological and demographical distribution. The changes in rhe social status and numbers of wbmen wbo bore the Weindicale that the Egyptians perceivecl the role and ams of the titk âiffefcntiy thugh tirne. Infomiation an the tities of ihe chantressw' family memkrs bas ailowed the author to make iderences cawming llse social status of the mmen who heu the title "chanms". MiMid Kingdom tifle-holders wverc of modest backgrounds and were quite rare. Eighteenth DMasty women were of the highest ranking families. The number of wamen who held the titk was also comparatively smaii, Nimeenth Dynasty women came [rom more modesi backgrounds and were more nwnennis. -
Conrad Shawcross
CONRAD SHAWCROSS Born 1977 in London, UK Lives and works in London, UK Education 2001 MFA, Slade School of Art, University College, London, UK 1999 BA (Hons), Fine Art, Ruskin School of Art, Oxford, UK 1996 Foundation, Chelsea School of Art, London, UK Permanent Commissions 2022 Manifold 5:4, Crossrail Art Programme, Liverpool Street station, Elizabeth line, London, UK 2020 Schism Pavilion, Château la Coste, Le Puy-Sainte-Réparade, France Pioneering Places, Ramsgate Royal Harbour, Ramsgate, UK 2019 Bicameral, Chelsea Barracks, curated by Futurecity, London, UK 2018 Exploded Paradigm, Comcast Technology Centre, Philadelphia, USA 2017 Beijing Canopy, Guo Rui Square, Beijing, China 2016 The Optic Cloak, The Energy Centre Greenwich Peninsula, curated by Futurecity, London, UK Paradigm, Francis Crick Institute, curated by Artwise, London, UK 2015 Three Perpetual Chords, Dulwich Park, curated and managed by the Contemporary Art Society for Southwark Council, London, UK 2012 Canopy Study, 123 Victoria Street, London, UK 2010 Fraction (9:8), Sadler Building, Oxford Science Park, curated and managed by Modus Operandi, Oxford, UK 2009 Axiom (Tower), Ministry of Justice, London, UK 2007 Space Trumpet, Unilever House, London, UK Solo Exhibitions 2020 Conrad Shawcross, an extended reality (XR) exhibition on Vortic Collect, Victoria Miro, London, UK Escalations, Château la Coste, Le Puy-Sainte-Réparade, France Celebrating 800 years of Spirit and Endeavour, Salisbury Cathedral, Salisbury, -
Contacts: Crete, Egypt, and the Near East Circa 2000 B.C
Malcolm H. Wiener major Akkadian site at Tell Leilan and many of its neighboring sites were abandoned ca. 2200 B.C.7 Many other Syrian sites were abandoned early in Early Bronze (EB) IVB, with the final wave of destruction and aban- donment coming at the end of EB IVB, Contacts: Crete, Egypt, about the end of the third millennium B.c. 8 In Canaan there was a precipitous decline in the number of inhabited sites in EB III— and the Near East circa IVB,9 including a hiatus posited at Ugarit. In Cyprus, the Philia phase of the Early 2000 B.C. Bronze Age, "characterised by a uniformity of material culture indicating close connec- tions between different parts of the island"10 and linked to a broader eastern Mediterra- This essay examines the interaction between nean interaction sphere, broke down, per- Minoan Crete, Egypt, the Levant, and Ana- haps because of a general collapse of tolia in the twenty-first and twentieth cen- overseas systems and a reduced demand for turies B.c. and briefly thereafter.' Cypriot copper." With respect to Egypt, Of course contacts began much earlier. Donald Redford states that "[t]he incidence The appearance en masse of pottery of Ana- of famine increases in the late 6th Dynasty tolian derivation in Crete at the beginning and early First Intermediate Period, and a of Early Minoan (EM) I, around 3000 B.C.,2 reduction in rainfall and the annual flooding together with some evidence of destructions of the Nile seems to have afflicted northeast and the occupation of refuge sites at the time, Africa with progressive desiccation as the suggests the arrival of settlers from Anatolia. -
Annual Report 2018/2019
Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership. -
Rules and Options
Rules and Options The author has attempted to draw as much as possible from the guidelines provided in the 5th edition Players Handbooks and Dungeon Master's Guide. Statistics for weapons listed in the Dungeon Master's Guide were used to develop the damage scales used in this book. Interestingly, these scales correspond fairly well with the values listed in the d20 Modern books. Game masters should feel free to modify any of the statistics or optional rules in this book as necessary. It is important to remember that Dungeons and Dragons abstracts combat to a degree, and does so more than many other game systems, in the name of playability. For this reason, the subtle differences that exist between many firearms will often drop below what might be called a "horizon of granularity." In D&D, for example, two pistols that real world shooters could spend hours discussing, debating how a few extra ounces of weight or different barrel lengths might affect accuracy, or how different kinds of ammunition (soft-nosed, armor-piercing, etc.) might affect damage, may be, in game terms, almost identical. This is neither good nor bad; it is just the way Dungeons and Dragons handles such things. Who can use firearms? Firearms are assumed to be martial ranged weapons. Characters from worlds where firearms are common and who can use martial ranged weapons will be proficient in them. Anyone else will have to train to gain proficiency— the specifics are left to individual game masters. Optionally, the game master may also allow characters with individual weapon proficiencies to trade one proficiency for an equivalent one at the time of character creation (e.g., monks can trade shortswords for one specific martial melee weapon like a war scythe, rogues can trade hand crossbows for one kind of firearm like a Glock 17 pistol, etc.). -
Benjamin FM Final.Indd
PREVIEW: INTRODUCTION • The Task of Introductions • Types of Introductions: Organized around • Archaeological Calendar • The Canon of the Bible • Daily Life • Archaeological Sites • Travel • History of Archaeology • Popular Interest • Organization of This Introduction • Popular Archaeology • Cultural History • Annales Archaeology • Processual Archaeology • Post-Processual Archaeology Introduction THE TASK OF INTRODUCTIONS TO the world of the Bible—and about the Bible itself. ARCHAEOLOGY AND THE BIBLE Together archaeology and the Bible unlock the most profound responses to the challenges that Th e three Rs of archaeology are to recover, to confront humans who want not only to make a read, and to reconstruct the cultural property living but also to make a diff erence in the world of now-extinct cultures (Magness 2002, 4–13; that is their home. Darvill 2002). Archaeologists listen to the sto- ries that stones—like architecture, art, pottery, Archaeology is the recovery, jewelry, weapons, and tools—have to tell. Stones interpretation, and reconstruction of and Stories: An Introduction to Archaeology and the cultural property of now-extinct the Bible describes how archaeologists listen, what cultures. they are hearing, and what a diff erence it makes for understanding the Bible. Archaeology is not the plunder of the trea- Archaeology in the world of the Bible does sures of ancient cultures, nor proving that the not prove the Bible wrong, any more than biblical Bible’s descriptions of people and events are his- archaeology proves the Bible right. Archaeology torically accurate, nor a legal remedy for deter- off ers new ways of defi ning the Bible in relation mining which people today have a legal right to to its own world, and of using it more eff ectively the land. -
P'. RS Moorey, MA, Dphil, FBA
P'. R. S. Moorey, MA, DPhil, FBA, FSA (1937-2004) Roger Moorey, formerly Keeper of Antiquities at the Ashmolean Museum, Oxford and widely regarded as the leading scholar of Near Eastern archaeology of his generation, died on 23 December 2004 at the age of 67. Following an era of discovery and research dominated by the excavators of the major sites, he brought an intellectual nimbleness and breadth of scholarship that set new benchmarks of balance, rigour and interpretive sophistication. His range and depth of knowledge were legendary. In a career based entirely in the Ashmolean Museum, he made seminal contribu tions to the understanding of many aspects of ancient material culture across the Near East: from Egypt and the Levant through Syria and Mesopotamia to Iran, and from the prehistoric to Achaemenian periods. The cogency, integrity and graciousness of his scholarship (one looks in vain for a mean-spirited put-down) were reflections of a mind that compromised none of its incisiveness for being, as he once said, "appreciative rather than critical"; and his natural collegiality cut across the divides of contemporary Middle Eastern politics. At once a specialist in many things and a generalist of rare breadth and insight, he was for a generation of colleagues and students an inspiring example of the "compleat scholar". Although his excavation experience was limited, Moorey's approach to understanding ancient cultures was always founded very firmly on direct scrutiny of the material remains, supplemented by innovative use of scientific analysis and close attention to the historical and other textual evidence. He was not inclined to abstract theorizing but read widely and was sensitive to new methodologies without being captive to intellectual fashion. -
Saugus Developer Casts Iron Into Plans for Old Mill Bet Made by GE’S Avia- Development, Test and Tion Division As a Whole
SATURDAY, FEBRUARY 2, 2019 Saugus developer casts iron into STOP. Bus plans for old mill routes By Bridget Turcotte apartments and parking be- ITEM STAFF neath. Three of the units would changed be affordable. SAUGUS — The historic An of ce building at 228 Cen- for the Scott Mill property could soon tral St. would be torn down to be transformed into an Iron make room for 2,000 square Works-inspired community feet of commercial space. The Better where people can live, eat, and ground oor is proposed to be store their belongings. a cafe with additional commer- By Thomas Grillo, A $5 million mixed-use devel- cial space underneath. Bridget Turcotte, opment is proposed on Central The design of the develop- and Bella diGrazia ITEM STAFF Street beside 222 Central Stor- ment is inspired by neighboring age. A three-story apartment Saugus Iron Works, from the A new plan by the building would be constructed color scheme of red and black to MBTA could change how on the right of the old mill- match the Iron Works house to thousands of North Shore turned-storage facility with 26 the design of the chimney. residents get to work ev- one-bedroom, townhouse style eryday. apartments, eight two-bedroom SAUGUS, A3 The agency has pro- posed changes to more than ve dozen bus routes that promise to increase regularity and improve dependability. Dubbed the Better Bus Project, the T has out- lined 47 no-cost proposals to update and modernize 63 bus routes, including many on the North Shore. “We are looking to make changes that improve the reliability and frequency of our bus service,” said Wes Edwards, the MBTA’s assistant general manag- er of service development. -
Ten Point Plan 2020-2025
Committee for Economic Development GUERNSEY TOURISM TEN POINT PLAN 2020-2025 Document Date: January 2020 1. Strategy Background 1.1. The Guernsey Tourism Strategy 2015-2025 was developed during 2014 by Marketing and Tourism (M&T), which then reported to the Commerce and Employment Board, in collaboration with the Chamber of Commerce Hospitality and Tourism Sub-Group (T&HSG). 1.2. TheStrategydocumentwaspublishedin2015andwasthefirstproducedasajoint States and Industry document. The document aimed to set out the key high level strategic aims for the tourism sector to achieve, with the ultimate aim of arresting the longtermdeclineinvisitornumbers,andcreatingafirmstrategicplatformforfuture sustained growth. 1.3. Ahighlevelaspirationalgrowthobjectiveof+3%yearonyearto2025wasagreedwith an aim of achieving total visitor numbers of 400,000 (excluding Cruise and Visiting Yachtsmen) by 2025. Key Strategic Aims 2015–2025 Evaluate new, sustainable and competitive 1 routes to the islands Strengthen the islands’ unique product 2 offering 3 Deliver an exceptional visitor experience Develop a positive environment for growth 4 and investment Develop marketing and messaging that is 5 consistent and compelling Guernsey Tourism Ten Point Plan 2020–2025 1 1.4. 22StrategicActionPlanswereidentifiedand agreed to help deliver the Key Strategic Aims. The 22 Strategic Action Plans summarised in the document were considered at the time to be realistic and deliverable within the time-frames stated. Each Key Strategic Aim is supported by a moredetailedSpecificActionPlanwhichdetail the feasibility studies, business cases, actions and initiatives considered necessary to deliver againstthestrategicobjectivesagreed. 1.5. It was recognised that many of the Strategic Action Plans would be outside of the direct influenceandcontrolofthethenCommerce and Employment Board and of industry members, and that other States departments and stakeholders would need to support and help facilitate delivery. -
Copyright Statement
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2017 Dogs and Domesticity Reading the Dog in Victorian British Visual Culture Robson, Amy http://hdl.handle.net/10026.1/10097 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Copyright Statement This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. i ii Dogs and Domesticity Reading the Dog in Victorian British Visual Culture by Amy Robson A thesis submitted to Plymouth University in partial fulfilment for the degree of PhD Art History, 2017 Humanities and Performing Arts 2017 iii Acknowledgements I would like to express my deepest gratitude to my supervisors, Dr James Gregory and Dr Jenny Graham, for their ongoing support throughout this project. I would also like to extend immeasurable thanks to Dr Gemma Blackshaw, who was involved in the early and later stages of my research project. Each of these individuals brought with them insights, character, and wit which helped make the PhD process all the more enjoyable.