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Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as -
Ruskin and South Kensington: Contrasting Approaches to Art Education
Ruskin and South Kensington: contrasting approaches to art education Anthony Burton This article deals with Ruskin’s contribution to art education and training, as it can be defined by comparison and contrast with the government-sponsored art training supplied by (to use the handy nickname) ‘South Kensington’. It is tempting to treat this matter, and thus to dramatize it, as a personality clash between Ruskin and Henry Cole – who, ten years older than Ruskin, was the man in charge of the South Kensington system. Robert Hewison has commented that their ‘individual personalities, attitudes and ambitions are so diametrically opposed as to represent the longitude and latitude of Victorian cultural values’. He characterises Cole as ‘utilitarian’ and ‘rationalist’, as against Ruskin, who was a ‘romantic anti-capitalist’ and in favour of the ‘imaginative’.1 This article will set the personality clash in the broader context of Victorian art education.2 Ruskin and Cole develop differing approaches to art education Anyone interested in achieving artistic skill in Victorian England would probably begin by taking private lessons from a practising painter. Both Cole and Ruskin did so. Cole took drawing lessons from Charles Wild and David Cox,3 and Ruskin had art tuition from Charles Runciman and Copley Fielding, ‘the most fashionable drawing master of the day’.4 A few private art schools existed, the most prestigious being that run by Henry Sass (which is commemorated in fictional form, as ‘Gandish’s’, in Thackeray’s novel, The Newcomes).5 Sass’s school aimed to equip 1 Robert Hewison, ‘Straight lines or curved? The Victorian values of John Ruskin and Henry Cole’, in Peggy Deamer, ed, Architecture and capitalism: 1845 to the present, London: Routledge, 2013, 8, 21. -
Bargain Booze Limited Wine Rack Limited Conviviality Retail
www.pwc.co.uk In accordance with Paragraph 49 of Schedule B1 of the Insolvency Act 1986 and Rule 3.35 of the Insolvency (England and Wales) Rules 2016 Bargain Booze Limited High Court of Justice Business and Property Courts of England and Wales Date 13 April 2018 Insolvency & Companies List (ChD) CR-2018-002928 Anticipated to be delivered on 16 April 2018 Wine Rack Limited High Court of Justice Business and Property Courts of England and Wales Insolvency & Companies List (ChD) CR-2018-002930 Conviviality Retail Logistics Limited High Court of Justice Business and Property Courts of England and Wales Insolvency & Companies List (ChD) CR-2018-002929 (All in administration) Joint administrators’ proposals for achieving the purpose of administration Contents Abbreviations and definitions 1 Why we’ve prepared this document 3 At a glance 4 Brief history of the Companies and why they’re in administration 5 What we’ve done so far and what’s next if our proposals are approved 10 Estimated financial position 15 Statutory and other information 16 Appendix A: Recent Group history 19 Appendix B: Pre-administration costs 20 Appendix C: Copy of the Joint Administrators’ report to creditors on the pre- packaged sale of assets 22 Appendix D: Estimated financial position including creditors’ details 23 Appendix E: Proof of debt 75 Joint Administrators’ proposals for achieving the purpose of administration Joint Administrators’ proposals for achieving the purpose of administration Abbreviations and definitions The following table shows the abbreviations -
St James Conservation Area Audit
ST JAMES’S 17 CONSERVATION AREA AUDIT AREA CONSERVATION Document Title: St James Conservation Area Audit Status: Adopted Supplementary Planning Guidance Document ID No.: 2471 This report is based on a draft prepared by B D P. Following a consultation programme undertaken by the council it was adopted as Supplementary Planning Guidance by the Cabinet Member for City Development on 27 November 2002. Published December 2002 © Westminster City Council Department of Planning & Transportation, Development Planning Services, City Hall, 64 Victoria Street, London SW1E 6QP www.westminster.gov.uk PREFACE Since the designation of the first conservation areas in 1967 the City Council has undertaken a comprehensive programme of conservation area designation, extensions and policy development. There are now 53 conservation areas in Westminster, covering 76% of the City. These conservation areas are the subject of detailed policies in the Unitary Development Plan and in Supplementary Planning Guidance. In addition to the basic activity of designation and the formulation of general policy, the City Council is required to undertake conservation area appraisals and to devise local policies in order to protect the unique character of each area. Although this process was first undertaken with the various designation reports, more recent national guidance (as found in Planning Policy Guidance Note 15 and the English Heritage Conservation Area Practice and Conservation Area Appraisal documents) requires detailed appraisals of each conservation area in the form of formally approved and published documents. This enhanced process involves the review of original designation procedures and boundaries; analysis of historical development; identification of all listed buildings and those unlisted buildings making a positive contribution to an area; and the identification and description of key townscape features, including street patterns, trees, open spaces and building types. -
Victoria Albert &Art & Love ‘Incessant Personal Exertions and Comprehensive Artistic Knowledge’: Prince Albert’S Interest in Early Italian Art
Victoria Albert &Art & Love ‘Incessant personal exertions and comprehensive artistic knowledge’: Prince Albert’s interest in early Italian art Susanna Avery-Quash Essays from two Study Days held at the National Gallery, London, on 5 and 6 June 2010. Edited by Susanna Avery-Quash Design by Tom Keates at Mick Keates Design Published by Royal Collection Trust / © HM Queen Elizabeth II 2012. Royal Collection Enterprises Limited St James’s Palace, London SW1A 1JR www.royalcollection.org ISBN 978 1905686 75 9 First published online 23/04/2012 This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for non-commercial, educational purposes only. Please properly attribute the material to its respective authors. For any other uses please contact Royal Collection Enterprises Limited. www.royalcollection.org.uk Victoria Albert &Art & Love ‘Incessant personal exertions and comprehensive artistic knowledge’: Prince Albert’s interest in early Italian art Susanna Avery-Quash When an honoured guest visited Osborne House on the Isle of Wight he may have found himself invited by Prince Albert (fig. 1) into his private Dressing and Writing Room. This was Albert’s inner sanctum, a small room barely 17ft square, tucked away on the first floor of the north-west corner of the original square wing known as the Pavilion. Had the visitor seen this room after the Prince’s rearrangement of it in 1847, what a strange but marvellous sight would have greeted his eyes! Quite out of keeping with the taste of every previous English monarch, Albert had adorned this room with some two dozen small, refined early Italian paintings,1 whose bright colours, gilding and stucco ornamentation would have glinted splendidly in the sharp light coming from the Solent and contrasted elegantly with the mahogany furniture. -
Coversheet for Thesis in Sussex Research Online
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis 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 Please visit Sussex Research Online for more information and further details Elkington & Co. and the Art of Electro-Metallurgy, circa 1840-1900. Alistair Grant. A Thesis Submitted to the University of Sussex for Examination for the Degree of Doctor of Philosophy. September 2014. 2 I hereby declare that this thesis is solely my own work, and has not been, and will not be submitted in whole, or in part, to another University for the award of any other degree. Signature:……………………………………… 3 This PhD thesis is dedicated to my wife Lucy and my daughter Agnes. I would like to thank my wife, Dr. Lucy Grant, without whose love, encouragement, and financial support my doctoral studies could not have happened. Her fortitude, especially during the difficult early months of 2013 when our daughter Agnes was ill, anchored our family and home, and enabled me to continue my research and complete this PhD thesis. 4 ACKNOWLEDGEMENTS First and foremost, I would like to thank my supervisor Professor Maurice Howard. Having nurtured my enthusiasm for Art History as an undergraduate at the University of Sussex from 1983-1986, when I approached him, 23 years later, about pursuing PhD research into Elkington & Co. -
U P P E R R I C H M O N D R O
UPPER RICHMOND ROAD CARLTON HOUSE VISION 02-11 PURE 12-25 REFINED 26-31 ELEGANT 32-39 TIMELESS 40-55 SPACE 56-83 01 CARLTON HOUSE – FOREWORD OUR VISION FOR CARLTON HOUSE WAS FOR A NEW KIND OF LANDMARK IN PUTNEY. IT’S A CONTEMPORARY RESIDENCE THAT EMBRACES THE PLEASURES OF A PEACEFUL NEIGHBOURHOOD AND THE JOYS OF ONE OF THE MOST EXCITING CITIES IN THE WORLD. WELCOME TO PUTNEY. WELCOME TO CARLTON HOUSE. NICK HUTCHINGS MANAGING DIRECTOR, COMMERCIAL 03 CARLTON HOUSE – THE VISION The vision behind Carlton House was to create a new gateway to Putney, a landmark designed to stand apart but in tune with its surroundings. The result is a handsome modern residence in a prime spot on Upper Richmond Road, minutes from East Putney Underground and a short walk from the River Thames. Designed by award-winning architects Assael, the striking façade is a statement of arrival, while the stepped shape echoes the rise and fall of the neighbouring buildings. There’s a concierge with mezzanine residents’ lounge, landscaped roof garden and 73 apartments and penthouses, with elegant interiors that evoke traditional British style. While trends come and go, Carlton House is set to be a timeless addition to the neighbourhood. Carlton House UPPER RICHMOND ROAD Image courtesy of Assael 05 CARLTON HOUSE – LOCATION N . London Stadium London Zoo . VICTORIA PARK . Kings Place REGENT’S PARK . The British Library SHOREDITCH . The British Museum . Royal Opera House CITY OF LONDON . WHITE CITY Marble Arch . St Paul’s Cathedral . Somerset House MAYFAIR . Tower of London . Westfield London . HYDE PARK Southbank Centre . -
Peridot and Gold Suite of Jewellery by Rundell, Bridge and Rundell
Case 18 2012/13: Peridot and gold suite of jewellery by Rundell, Bridge and Rundell Expert adviser’s statement EXECUTIVE SUMMARY 1. Brief Description of items A set of gold and peridot jewels in open-backed settings, comprising a necklace with pendant cross, a pair of pendant earrings, a pair of bracelets and a brooch, by Rundell, Bridge and Rundell, London, 1816 (fig. 1). Necklace: 48.8 cm. (length); 2.0 cm. (width). Cross: 8 cm. (length); 5.2 cm. (width). Earrings: 5.2 cm. (length). Bracelets: 18.8 cm. (length). Case: 25.2 cm. (length); 15.2 cm. (width); 2.6 cm. (height). The overall condition of the jewellery is good. 2. Context Provenance Bought by the Prince Regent as a gift to ‘Miss Coats’ to be worn at the wedding of Princess Charlotte and Prince Leopold of Saxe-Coburg, 2 May 1816. Accompanied by a letter from Princess Elizabeth, sister of the Prince Regent, (fig. 2; chrysolites in modern terminology are usually described as peridots). ‘Miss Coats’ was either Charlotte Cotes or Lucy Cotes, nieces of the Dowager Countess of Rosslyn who served in the household of Princess Charlotte with their aunt. The applicant has kindly included a copy of an invoice in the Royal Archives to the Prince Regent from Rundell, Bridge and Rundell in which the separate elements of the set are described (figs. 5-7; entry dated 3 April). The set passed by inheritance to the Hon. Mrs. Denise Orange who donated it to an auction held on 10 November, 2012 (lot 220), organised by the Community of the Resurrection, Mirfield, in aid of the Community. -
The Jubilee Walkway. Section 5 of 5
Transport for London. The Jubilee Walkway. Section 5 of 5. The Jubilee Loop (anti-clockwise). Start and finish: The Jubilee Walkway panel (on the south side of Trafalgar Square). Nearest station: Charing Cross . Section distance: 2 miles (3 kilometres). Introduction. This is a circular walk in the heart of London linking the institutions of The Monarchy and the Government. This section of the Jubilee Walkway connects with section one at Trafalgar Square and at Great George Street. Look out for the Jubilee Walkway discs in the pavement as you go round. Directions. This walk starts from Trafalgar Square. Did you know? Trafalgar Square was laid out in 1840 by Sir Charles Barry, architect of the new Houses of Parliament. The square, which is now a 'World Square', is a place for national rejoicing, celebrations and demonstrations. It is dominated by Nelson's Column with the 18-foot statue of Lord Nelson standing on top of the 171-foot column. It was erected in honour of his victory at Trafalgar. With Trafalgar Square behind you and keeping Canada House on the right, cross Cockspur Street and keep right. Go around the corner, passing the Ugandan High Commission to enter The Mall under the large stone Admiralty Arch - go through the right arch. Keep on the right-hand side of the broad avenue that is The Mall. Did you know? Admiralty Arch is the gateway between The Mall, which extends southwest, and Trafalgar Square to the northeast. The Mall was laid out as an avenue between 1660-1662 as part of Charles II's scheme for St James's Park. -
Susanna Avery-Quash
Victoria Albert &Art & Love ‘Incessant personal exertions and comprehensive artistic knowledge’: Prince Albert’s interest in early Italian art Susanna Avery-Quash Essays from a study day held at the National Gallery, London on 5 and 6 June 2010 Edited by Susanna Avery-Quash Design by Tom Keates at Mick Keates Design Published by Royal Collection Trust / © HM Queen Elizabeth II 2012. Royal Collection Enterprises Limited St James’s Palace, London SW1A 1JR www.royalcollection.org ISBN 978 1905686 75 9 First published online 23/04/2012 This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for non-commercial, educational purposes only. Please properly attribute the material to its respective authors. For any other uses please contact Royal Collection Enterprises Limited. www.royalcollection.org.uk Victoria Albert &Art & Love ‘Incessant personal exertions and comprehensive artistic knowledge’: Prince Albert’s interest in early Italian art Susanna Avery-Quash When an honoured guest visited Osborne House on the Isle of Wight he may have found himself invited by Prince Albert (fig. 1) into his private Dressing and Writing Room. This was Albert’s inner sanctum, a small room barely 17ft square, tucked away on the first floor of the north-west corner of the original square wing known as the Pavilion. Had the visitor seen this room after the Prince’s rearrangement of it in 1847, what a strange but marvellous sight would have greeted his eyes! Quite out of keeping with the taste of every previous English monarch, Albert had adorned this room with some two dozen small, refined early Italian paintings,1 whose bright colours, gilding and stucco ornamentation would have glinted splendidly in the sharp light coming from the Solent and contrasted elegantly with the mahogany furniture. -
Important Pair of Gilt and Patinated Bronze and Blue Turquin Marble
Rémond - Falconet Important Pair of Gilt and Patinated Bronze and Blue Turquin Marble Five-Light Candelabra, Louis XVI period Circa: circa 1785 Attributed to François Rémond Made under the supervision of Dominique Daguerre The groups after Etienne-Maurice Falconet (1716-1791) An Important Pair of Gilt and Patinated Bronze and Blue Turquin Marble Five-Light Candelabra Paris, Louis XVI period, circa 1785 Height 99 cm; width 43 cm; depth 29.5 cm Provenance: - Collection of Prince Marc de Beauvau-Craon (1816-1883) in the Grand Salon of his Parisian mansion in Avenue Montaigne: “Two candelabra with bronzed figures, model known as ‘Garde-à-vous’, on blue turquin marble bases, with five light branches, in gilt bronze, 18,000 francs”. - By descent, collection of the Princes de Beauvau-Craon in the Château d’Haroué. Made entirely of finely chased matte and burnished gilt and patinated bronze, each candelabrum is adorned with an allegorical group depicting a young girl sitting on a mound and holding a bow on her right side. She is an allegory of Innocence. The other figure is a winged putto who is also seated and holds his right index finger to his lips; he is an allegory of menacing Love. Behind each figure the light bouquet emerges from leaves that issue from a torch stem with straight and spiral fluting. The stem, to which are attached the five curved light branches in two staggered rows, terminates in a flame motif. The light branches, which are decorated with fluting and spirals, feature molded rings and are adorned with scrolls centered by rosettes. -
Fine Dining in the Regency Period: the Art of Rundell & Bridge 1797 - 1830
Fine Dining in the Regency Period: The Art of Rundell & Bridge 1797 - 1830 Virtually all of the pieces commissioned by the Prince Regent are still in the Royal Collection, a tribute to him as one of the greatest of art patrons and a remarkable connoisseur. The exhibition presents a vivid picture of the peri- od, characterised by its ‘fast set’ of courtiers who surrounded this extravagant monarch, their taste in silver mirroring their lust for life, excess and luxury. They included Lady Conyngham, George IV’s mistress, noted for her extravagance. Her breakfast tea set is included, as is a cartoon of her at Rundell’s offering a promissory note of £60,000. During the period of Rundell’s dominance there were great changes in the way people sat down to eat. French cuisine had always been highly-prized in England, and the defeat of France at Waterloo in 1815 saw many of the most famous chefs, notably Carême and Ude, cross the Channel to work for English patrons such as the Prince Regent, the Duke of York and others. The way food was served also changed, with the old method of service à la française, in which all the dishes of a course were laid on the table and guests helped them- selves or had servants to help them, replaced with service à la russe, a practice still followed today, in which waiters walk around the table offering dishes to each diner. As a result of this, it was the tableware rather than the food itself which became the decora- tion.