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Issues) and Begin with the Summer Issue
AN ILLUSTRATED QUARTERLY BLAKE SALES, BLAKE RESEARCH: THE ANNUAL CHECKLISTS VOLUME 34 NUMBER 4 SPRING 2001 £%Uae AN ILLUSTRATED QUARTERLY VOLUME 34 NUMBER 4 SPRING 2001 CONTENTS Articles Newsletter Blake in the Marketplace, 2000 Met Exhibition Through June, Blake Society Lectures, by Robert N. Essick 100 The Erdman Papers 159 William Blake and His Circle: A Checklist of Publications and Discoveries in 2000 By G. E. Bentley, Jr., with the Assistance of Keiko Aoyama for Japanese Publications 129 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 Detlef W. Dbrrbecker, University of Trier Joseph Viscomi, University of North Carolina at Chapel Hill Robert N. Essick, University of California, Riverside David Worrall, St. Mary's College Angela Esterhammer, University of Western Ontario CONTRIBUTORS SUBSCRIPTIONS are $60 for institutions, $30 for individuals. All subscriptions are by the volume (1 year, 4 issues) and begin with the summer issue. Subscription payments re• G. E. BENTLEY, JR. has just completed The Stranger from ceived after the summer issue will be applied to the 4 issues Paradise in the Belly of the Beast: A Biography of William of the current volume. Foreign addresses (except Canada Blake. and Mexico) require a $10 per volume postal surcharge for surface, and $25 per volume surcharge for air mail delivery. ROBERT N. ESSICK is Professor of English at the University U.S. currency or international money order necessary. Make of California, Riverside. checks payable to Blake/An Illustrated Quarterly. Address all subscription orders and related communications to Sarah Jones, Blake, Department of English, University of Roches• ter, Rochester, NY 14627. -
Study of a Seated Man Wearing a Helmet Pen and Brown Ink and Pencil
George RICHMOND (Brompton 1809 - London 1896) Study of a Seated Man Wearing a Helmet Pen and brown ink and pencil. Inscribed 'The attitude of this figure / is a recollection from nature' at the bottom of the sheet. 240 x 200 mm. (9 1/2 x 7 7/8 in.) [image] 332 x 215 mm. (13 1/8 x 8 1/2 in.) [sheet] ACQUIRED BY THE NATIONAL GALLERY OF ART, WASHINGTON, DC. Most early drawings by Richmond have long remained in the possession of his descendants. This drawing, which depicts a man dressed as a soldier all’antica, may be likened to a pen and ink study of a seated man, sold at auction in 1977, that was once part of a sketchbook used by Richmond between 1824 and 1830. The present sheet may be dated to the same period, during which the artist studied under Henry Fuseli at the Royal Academy Schools, met the elderly William Blake, Samuel Palmer and Edward Calvert, joined ‘The Ancients’, and completed his training in Paris. Artist description: A disciple of Willam Blake and a close friend of Samuel Palmer, George Richmond formed - with Palmer, Edward Calvert and other followers of Blake - a small group who called themselves ‘The Ancients’. The only member of ‘The Ancients’ who received a conventional academic training, Richmond entered the Royal Academy Schools in December 1824, at the age of just fourteen, and there studied under Henry Fuseli. It was while he was at the Academy Schools that he first showed himself to be an accomplished and gifted draughtsman. -
British and European Art | Knightsbridge, London | Tuesday 24 November 2015 22590
BRITISH AND EUROPEAN ART Tuesday 24 November 2015 Knightsbridge, London BRITISH AND EUROP E AN A RT | Knightsbridge, London | Tuesday 24 November 2015 | Knightsbridge, London Tuesday 22590 PART I: VICTORIAN & BRITISH IMPRESSIONIST ART PART II: 19TH CENTURY EUROPEAN, IMPRESSIONIST & MODERN ART Tuesday 24 November 2015 at 1pm Knightsbridge, London BONHAMS ENQUIRIES Please see page 2 for bidder Montpelier Street information including after-sale Knightsbridge Part I: Victorian & British collection and shipment London SW7 1HH Impressionist Art www.bonhams.com Thomas Podd Please see back of catalogue +44 (0) 20 7393 3988 for important notice to bidders VIEWING [email protected] Sunday 22 November IMPORTANT INFORMATION 11am – 3pm Part II: 19th Century European, The United States Government Monday 23 November Impressionist & Modern Art has banned the import of ivory 9am – 4.30pm Veronique Scorer into the USA. Lots containing Tuesday 24 November +44 (0) 20 7393 3962 ivory are indicated by the symbol 9am – 11am [email protected] Ф printed beside the lot number in this catalogue. BIDS Emma Gordon +44 (0) 20 7447 7447 +44 (0) 20 7393 3960 +44 (0) 20 7447 7401 fax [email protected] To bid via the internet please visit www.bonhams.com PRESS ENQUIRIES [email protected] Please note that bids should be submitted no later than 4pm CUSTOMER SERVICES on the day prior to the auction. Monday to Friday 8.30am – 6pm New bidders must also provide +44 (0) 20 7447 7447 proof of identity when submitting bids. Failure to do this may result ILLUSTRATIONS in your bids not being processed. -
The Challenges of French Impressionism in Great Britain
Crossing the Channel: The Challenges of French Impressionism in Great Britain By Catherine Cheney Senior Honors Thesis Department of Art History University of North Carolina at Chapel Hill April 8, 2016 Approved: 1 Introduction: French Impressionism in England As Impressionism spread throughout Europe in the late nineteenth century, the movement took hold in the British art community and helped to change the fundamental ways in which people viewed and collected art. Impressionism made its debut in London in 1870 when Claude Monet, Camille Pissarro, and Paul Durand-Ruel sought safe haven in London during the Franco- Prussian war. The two artists created works of London landscapes done in the new Impressionist style. Paul Durand-Ruel, a commercial dealer, marketed the Impressionist works of these two artists and of the other Impressionist artists that he brought over from Paris. The movement was officially organized for the First Impressionist Exhibition in 1874 in Paris, but the initial introduction in London laid the groundwork for promoting this new style throughout the international art world. This thesis will explore, first, the cultural transformations of London that allowed for the introduction of Impressionism as a new style in England; second, the now- famous Thames series that Monet created in the 1890s and notable exhibitions held in London during the time; and finally, the impact Impressionism had on private collectors and adding Impressionist works to the national collections. With the exception of Edouard Manet, who met with success at the Salon in Paris over the years and did not exhibit with the Impressionists, the modern artists were not received well. -
Lowell Libson Limited
LOWELL LI BSON LTD 2 0 1 0 LOWELL LIBSON LIMITED BRITISH PAINTINGS WATERCOLOURS AND DRAWINGS 3 Clifford Street · Londonw1s 2lf +44 (0)20 7734 8686 · [email protected] www.lowell-libson.com LOWELL LI BSON LTD 2 0 1 0 Our 2010 catalogue includes a diverse group of works ranging from the fascinating and extremely rare drawings of mid seventeenth century London by the Dutch draughtsman Michel 3 Clifford Street · Londonw1s 2lf van Overbeek to the small and exquisitely executed painting of a young geisha by Menpes, an Australian, contained in the artist’s own version of a seventeenth century Dutch frame. Telephone: +44 (0)20 7734 8686 · Email: [email protected] Sandwiched between these two extremes of date and background, the filling comprises Website: www.lowell-libson.com · Fax: +44 (0)20 7734 9997 some quintessentially British works which serve to underline the often forgotten international- The gallery is open by appointment, Monday to Friday ism of ‘British’ art and patronage. Bellucci, born in the Veneto, studied in Dalmatia, and worked The entrance is in Old Burlington Street in Vienna and Düsseldorf before being tempted to England by the Duke of Chandos. Likewise, Boitard, French born and Parisian trained, settled in London where his fluency in the Rococo idiom as a designer and engraver extended to ceramics and enamels. Artists such as Boitard, in the closely knit artistic community of London, provided the grounding of Gainsborough’s early In 2010 Lowell Libson Ltd is exhibiting at: training through which he synthesised -
Parody and Play in Blake's Composite
35 PARODY AND PLAY IN BLAKE’S COMPOSITE ART Michael Phillips Parody is a form of imitation that to achieve its effect must rely upon the reader or viewer recognising the original that is being imitated. For example, in satire, parody is used to create burlesque, a form of extended simile, that David Worcester has described in The Art of Satire, as follows: “Look here, upon this picture, and on this,” says the author. The reader looks first on one, then on the other, and decides for himself whether the mirrored image faithfully reproduces the object. Of course, in satire it does not do so, for the satirist secretly aims at exposing a discrepancy in the strongest possible light. Once he has exposed it, the fewer words the better, for his insistence on pointing the moral will rob the reader of his share in the game. Worcester continues: It is the reader’s part to supply knowledge of the model. He must hold up the model, and the author will furnish him with a distorted reflection of it. Herein lies the strength of burlesque, and its weakness. (42) Exactly. If the reader or viewer fails to recognize the model, there can be no game, and the point the author wished to make is lost. Worcester makes plain that in burlesque satire it is essential for the reader or viewer to recognize the model that is being distorted. Only then, to use Worcester’s metaphor, can the game begin. The further we explore the relationship between the model and its imitation, the more difficult it becomes to avoid it. -
An Illustration for Charles Dickens's Pictures from Italy Pencil, Pen and Brown Ink and Grey Wash, Heightened with White, on Paper Laid Down on a Thin Card
Samuel PALMER (Newington 1805 - Redhill 1881) The Vintage: An Illustration for Charles Dickens's Pictures from Italy Pencil, pen and brown ink and grey wash, heightened with white, on paper laid down on a thin card. Signed S. PALMER at the lower right. 138 x 77 mm. (5 3/8 x 3 in.) In March 1846, at the recommendation of the art dealers and print publishers Colnaghi's, Charles Dickens approached Samuel Palmer and asked him to supply vignette illustrations for his forthcoming book Pictures from Italy, for which he would be paid twenty guineas. (As Dickens noted, in a letter written to his publishers Bradbury and Evans on 16th March 1846, 'I have thought it best to go to Colnaghi's, and ask if they could find me any clever young artist who has been to Italy, and has brought home a portfolio of such sketches as I want. I did so on Saturday and he assures me that he has little doubt of sending some such gentleman to me tomorrow.') Palmer produced four small illustrations for the book; depicting the Colosseum, the Villa d'Este at Tivoli, a street of tombs in Pompeii and a vineyard scene. This drawing is a preparatory study for the last of these, which, integrated with the text, appeared on the final page of the book [see image]. Although it was the only one of the four illustrations not to bear a title, it has generally been known as The Vintage. Dickens seems to have been pleased with the illustrations, and when Palmer asked if his name might be included on the title page of the book as the illustrator, he replied in a letter to the artist: 'I beg to assure you that I would on no account dream of allowing the book to go to Press, without the insertion of your name on the title page. -
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. -
Drawing After the Antique at the British Museum
Drawing after the Antique at the British Museum Supplementary Materials: Biographies of Students Admitted to Draw in the Townley Gallery, British Museum, with Facsimiles of the Gallery Register Pages (1809 – 1817) Essay by Martin Myrone Contents Facsimile, Transcription and Biographies • Page 1 • Page 2 • Page 3 • Page 4 • Page 5 • Page 6 • Page 7 Sources and Abbreviations • Manuscript Sources • Abbreviations for Online Resources • Further Online Resources • Abbreviations for Printed Sources • Further Printed Sources 1 of 120 Jan. 14 Mr Ralph Irvine, no.8 Gt. Howland St. [recommended by] Mr Planta/ 6 months This is probably intended for the Scottish landscape painter Hugh Irvine (1782– 1829), who exhibited from 8 Howland Street in 1809. “This young gentleman, at an early period of life, manifested a strong inclination for the study of art, and for several years his application has been unremitting. For some time he was a pupil of Mr Reinagle of London, whose merit as an artist is well known; and he has long been a close student in landscape afer Nature” (Thom, History of Aberdeen, 1: 198). He was the third son of Alexander Irvine, 18th laird of Drum, Aberdeenshire (1754–1844), and his wife Jean (Forbes; d.1786). His uncle was the artist and art dealer James Irvine (1757–1831). Alexander Irvine had four sons and a daughter; Alexander (b.1777), Charles (b.1780), Hugh, Francis, and daughter Christian. There is no record of a Ralph Irvine among the Irvines of Drum (Wimberley, Short Account), nor was there a Royal Academy student or exhibiting or listed artist of this name, so this was surely a clerical error or misunderstanding. -
Camille Pissarro's Jardinière (1884-1885) in the Context of His
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. -
Download Catalogue
S D R E U S R G O D L N D I N O N U W C A A H R R E E T D N A O W ONE HUNDRED DRAWINGS & WATERCOLOURS STEPHEN ONGPIN GUY PEPPIATT 2018-2019 GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART ONE HUNDRED DRAWINGS AND WATERCOLOURS dating from the 16th Century to the 21st Century WINTER CATALOGUE 2018–2019 to be exhibited at Riverwide House 6 Mason’s Yard Duke Street, St. James’s London SW1Y 6BU Stephen Ongpin Fine Art Guy Peppiatt Fine Art Tel.+44 (0) 20 7930 8813 Tel.+44 (0) 20 7930 3839 or + 44 (0)7710 328 627 or +44 (0)7956 968 284 [email protected] [email protected] www.stephenongpin.com www.peppiattfineart.co.uk We are delighted to present our eleventh annual Winter catalogue of One Hundred Drawings and Watercolours, which includes a wide range of both British and European drawings and watercolours, placed more or less in chronological order, ranging in date from the late 16th century to the present day. Although the areas of Old Master drawings, early British drawings and watercolours, 19th Century and Modern drawings have long been regarded as disparate fields, part of the purpose of this annual catalogue is to blur the distinction between these collecting areas. The works we have selected for this catalogue will hopefully show that a fine drawing or watercolour – whoever the artist and whatever the date – is always worthy of note. As the enclosed price list shows, the prices of the drawings in this catalogue are equally broad in scope – from well under £1,000 to around £15,000 – with most of the works at the lower end of this range. -
Catalogue 101
Grosvenor Prints Tel: 020 7836 1979 19 Shelton Street [email protected] Covent Garden www.grosvenorprints.com London WC2H 9JN Catalogue 101 Item 196: The Empire's Cricketers Cover: Detail of item 188 Back: Detail of Item 122 Registered in England No. 305630 Registered Office: 2, Castle Business Village, Station Road, Hampton, Middlesex. TW12 2BX. Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Ra ment. C.E. Ellis. E&OE VAT No. 217 6907 49 1. Tabula III Pictura, que Domus Titi fornices exornabat, plures exhibens Genios in bigis, variosque puerorum ludos, et Part IV: 8 plates (of 12?) plus extra two folding plates. piscationem, ultra alias principales figuras. Total 46 plates. Boards detached. £680 Petrus Sancte Bartoli delin. Rome [n.d.1635-1700]. The four parts are: 'Le Triomphe de la Mort', with Engraving. 430 x 525mm (15½ x 20¾"). Vertical 'Triumphus Divitiarum' & 'Triumphus Paupertatis'; 'La creasing down the centre. Some discolouring along top Passion de notre Seigneur'; 'Recueil de XII Costumes left margin. Both lower corners creased slightly. £480 Suisses Civils et Militaires, Hommes et Femmes, du This print depicts various figures and scenes from the Seizième Siècle'; and 'Portraits' ('8' added in pencil in House of Titus, including angels in chariots and boys blank part of title, equalling number of plates present). playing games, along with other typically Roman Compared to the BM collation, this example lacks the 'Portraits': 'Lais Corinthiaca', 'Venus et Amor' motifs. Stock: 54007 'Johannes Frobenius' & 'Thomas Morus'. The two extra plates, an aquatint of Thomas More and his family and an etched key, are described by Brunet as 'generally 2.