Old Master Paintings I Montpelier Street, London I 24 October 2018 24649

Total Page:16

File Type:pdf, Size:1020Kb

Old Master Paintings I Montpelier Street, London I 24 October 2018 24649 Montpelier Street, London I 24 October 2018 Montpelier Street, Old Master Paintings Old Master Old Master Paintings I Montpelier Street, London I 24 October 2018 24649 Old Master Paintings Montpelier Street, London | Wednesday 24 October 2018, at 12pm BONHAMS BIDS ENQUIRIES Please see back of catalogue Montpelier Street +44 (0) 20 7447 7447 [email protected] for important notice to bidders Knightsbridge +44 (0) 20 7447 7401 fax +44 (0) 20 7468 8307 London SW7 1HH [email protected] ILLUSTRATIONS www.bonhams.com To bid via the internet please visit SPECIALISTS Front cover: Lot 196 (detail) www.bonhams.com Andrew McKenzie Back cover: Lot 245 VIEWING +44 (0) 20 7468 8261 Sunday 21 October TELEPHONE BIDDING [email protected] IMPORTANT INFORMATION 11am – 3pm Bidding by telephone will only be The United States Government Monday 22 October Accepted on lots with a low Caroline Oliphant has banned the import of ivory 9am – 4.30pm Estimate in excess of £500. +44 (0) 20 7468 8271 into the USA. Lots containing Tuesday 23 October Condition reports are available [email protected] ivory are indicated by the symbol 9am – 4.30pm on lots with a lower estimate in Ф printed beside the lot number excess of £2000. Lisa Greaves in this catalogue. SALE NUMBER +44 (0) 20 7468 8325 Please note that bids should be [email protected] 24649 REGISTRATION submitted no later than 4pm on IMPORTANT NOTICE the day prior to the sale. New Poppy Harvey-Jones Please note that all customers, CATALOGUE bidders must also provide proof +44 (0) 20 7468 8308 irrespective of any previous activity £18 of identity when submitting bids. [email protected] with Bonhams, are required to Failure to do this may result in complete the Bidder Registration your bid not being processed. Bun Boisseau Form in advance of the sale. The +44 (0) 20 7468 8307 form can be found at the back of [email protected] LIVE ONLINE BIDDING IS every catalogue and on our AVAILABLE FOR THIS SALE website at www.bonhams.com Please email [email protected] PRESS ENQUIRIES and should be returned by email or with ‘live bidding’ in the subject [email protected] post to the specialist department line 48 hours before the auction or to the bids department at to register for this service. CUSTOMER SERVICES [email protected] Monday to Friday To bid live online and / or 8.30am – 6pm leave internet bids please go to +44 (0) 20 7447 7447 www.bonhams.com/auctions/24649 and click on the Register to bid link at the top left of the page. Bonhams 1793 Limited Bonhams International Board Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Gordon McFarlan, Andrew McKenzie, Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Harvey Cammell Deputy Chairman, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Emily Barber, Antony Bennett, Charlie O’Brien, Giles Peppiatt, India Phillips, Matthew Girling CEO, Matthew Bradbury, Lucinda Bredin, Peter Rees, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Patrick Meade Group Vice Chairman, Simon Cottle, Andrew Currie, Jean Ghika, Veronique Scorer, Robert Smith, James Stratton, +44 (0) 20 7393 3905 fax Asaph Hyman, Caroline Oliphant, Charles Graham-Campbell, Matthew Haley, Ralph Taylor, Charlie Thomas, David Williams, Edward Wilkinson, Geoffrey Davies, James Knight, Richard Harvey, Robin Hereford, Michael Wynell-Mayow, Suzannah Yip. Jon Baddeley, Jonathan Fairhurst, Leslie Wright, Charles Lanning, Grant MacDougall, Rupert Banner, Shahin Virani, Simon Cottle. Central Middlesex Acton Ln Hospital Park Royal Acton Ln Sales Cadogan Tate Coronation Road W e d s P a te a o r r n R k A v e R e s A o 4 a Information 0 y h a Park l C Royal iWestern Ave A40 R o Station a 0 d 0 Acton 0 North 4 Cemetery A Acton d Station a o R a i r o t c i V West Acton Horn Lane Station BIDS BUYERS COLLECTION & STORAGE AND HANDLING The following symbol is used +44 (0) 20 7447 7447 STORAGE AFTER SALE CHARGES ON SOLD LOTS to denote that VAT is due on +44 (0) 20 7447 7401 fax LOTS MARKED TP RETURNED TO CADOGAN the hammer price and buyer’s [email protected] All sold lots marked TP will be TATE premium To bid via the internet please visit removed to Cadogan Tate, 241 www.bonhams.com Acton Lane, London, NW10 7NP Storage † VAT 20% on hammer price from 9am Thursday 25 October Storage will be free of charge and buyer’s premium PAYMENTS 2018 and will be available for for the first 14 calendar days VAT on imported items at Buyers collection from 12pm Friday 26 from & including the sale date * October 2018 and then every a preferential rate of 5% on +44 (0) 20 7447 7447 Wednesday 24 October 2018. working day between 9am and hammer price and the prevailing +44 (0) 20 7447 7401 fax 4.30pm. Charges will apply from 9am rate on buyer’s premium. Friday 9 November 2018. Sellers Y These lots are subject to Collections are by appointment Large Paintings: Payment of sale proceeds CITES regulations, please read only & a booking email or phone £6.05 per day +VAT +44 (0) 20 7447 7447 the information in the back of call are required in advance to All other Paintings: +44 (0) 20 7447 7401 fax the catalogue. ensure lots are ready at time of £3.03 per day +VAT collection, photographic id will be VALUATIONS, TAXATION Payment required at time of collection & if (Please note: Charges apply & HERITAGE a third party is collecting written every day including weekends All charges due to Cadogan Tate +44 (0) 20 7468 8340 authorisation from the successful and Public Holidays). may be paid to them in advance +44 (0) 20 7468 5860 fax buyer is required in advance. or at the time of collection from [email protected] Photographic id of the third party Handling their warehouse. Payment may will be requested at the time of be made by cash, cheque with After the first 14 calendar days collection. banker’s card, credit, or debit CATALOGUE following the sale, the following card (Please note: Amex is SUBSCRIPTIONS handling charges apply per Lot: To arrange a collection time not accepted). Information on To obtain any Bonhams Large Paintings £45.00+ VAT please send a booking email to: charges due is available by email catalogue or to take out an All other Paintings £22.50+ VAT annual subscription: [email protected] or at [email protected] telephone call to +44 (0)800 988 or telephone on +44 (0)800 988 Subscriptions Department Loss and Damage 6100 to ensure lots are ready at 6100 +44 (0) 1666 502200 Extended Liability cover for the +44 (0) 1666 505107 fax time of collection. value of the Hammer Price will Payment in Advance [email protected] be charged at 0.6% but will not All other sold lots will remain (Telephone to ascertain amount exceed the total value of all other SHIPPING in the Collections room at due) by: cash, cheque with Knightsbridge Without charge transfer and storage charges. For information and estimates banker’s card, credit, or debit until 5.30pm Thursday 8 card. on domestic and international November 2018 lots not VAT shipping as well as export collected by this time will be Will be applied at the current rate licenses please contact Alban Payment at time of collection removed to the warehouse on all above charges. by: Shipping on of Cadogan Tate and will be +44 (0) 1582 493 099 cash, cheque with banker’s card, available for collection from 9am credit, or debit card. [email protected] Monday 12 November 2018 where charges will apply. 1 GERMAN SCHOOL, 16TH CENTURY Saint Augustine oil on panel 83.5 x 24.2cm (32 7/8 x 9 1/2in)., extended on the upper and lower edges £5,000 - 7,000 €5,600 - 7,900 For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 3 3 2 2 CIRCLE OF HANS EWORTH (ANTWERP 1515-1574 LONDON) Portrait of a young man, bust-length, in black costume bears inscription ‘ANNO. DNI./.1560.’ (upper left) and ‘AETATIS. 2*’ (upper right) oil on panel 33 x 26.3cm (13 x 10 3/8in). £4,000 - 6,000 €4,500 - 6,700 3 ENGLISH SCHOOL, 17TH CENTURY Portrait of a gentleman, bust-length, in a red coat bears inscription ‘AETATIS 23/ VIVO ET SPERO’ (upper left) and bears date ‘ANO DNI 1580’ (upper right) oil on panel 48 x 44.2cm (18 7/8 x 17 3/8in). unframed £2,000 - 3,000 €2,200 - 3,400 4 ENGLISH SCHOOL, 17TH CENTURY Portrait of King Henry VIII, bust-length, in jewelled robes oil on panel 52.8 x 41.4cm (20 13/16 x 16 5/16in). £5,000 - 7,000 €5,600 - 7,900 Provenance Colonel C. Headlam, Holywell Hall, Durham, before 1928, and thence by descent to the present owner 4 For details of the charges payable in addition to the final Hammer Price of each Lot 4 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 5 ENGLISH SCHOOL, LATE 16TH CENTURY Provenance Portrait of a lady, three-quarter-length, in black costume, with her pet Marianne (May) Nolloth, wife of Henry Edward Nolloth, vicar of monkey Beverley Minster 1880-1921, and to her nephew bears date ‘Ao 1596’ (upper right) William Harrison Rigg, vicar of Beverley Minster 1921-1936, and to oil on panel his daughter 110.6 x 83.6cm (43 9/16 x 32 15/16in).
Recommended publications
  • 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
    [Show full text]
  • John Vanderbank, Was the Son of a Tapestry Weaver of Dutch Origins
    Neil Jeffares, Dictionary of pastellists before 1800 Online edition VANDERBANK, John London 9.IX.1694–23.XII.1739 Johann van der Banck, known as John Vanderbank, was the son of a tapestry weaver of Dutch origins. From 1711 he was a pupil at Kneller’s academy, but in 1720 he joined Louis Chéron (q.v.) in establishing the first St Martin’s Lane academy; there were 33 subscribers, including established artists such as Louis Laguerre, William Kent and Giuseppe Grisoni; younger artists included Joseph Highmore, Bartholomew Dandridge, George Knapton and William Hogarth, with Arthur Pond one of the youngest and least prepared. Leading an extravagant lifestyle, Vanderbank was forced to quit England in 1724 to avoid his creditors, but returned by 1727 and resumed his career as a history painter, portraitist and illustrator. On 23.VI.1737 he took on John Robinson as an apprentice for five years for a premium of £157 10s. He normally worked in oil but produced many drawings; however virtually no pastels survive. His painting technique has been described as “lively”, in the sense of a Hogarthian lack of finish; the portraits are brightly, sometimes crudely lit. Bibliography Bénézit, s.v. Banck; Lippincott 1983; New Haven 1979; Oxford DNB; Walpole 1828, p. 53f; Waterhouse 1981; Wright 2006; Register of duties paid for apprentices’ indentures, 1710– 1811 Pastels J.7414.101 ?SELF-PORTRAIT in red coat, white wig, pstl, 58.5x43 (Sir Edward Coates; London, Sotheby’s, 22.VI.1922, Lot 2 n.r., 40 gns; Newstead) J.7414.106 Man in a brown coat, pstl/ppr, 57x42.5 (Barnard Castle, Bowes Museum, inv.
    [Show full text]
  • Ophelia: a Psychological Portrait Xena Fitzgerald Class of 2017
    Ophelia: A Psychological Portrait Xena Fitzgerald Class of 2017 The tragic image of Ophelia, a young representation in art contributed to a variety of popular noblewoman who drowns during the play Hamlet, interpretations of her character. has haunted Britain since Shakespeare wrote her into Ophelia as a character is frequently represented existence around the year 1600. Ophelia reached the as various forms of femininity. Art historian Kimberly peak of her popularity around the mid-nineteenth Rhodes explains that during the Victorian era Ophelia century. In the realm of painting, she was a popular represented a range of female typologies from the subject for Pre-Raphaelite painters who were concerned “dutiful daughter” to the “madwoman.”3 Because with tropes of Victorian femininity as well as with Ophelia has very few lines within the play and her most the psychology of their subjects. In this paper I will signifcant action, her death, does not even appear on consider how the artist Anna Lea Merritt (1844-1930), stage, Rhodes describes her as “a blank page on which who was infuenced by the Pre-Raphaelite movement, patriarchy can inscribe and project its desires.”4 Along leapt beyond popular tropes to visually portray Ophelia with other Shakespearean heroines, Ophelia was taken in her 1880 painting with emotional and psychological up as an exemplar for femininity.5 Moral guides such depth more successfully than her contemporaries (fg. 1). as Anna Jameson’s Characteristics of Women, Moral, Born in Pennsylvania, Merritt, like Mary Poetical, and Historical instructed women and girls to Cassatt, pursued an artistic career in Europe.
    [Show full text]
  • Annual Report 1995
    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
    [Show full text]
  • Government Art Collection Annual Report 2008-2009
    Annual Report and Acquisitions 2008 – 2009 Contents 3 Foreword – Julia Somerville, Chairman of the Advisory Committee 4 Director’s Report – Penny Johnson 15 Advisory Committee members and GAC staff 16 Acquisitions 28 Annex 1 – List of works lent to public exhibitions 34 Annex 2 – List of long-term loans outside Government Our aim is to improve the quality of life for all through cultural and sporting activities, support the pursuit of excellence, and champion the tourism, creative and leisure industries. 2 Foreword Looking back over the past year, what stands out is the extraordinary growth in public interest in the Government Art Collection (GAC). We’ve been featured on radio and in the newspapers. And the public continues to flock through the doors of our headquarters when we have open house days. Visitors enjoying an Open House Tour at the GAC’s premises We continue to make our resources stretch as far as they can. The Director’s report highlights some of the exciting and important works which we have been able to acquire over the last year. This continues the GAC’s track record of making acquisitions by British artists of the highest calibre, fulfilling its role in promoting British art by displaying it in Government buildings in the UK and abroad. The Collection plays a vital part in Britain’s representation abroad: both as a reminder of our historical past and an illustration of our contemporary preoccupations. Our activities are an integral part of the UK’s diplomatic mission. We are pleased that we are increasingly playing a strategic role when new embassies are being planned.
    [Show full text]
  • A History of the French in London Liberty, Equality, Opportunity
    A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick A history of the French in London liberty, equality, opportunity A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick LONDON INSTITUTE OF HISTORICAL RESEARCH Published by UNIVERSITY OF LONDON SCHOOL OF ADVANCED STUDY INSTITUTE OF HISTORICAL RESEARCH Senate House, Malet Street, London WC1E 7HU First published in print in 2013. This book is published under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International (CC BY- NCND 4.0) license. More information regarding CC licenses is available at https://creativecommons.org/licenses/ Available to download free at http://www.humanities-digital-library.org ISBN 978 1 909646 48 3 (PDF edition) ISBN 978 1 905165 86 5 (hardback edition) Contents List of contributors vii List of figures xv List of tables xxi List of maps xxiii Acknowledgements xxv Introduction The French in London: a study in time and space 1 Martyn Cornick 1. A special case? London’s French Protestants 13 Elizabeth Randall 2. Montagu House, Bloomsbury: a French household in London, 1673–1733 43 Paul Boucher and Tessa Murdoch 3. The novelty of the French émigrés in London in the 1790s 69 Kirsty Carpenter Note on French Catholics in London after 1789 91 4. Courts in exile: Bourbons, Bonapartes and Orléans in London, from George III to Edward VII 99 Philip Mansel 5. The French in London during the 1830s: multidimensional occupancy 129 Máire Cross 6. Introductory exposition: French republicans and communists in exile to 1848 155 Fabrice Bensimon 7.
    [Show full text]
  • The Norwich School John Old Crome John Sell Cotman George Vincent
    T H E NO RW I CH SCH OOL JOH N “ OLD ” CROME JOH N SELL c o TMAN ( ) , G E OR G E ‘D I N C E N T JA ME A , S S T RK 1 B N Y C OM JOHN I T . E E E R R , TH R LE D BROOKE D A ’DI D H OD N R. LA , GSO ? J J 0 M. E . 0TM 89 . g/{N E TC . WITH ARTI LES BY M UND ALL C H . C P S A , . CONT ENTS U A P S A R I LES BY H M C ND LL . A T C . , Introduction John Crome John Sell Cotman O ther Members of the Norwich School I LLUSTRATIONS I N COLOURS l Cotman , John Sel Greta rid Yorkshire t - B ge, (wa er colour) Michel Mo nt St. Ruined Castle near a Stream B oats o n Cromer Beach (oil painting) Crome , John The Return ofthe Flock— Evening (oil painting) The Gate A athin Scene View on the Wensum at Thor e Norivtch B g p , (oil painting) Road with Pollards ILLUSTRAT IONS IN MONOTONE Cotman , John Joseph towards Norwich (water—colour) lx x vu Cotman , John Sell rid e Valle and Mountain B g , y, Llang ollen rid e at Sa/tram D evo nshire B g , D urham Castle and Cathedral Windmill in Lincolnshire D ieppe Po wis Cast/e ‘ he alai d an e t Lo T P s e Justic d the Ru S . e , Ro uen Statue o Charles I Chart/2 Cross f , g Cader I dris Eto n Colleg e Study B oys Fishing H o use m th e Place de la Pucelle at Rouen Chdteau at Fo ntame—le— en i near aen H r , C Mil/hank o n the Thames ILLUSTRATIONS IN MONOTONE— Continued PLATE M Cotman , iles Edmund Boats on the Medway (oil painting) lxxv Tro wse Mills lxxvi Crome , John Landscape View on th e Wensum ath near o w ch Mousehold He , N r i Moonlight on the Yare Lands cape : Grov' e Scene The Grove Scene Marlin o rd , gf The Villag e Glade Bach o the Ne w Mills Norwich f , Cottage near L ahenham Mill near Lahenham On th e Shirts of the Forest ive orwich Bach R r, N ru es Ri'ver Ostend in the D istance B g , ; Moo nlight Yarmouth H arho ur ddes I tal e s Parts 1 oulevar i n 1 8 .
    [Show full text]
  • Samuel Lines and Sons: Rediscovering Birmingham's
    SAMUEL LINES AND SONS: REDISCOVERING BIRMINGHAM’S ARTISTIC DYNASTY 1794 – 1898 THROUGH WORKS ON PAPER AT THE ROYAL BIRMINGHAM SOCIETY OF ARTISTS VOLUME II: CATALOGUE by CONNIE WAN A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham June 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. CONTENTS VOLUME II: CATALOGUE Introductory Note page 1 Catalogue Abbreviations page 8 Catalogue The Lines Family: A Catalogue of Drawings at the page 9 Royal Birmingham Society of Artists Appendix 1: List of Works exhibited by the Lines Family at the Birmingham page 99 Society of Arts, Birmingham Society of Artists and Royal Birmingham Society of Artists 1827-1886 Appendix 2: Extract from ‘Fine Arts, Letter XIX’, Worcester Herald, July 12th, 1834 page 164 Appendix 3: Transcription of Henry Harris Lines’s Exhibition Ledger Book page 166 Worcester City Art Gallery and Museum [WOSMG:2006:22:77]
    [Show full text]
  • Portraits of Sculptors in Modernism
    Konstvetenskapliga institutionen Portraits of Sculptors in Modernism Författare: Olga Grinchtein © Handledare: Karin Wahlberg Liljeström Påbyggnadskurs (C) i konstvetenskap Vårterminen 2021 ABSTRACT Institution/Ämne Uppsala universitet. Konstvetenskapliga institutionen, Konstvetenskap Författare Olga Grinchtein Titel och undertitel: Portraits of Sculptors in Modernism Engelsk titel: Portraits of Sculptors in Modernism Handledare Karin Wahlberg Liljeström Ventileringstermin: Höstterm. (år) Vårterm. (år) Sommartermin (år) 2021 The portrait of sculptor emerged in the sixteenth century, where the sitter’s occupation was indicated by his holding a statue. This thesis has focus on portraits of sculptors at the turn of 1900, which have indications of profession. 60 artworks created between 1872 and 1927 are analyzed. The goal of the thesis is to identify new facets that modernism introduced to the portraits of sculptors. The thesis covers the evolution of artistic convention in the depiction of sculptor. The comparison of portraits at the turn of 1900 with portraits of sculptors from previous epochs is included. The thesis is also a contribution to the bibliography of portraits of sculptors. 2 Acknowledgements I would like to thank my supervisor Karin Wahlberg Liljeström for her help and advice. I also thank Linda Hinners for providing information about Annie Bergman’s portrait of Gertrud Linnea Sprinchorn. I would like to thank my mother for supporting my interest in art history. 3 Table of Contents 1. Introduction .......................................................................................................................
    [Show full text]
  • Human Kind Transforming Identity in British and Australian Portraits 1700-1914
    HUMAN KIND TRANSFORMING IDENTITY IN BRITISH AND AUSTRALIAN PORTRAITS 1700-1914 International Conference on Portraiture University of Melbourne and National Gallery of Victoria Conference Programme Thursday 8 September – Sunday 11 September 2016 Biographies of Speakers and Abstracts of their Papers [In chronological order: Speaker, title of paper, organisation, bio, abstract of paper] Speakers: Leonard Bell, University of Auckland, Who was John Rutherford? John Dempsey’s Portrait of the ‘Tattooed Englishman’ c.1829 Bio: Dr Leonard (Len) Bell is an Associate Professor in Art History, School of Humanities, The University of Auckland. His writings on cross-cultural interactions and the visual arts in New Zealand, Australia and the Pacific have been published in books and periodicals in New Zealand, Australia, Britain, USA, Germany, the Czech Republic and Japan. His books include The Maori in European Art: A Survey of the Representation of the Maori from the Time of Captain Cook to the Present Day (1980), Colonial Constructs: European Images of Maori 1840–1914 (1992), In Transit: Questions of Home and Belonging in New Zealand Art (2007), Marti Friedlander (2009 & 2010), From Prague to Auckland: The Photographs of Frank Hofmann (1916-89), (2011), and Jewish Lives in New Zealand: A History (2012: co-editor & principal writer). His essays have appeared in Julie Codell & Dianne Sachko Macleod (eds), Orientalism Transformed: The Impact of the Colonies on British Art (1998), Alex Calder, Jonathan Lamb & Bridget Orr (eds), Voyages and Beaches: Pacific Encounters 1769-1840 (1999), Nicholas Thomas & Diane Losche (eds), Double Vision: Art Histories and Colonial Histories in the Pacific (1999), Felix Driver & Luciana Martins (eds), Tropical Visions in an Age of Empire (2005), Annie Coombes (ed), Rethinking Settler Colonialism: History and Memory in Australia, Canada, Aotearoa/New Zealand and South Africa (2006) and Tim Barringer, Geoff Quilley & Douglas Fordham (eds), Art and the British Empire (2007).
    [Show full text]
  • THE MASTERS of ENGLISH PAINTING Hogarth-Gainsborough-Constable
    LICEUL BILINGV “GEORGE COŞBUC” THE MASTERS OF ENGLISH PAINTING Hogarth-Gainsborough-Constable Dimulescu Valentina-Andreea Profesor îndrumător Clasa a XIIa U1 Maria Constantinescu 2004 THE MASTERS OF ENGLISH PAINTING Hogarth-Gainsborough-Constable TABLE OF CONTENTS FOREWORD …....……………………………………………....……………………………............ 1 PART ONE HISTORY OF BRITISH ART ............................................................................................................ 2 PART TWO TRENDS AND STYLE ........................................................................................................................ 4 PART THREE ENGLISH PAINTERS CHAPTER 1 THE FIRST ENGLISH PAINTER ......................................................................................................7 CHAPTER 2 BETWEEN PORTRAIT AND LANDSCAPE ..................................................................................12 CHAPTER 3 ONE OF THE GREATEST BRITISH LANDSCAPE ARTISTS ..................................................16 CONCLUSION ................................................................................................................................... 20 BIBLIOGRAPHY .............................................................................................................................. 22 APPENDIX NOTABLE PAINTINGS ................................................................................................................... 23 ANNEXE 1 .........................................................................................................................................
    [Show full text]
  • Exceptional Examples of the Masters of Etching and Engraving : the Print Collection of the Late J. Harsen Purdy, of New York
    EXCEPTIONAL EXAMPLES OF THE MASTERS OF ETCHINa AND ENGRAVING THE PRINT COLLECTION OF THE LATE J. HARSEN PURDY, of new york city TO BE SOLD AT UNRESTRICTED PUBLIC SALE ON TUESDAY AND WEDNESDAY EVENINGS APRIL 10th and 11th, 1917 UNDER THE MANAGEMENT OF THE AMERICAN ART ASSOCIATION AMERICAN ART GALLERIES MADISON SQUARE SOUTH NEW YORK CITY smithsoniaM INSTITUTION 3i< 7' THE AMERICAN ART ASSOCIATION DESIGNS ITS CATALOGUES AND DIRECTS ALL DETAILS OF ILLUSTRATION TEXT AND TYPOGRAPHY ON PUBLIC EXHIBITION AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK ENTRANCE, 6 EAST 23rd STREET BEGINNING THURSDAY, APRIL 5th, 1917 MASTERPIECES OF ENGRAVERS AND ETCHERS THE PRINT COLLECTION OF THE LATE J. HARSEN PURDY, of new york city TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY ORDER OF ALBERT W. PROSS, ESQ., AND THE NEW YORK TRUST COMPANY, AS EXECUTORS ON TUESDAY AND WEDNESDAY EVENINGS APRIL 10th and 11th, 1917 AT 8:00 O'CLOCK IN THE EVENINGS AT THE AMERICAN ART GALLERIES ALBRECHT DURER, ENGRAVING Knight, Death and the Devil [No. 69] EXCEPTIONAL EXAMPLES OF THE MASTERS OF ETCHING AND ENGRAVING THE PRINT COLLECTION OF THE LATE J. HARSEN PURDY, of new york city TO BE sold at unrestricted PUBLIC SALE BY ORDER OF ALBERT W. PROSS, ESQ., AND THE NEW YORK TRUST COMPANY, AS EXECUTORS ON TUESDAY AND WEDNESDAY, APRIL 10th AND 11th AT 8:00 O'CLOCK IN THE EVENINGS THE SALE TO BE CONDUCTED BY MR. THOMAS E. KIRBY AND HIS ASSISTANTS, OF THE AMERICAN ART ASSOCIATION, Managers NEW YORK CITY 1917 ——— ^37 INTRODUCTORY NOTICE REGARDING THE PRINT- COLLECTION OF THE LATE MR.
    [Show full text]