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John the Painter
THE Pennsylvania Magazine OF HISTORY AND BIOGRAPHY VOLUME LXIII JANUARY, 1939 NUMBER ONE John the Painter HIS is the tale of an aberrated Scotsman who stepped momen- tarily into the spotlight of history during the American Revo- Tlution, and, for a brief, fantastic space, sent shivers rippling along the spines of Lord North's cabinet, and spread consternation throughout the length and breadth of merry England. He was born plain James Aitken, an unprepossessing infant in the brood of an indigent Edinburgh blacksmith. Dangling from a gibbet in Ports- mouth town, he departed this life, in 1777, famous or infamous, as John the Painter. Twice James Aitken's crimes flared red on the British horizon—an incendiary whose distorted mind interpreted the torch of liberty as literal rather than allegoric -y who set himself, single-handed, to destroy the might of the king's navy. Boasting him- self an agent of the American Congress, this insignificant little Scottish zealot, ere his destructive path ended, had burned to the ground his majesty's rope house in the Portsmouth navy yard, and had started two alarming, if not serious, fires in busy Bristol. Harken, then, to the tale of James Aitken, alias James Hill, other- wise James Hinde, commonly called, as the old court record set forth, John the Painter. Silas Deane's French servant probably eyed with repugnance the shabby little man, who, for the third time, was insisting upon an 2 WILLIAM BELL CLARK January audience with his employer. Twice before the devoted servant, who regarded any Englishman as inimical to his patron's welfare, had dismissed him summarily. -
DATES of TRIALS Until October 1775, and Again from December 1816
DATES OF TRIALS Until October 1775, and again from December 1816, the printed Proceedings provide both the start and the end dates of each sessions. Until the 1750s, both the Gentleman’s and (especially) the London Magazine scrupulously noted the end dates of sessions, dates of subsequent Recorder’s Reports, and days of execution. From December 1775 to October 1816, I have derived the end dates of each sessions from newspaper accounts of the trials. Trials at the Old Bailey usually began on a Wednesday. And, of course, no trials were held on Sundays. ***** NAMES & ALIASES I have silently corrected obvious misspellings in the Proceedings (as will be apparent to users who hyper-link through to the trial account at the OBPO), particularly where those misspellings are confirmed in supporting documents. I have also regularized spellings where there may be inconsistencies at different appearances points in the OBPO. In instances where I have made a more radical change in the convict’s name, I have provided a documentary reference to justify the more marked discrepancy between the name used here and that which appears in the Proceedings. ***** AGE The printed Proceedings almost invariably provide the age of each Old Bailey convict from December 1790 onwards. From 1791 onwards, the Home Office’s “Criminal Registers” for London and Middlesex (HO 26) do so as well. However, no volumes in this series exist for 1799 and 1800, and those for 1828-33 inclusive (HO 26/35-39) omit the ages of the convicts. I have not comprehensively compared the ages reported in HO 26 with those given in the Proceedings, and it is not impossible that there are discrepancies between the two. -
ONE HUNDRED DRAWINGS and WATERCOLOURS Dating from the 16Th Century to the 21St Century
O N E H U N D R E D ONE HUNDRED D R A W I N DRAWINGS G S & W A AND T E R C O L O WATERCOLOURS U R S S T E P H E N O N G P I N G U Y P E P P I A T T Stephen Ongpin Fine Art Ltd. Guy Peppiatt Fine Art Ltd. 2 0 1 7 Riverwide House - 2 0 6 Mason’s Yard 1 Duke Street, St James’s 8 London SW1Y 6BU 100 drawings PART 1.qxp 13/11/2017 09:10 Page 1 GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART ONE HUNDRED DRAWINGS AND WATERCOLOURS dating from the 16th Century to the 21st Century WINTER CATALOGUE 2017–2018 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 1 100 drawings PART 1.qxp 14/11/2017 11:23 Page 2 We are delighted to present our tenth annual Winter catalogue of One Hundred Drawings and Watercolours, which includes a wide range of British and European drawings and watercolours, placed more or less in chronological order, ranging in date from the 16th century to nearly 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. -
Hoock Empires Bibliography
Holger Hoock, Empires of the Imagination: Politics, War, and the Arts in the British World, 1750-1850 (London: Profile Books, 2010). ISBN 978 1 86197. Bibliography For reasons of space, a bibliography could not be included in the book. This bibliography is divided into two main parts: I. Archives consulted (1) for a range of chapters, and (2) for particular chapters. [pp. 2-8] II. Printed primary and secondary materials cited in the endnotes. This section is structured according to the chapter plan of Empires of the Imagination, the better to provide guidance to further reading in specific areas. To minimise repetition, I have integrated the bibliographies of chapters within each sections (see the breakdown below, p. 9) [pp. 9-55]. Holger Hoock, Empires of the Imagination (London, 2010). Bibliography © Copyright Holger Hoock 2009. I. ARCHIVES 1. Archives Consulted for a Range of Chapters a. State Papers The National Archives, Kew [TNA]. Series that have been consulted extensively appear in ( ). ADM Admiralty (1; 7; 51; 53; 352) CO Colonial Office (5; 318-19) FO Foreign Office (24; 78; 91; 366; 371; 566/449) HO Home Office (5; 44) LC Lord Chamberlain (1; 2; 5) PC Privy Council T Treasury (1; 27; 29) WORK Office of Works (3; 4; 6; 19; 21; 24; 36; 38; 40-41; 51) PRO 30/8 Pitt Correspondence PRO 61/54, 62, 83, 110, 151, 155 Royal Proclamations b. Art Institutions Royal Academy of Arts, London Council Minutes, vols. I-VIII (1768-1838) General Assembly Minutes, vols. I – IV (1768-1841) Royal Institute of British Architects, London COC Charles Robert Cockerell, correspondence, diaries and papers, 1806-62 MyFam Robert Mylne, correspondence, diaries, and papers, 1762-1810 Victoria & Albert Museum, National Art Library, London R.C. -
The Representation, Interpretation and Staging of Magic in Renaissance Plays from the Sixteenth Century Onwards
Ghent University Faculty of Arts and Philosophy The representation, interpretation and staging of magic in Renaissance plays from the sixteenth century onwards. A case study of William Shakespeare’s The Tempest, Macbeth and Cristopher Marlowe’s Doctor Faustus. Supervisor: Paper submitted in partial Professor Doctor fulfilment of the requirements for Sandro Jung the degree of “Master in de Taal- en Letterkunde: English-Spanish” by Tine Dekeyser August 2014 Word count: 27334 Dekeyser i Acknowledgments First of all, I would like to thank my supervisor, Professor Doctor Sandro Jung, for granting me the opportunity to continue working on the same topic of my BA-dissertation and for guiding me towards a more profound investigation of magic and the Renaissance society. Also, I want to thank Professor Jung for reading the many versions of this dissertation and for providing a lot of helpful suggestions throughout the year. Secondly, I would like to thank The British Museum for giving me permission to use their highly detailed engravings, without which this dissertation would not exist. Thirdly, I would like to thank my boyfriend and my mother for supporting me, listening to my dilemmas and calming me down when stress got the better of me. Also, I want to thank my boyfriend for helping me track down the movies I needed for my analyses. Dekeyser ii Table of Contents Acknowledgments ....................................................................................................................... i List of Illustrations ................................................................................................................... -
Soho Depicted: Prints, Drawings and Watercolours of Matthew Boulton, His Manufactory and Estate, 1760-1809
SOHO DEPICTED: PRINTS, DRAWINGS AND WATERCOLOURS OF MATTHEW BOULTON, HIS MANUFACTORY AND ESTATE, 1760-1809 by VALERIE ANN LOGGIE 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 January 2011 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. ABSTRACT This thesis explores the ways in which the industrialist Matthew Boulton (1728-1809) used images of his manufactory and of himself to help develop what would now be considered a ‘brand’. The argument draws heavily on archival research into the commissioning process, authorship and reception of these depictions. Such information is rarely available when studying prints and allows consideration of these images in a new light but also contributes to a wider debate on British eighteenth-century print culture. The first chapter argues that Boulton used images to convey messages about the output of his businesses, to draw together a diverse range of products and associate them with one site. Chapter two explores the setting of the manufactory and the surrounding estate, outlining Boulton’s motivation for creating the parkland and considering the ways in which it was depicted. -
Arts Books & Ephemera
Arts 5. Dom Gusman vole les Confitures chez le Cardinal, dont il est reconnu. Tome 2, 1. Adoration Des Mages. Tableau peint Chap. 6. par Eugene Deveria pour l'Eglise de St. Le Mesle inv. Dupin Sculp. A Paris chez Dupin rue St. Jacques A.P.D.R. [n.d., c.1730.] Leonard de Fougeres. Engraving, 320 x 375mm. 12½ x 14¾". Slightly soiled A. Deveria. Lith. de Lemercier. [n.d., c.1840.] and stained. £160 Lithograph, sheet 285 x 210mm. 11¼ x 8¼". Lightly Illustration of a scene from Dom Juan or The Feast foxed. £80 with the Statue (Dom Juan ou le Festin de pierre), a The Adoration of the Magi is the name traditionally play by Jean-Baptiste Poquelin, known by his stage given to the representation in Christian art of the three name Molière (1622 - 1673). It is based on the kings laying gifts of gold, frankincense, and myrrh legendary fictional libertine Don Juan. before the infant Jesus, and worshiping Him. This Engraved and published in Paris by Pierre Dupin interpretation by Eugene Deveria (French, 1808 - (c.1690 - c.1751). 1865). From the Capper Album. Plate to 'Revue des Peintres' by his brother Achille Stock: 10988 Devéria (1800 - 1857). As well as a painter and lithographer, Deveria was a stained-glass designer. Numbered 'Pl 1.' upper right. Books & Ephemera Stock: 11084 6. Publicola's Postscript to the People of 2. Vauxhall Garden. England. ... If you suppose that Rowlandson & Pugin delt. et sculpt. J. Bluck, aquat. Buonaparte will not attempt Invasion, you London Pub. Octr. 1st. 1809, at R. -
Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN
Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN Tel: 020 7836 1979 Fax: 020 7379 6695 E-mail: [email protected] www.grosvenorprints.com Dealers in Antique Prints & Books Prints from the Collection of the Hon. Christopher Lennox-Boyd Arts 3801 [Little Fatima.] [Painted by Frederick, Lord Leighton.] Gerald 2566 Robinson Crusoe Reading the Bible to Robinson. London Published December 15th 1898 by his Man Friday. "During the long timer Arthur Lucas the Proprietor, 31 New Bond Street, W. Mezzotint, proof signed by the engraver, ltd to 275. that Friday had now been with me, and 310 x 490mm. £420 that he began to speak to me, and 'Little Fatima' has an added interest because of its understand me. I was not wanting to lay a Orientalism. Leighton first showed an Oriental subject, foundation of religious knowledge in his a `Reminiscence of Algiers' at the Society of British mind _ He listened with great attention." Artists in 1858. Ten years later, in 1868, he made a Painted by Alexr. Fraser. Engraved by Charles G. journey to Egypt and in the autumn of 1873 he worked Lewis. London, Published Octr. 15, 1836 by Henry in Damascus where he made many studies and where Graves & Co., Printsellers to the King, 6 Pall Mall. he probably gained the inspiration for the present work. vignette of a shipwreck in margin below image. Gerald Philip Robinson (printmaker; 1858 - Mixed-method, mezzotint with remarques showing the 1942)Mostly declared pirnts PSA. wreck of his ship. 640 x 515mm. Tears in bottom Printsellers:Vol.II: margins affecting the plate mark. -
The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): an Exploration Into the Masonic and Occult Imagination of the Late Enlightenment
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2003 The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Terrance Gerard Galvin University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Architecture Commons, European History Commons, Social and Behavioral Sciences Commons, and the Theory and Criticism Commons Recommended Citation Galvin, Terrance Gerard, "The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment" (2003). Publicly Accessible Penn Dissertations. 996. https://repository.upenn.edu/edissertations/996 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/996 For more information, please contact [email protected]. The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Abstract In examining select works of English architects Joseph Michael Gandy and Sir John Soane, this dissertation is intended to bring to light several important parallels between architectural theory and freemasonry during the late Enlightenment. Both architects developed architectural theories regarding the universal origins of architecture in an attempt to establish order as well as transcend the emerging historicism of the early nineteenth century. There are strong parallels between Soane's use of architectural narrative and his discussion of architectural 'model' in relation to Gandy's understanding of 'trans-historical' architecture. The primary textual sources discussed in this thesis include Soane's Lectures on Architecture, delivered at the Royal Academy from 1809 to 1836, and Gandy's unpublished treatise entitled the Art, Philosophy, and Science of Architecture, circa 1826. -
The Selected Papers of John Jay, 1760-1779 Volume 1 Index
The Selected Papers of John Jay, 1760-1779 Volume 1 Index References to earlier volumes are indicated by the volume number followed by a colon and page number (for example, 1:753). Achilles: references to, 323 Active (ship): case of, 297 Act of 18 April 1780: impact of, 70, 70n5 Act of 18 March 1780: defense of, by John Adams, 420; failure of, 494–95; impact of, 70, 70n5, 254, 256, 273n10, 293, 298n2, 328, 420; passage of, 59, 60n2, 96, 178, 179n1 Adams, John, 16, 223; attitude toward France, 255; and bills of exchange, 204n1, 273– 74n10, 369, 488n3, 666; and British peace overtures, 133, 778; charges against Gillon, 749; codes and ciphers used by, 7, 9, 11–12; and commercial regulations, 393; and commercial treaties, 645, 778; commissions to, 291n7, 466–67, 467–69, 502, 538, 641, 643, 645; consultation with, 681; correspondence of, 133, 176, 204, 393, 396, 458, 502, 660, 667, 668, 786n11; criticism of, 315, 612, 724; defends act of 18 March 1780, 420; documents sent to, 609, 610n2; and Dutch loans, 198, 291n7, 311, 382, 397, 425, 439, 677, 728n6; and enlargement of peace commission, 545n2; expenses of, 667, 687; French opposition to, 427n6; health of, 545; identified, 801; instructions to, 152, 469–71, 470–71n2, 502, 538, 641, 643, 657; letters from, 115–16, 117–18, 410–11, 640–41, 643–44, 695–96; letters to, 87–89, 141–43, 209–10, 397, 640, 657, 705–6; and marine prisoners, 536; and mediation proposals, 545, 545n2; as minister to England, 11; as minister to United Provinces, 169, 425; mission to Holland, 222, 290, 291n7, 300, 383, 439, -
Matthew Boutlon and Francis Eginton's Mechanical
CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Birmingham Research Archive, E-theses Repository MATTHEW BOULTON AND FRANCIS EGINTON’S MECHANICAL PAINTINGS: PRODUCTION AND CONSUMPTION 1777 TO 1781 by BARBARA FOGARTY A thesis submitted to The University of Birmingham For the degree of MASTER OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham June 2010 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. ABSTRACT The mechanical paintings of Matthew Boulton and Francis Eginton have been the subject of few scholarly publications since their invention in the 1770s. Such interest as there has been has focussed on the unknown process, and the lack of scientific material analysis has resulted in several confusing theories of production. This thesis’s use of the Archives of Soho, containing Boulton’s business papers, has cast light on the production and consumption of mechanical paintings, while collaboration with the British Museum, and their new scientific evidence, have both supported and challenged the archival evidence. This thesis seeks to prove various propositions about authenticity, the role of class and taste in the selection of artists and subjects for mechanical painting reproduction, and the role played by the reproductive process’s ingenuity in marketing the finished product. -
"General Print Mint" For
FOR ESTABLISIUWO, BY ACT OF CONOREBS,NOTA OWN 'MD4T, FOR THERE IS ONE ALREADY, BUT A W.3LUHOTON FOR THE EMISM9N OF PArkE MO r TO THE AMOUNT flRHAP& OF. - H TO 3Z SOUnDED UPON A ROCH, Afl UPON A CRfl)IT OF TLSYEAR$ATS !tVnYq: WHIOD WILL It PRODUCTIVIorARItOF PXOPEWET ILP -: - 10, 15, rztaa,. 20PZR CZRT., aflOflmflafl asx.t - E' -- :. BY EDWAn 0. OQflctLL, Title page of an early pamphlet in the collection of the Library of Congress proposing a "General Print Mint" for the United States.The author shipped a quantity of his treatise to the Postmaster General at Washington requesting that official to distribute the copies to the Members of Congress. HISTORY of the BUREAU of ENGRAVING and PRINTING 1862-1962 TREASURY DEPARTMENT Washington, D.C. For sale by the Superintendent of Documents, U.S. Government Printing Office Washington, D.C.20402.Price $7.00 CENTENNIAL HISTORY STAFF MICHAEL L. PLANT Office of the Controller ARTHUR BARON LOUISE S. BROWN Office of Office of Plant Currency and Stamp Manufacturing Facilities and Industrial Procurement JOHN J. DRISCOLL MICHAEL J. EVANS Internal Audit Staff Internal Audit Staff The Introduction, giving a brief history of the art of engraving and its application in American colonial and early Federal days, was prepared by Robert L. Miller of the Bureau's Designing Staff, Office of Engraving and Plate Manufacturing. II Foreword RE IDEA of publishing ahistory of the Bureau of Engraving and Printing to commemorate the centennialanniversary of its establishment was nurtured in the knowledge that a recitalof its accom- plishments was a story that well deserved the telling.It is not a subject that has been dealt with widely.Much of what has already appeared inprint concerning the Bureau is in the nature of guidebookmaterial or relates to its products, especially currency notes and stamps, ratherthan to the agency itself.