A Catalogue of the Portland Museum

Total Page:16

File Type:pdf, Size:1020Kb

A Catalogue of the Portland Museum en < ;ilTHS0NIAN"^INSTITUTI0N^N0lini!iSNl~'NVIN0SHillAIS^S3iavy9ll"|LIBRARIES^SMITH^^ I d V B RAR l ES 'SMITHSONIAN_lNSTlTUTlON^N01inillSNI_NVINOSHllWS^S3 IVINOSHillAls'^Sa I HVy a nl « ^ _ _ B R AR I ES^SMITHSONIAN^INSTIT 5MITHSON!AN::!lNSTITUTION^N01ini!iSNi;^NVINOSHiIWS^S3 I y Vd 8 ll^LI NOIinillSNI MVmOSHillMS^S3 I U\ sIVINOSHillMs'^SB iava9n~LIBRARl Es'^SMITHSONIAN INSTITUTION I Es'^SMITHSONIAN JNSTIT >M1T^NIAN^INSTITUTI0N '^NOIiniliSNI^NVlNOSHilWs'^SS I H Vd 9 n\l B RAR ~S31U\ ""lib RAR l ES^SMITHSONIAN"'lNSTITUTION^NOIinillSNrNyiNOSHllWS aVlNOSHimS %3 l avaa n ^NOiinillSNI^NVINOSHill^ LI I SMITHSONIAN^INSTITUTION niliSNI-'NVINOSHilWS^SB I aVH 8 H BRAR ES ^Ll B RAR I ES^SMITHSONI; Es"sMITHS0NIAN~!NSTITUTI0N'^N0iiniIXSNI~NVIN0SHilWs'"s3 ! aVH 9 H R AR I > 2 INSTITUTION NOimiilSN! >!VmOSHill nillSNI^NVINOSHillMs'^SB I iJ Va 8 II^LI BRAR 1 Es'^SMlTHSONIAN w .<r2£5px ^ w RARIEs"'SMITHSONIAN"'lNSTITUTlON""N01iniIiSNl"'NVINOSHiiy\!S S3iavyan^tl > _ C/J ± CO - _ MViNOSHll iniiiSNi NViNOSHiiws S3iyvyan libraries Smithsonian institution, 2: w 2: ^ 2: • in Z to libraries iji"/ raries SMITHSONIAN INSTITUTION NoixniiiSNi NviNOSHiiiftis S3iavaan„ — tn — ai -T N01ini!lSNI_NVIN0SHll iniliSNI^NVINOSHillAIS^SB IHVyail'^LIBRARI ES^ iON o SMITHSON RARIES SMITHSONIAN INSTITUTION NOIinillSNI NVINOSHil!AJS,^S ^^^^ i ^21 " :2 CO CO „ to NOIinillSN! NVINOSHJ lifllliSNI NVINOSHIIIMS SSIHVHan LIBRARIES SMJi UTION ^ \ m ^ to to 5 \ JRARIES^SMITHSONIAn'^INSTITUTION N0liniilSMS NVIN0SHillAIS^S3 lava a n"LIB RARIES SMlTHSOr z r- z r- z f~ ^-r-^ ^ . Liu jytMm of ; CATALOGUE Di^sSon of Moluaks OF THE PORTLAND MUSEUM, tATELV THE PROPERTY OF The Duchefs Dowager (p/' Portland, D e c c a ^ C D: Which will be SOLD by AUCTION, B y J^/r. SKINNER Co; On MONDAY the 24th of APRIL, 1786, AND THE THIRTY-SEVEN following DAYS, At twelve O'CLOCK, Sundays, and the 5th of (the his \^ June, Day Majesty's Birth -Dat is kept) excepted At her late DWELLING-HOUSE, In PRIVr-GARD EN, JVH ITEHALLk \^ ^ ^% ^ By order of the ACTING EXECUTRIX. To be viewed Ten Days preceding the Sale. Catlogues may now be had on the Premises, and of Mr. SKINNER' and C®, Aldersgate-Street, Price Five Shillings, which will admit the Bearer during the Time of Exhibition and Sale. CONDITIONS OF SALE. I. 'TpHE higheft Bidder to be the Buyer; and it any Difpute ftiall arlfe between two or more Bidders, the Lot in Difpute to be put up again. II. No Perfon to advance lefs than Six-pence under a Pound ; above a Pound One Shilling; above Five Pounds Two Shillings and Six-pence j and fo in Proportion. III. Each Buyer to pay Five Shillings in the Pound as Earneft, in Part of Pay- ment for each Lot; and to give in their Names and Places of Abode, if required. IV. The Lots to be taken away, with all Faults, at the Expence of the Pur- chafers, within Six Days after the Sale is ended, or any Day during the Sale, between the Hours of Nine and Eleven in the Morning, and Five and Seven in the Afternoon; and the Remainder of the Purchafe-Money to be paid before the Delivery. Lastly. Upon Failure of complying with the above Conditions, the DepoCit- Money to be forfeited, the Lots (hall be re-fold, and the Deficiency (if any) by fuch fecond Sale, together with the Expences attending the fame, fhall be made good by the Defaulter at this prefent Sale. PREFACE. TT may be proper to inform the Purchafers of the Catalogue, and the Public in general. That there is no one Article contained in it but was a Part of the the late Noble PoffelTor, 'ifl-^-^l Genuine Collection of Margaret CayendiJ!?^ ^ Duchefs Dowager Portland. Nothing is foifted into it from the Cabinets of others ; but every Subject here recorded came into her Pofleffion, either by In- heritance, the Affiftance of thofe who were honored with hCr Friendfhip, or by [ her own Purchafe and Induftry. And how diligent have been her Enquiries into Natural Knowledge and the Polite Arts, as well as fuccefsful her En- deavours to encreafe the Stores of them, the following- Catalogue will, in a great Meafure, demonftrate. In the Articles of Virtu it contains no inconfider- able Part of her moft Valuable Colle£lion ; but in Natural H'ljlory every Sub- je£l is inferted flie had with fo much Pains and Treafure accumulated. And here it will appear, that all the Three Kingdoms of Nature, the Animal, Vegetable, and Fojfil, were comprehended in her Refearches. In all of thefe fhe is took infinite Pleafure and Delight J but in none of them her Cabinet more richly ftored than in that durable and beautiful Part of the FirJI, nzmcd Con- chohgy. In this Branch of Nature's Works, no Colledion in Europe can equal that of her Grace's in Number and Variety. To give fome Idea of its great Extent, it may be remarked, that the celebrated Linncsus, who had ftudied the Subjeffc, and methodized the Materials of it, has not defcribed One Fourth Part of the Obje£ls contained in the Mufeum now offered to the Public. It v/as indeed in the Intention of the enlightened PofTeflbr to have had every unknoivn Species defcribed and publifhed to the W^orld ; but it pleafed God to cut fhort the Defign, not only by the Death-of the ingenious Naturalift employed by her * for that Purpofe ; but, in a fhort Time afterwards, to the great and irreparable Lofs of Scierice, by her own alfo. Had her Life been continued a few Years longer, it is poffible that every Suhjeft in this Catalogue would have been properly defcribed and chara<Stcrifed ; but in the prefent Mazes of Science, all that could be done by the Compiler was only to give in general the claffical or popular Names to fuch Articles as were knov/n to have any, and to leave * Dr, Solander, (the ( iv ) the great Bullc of Non-defcripts to the Examination and determination of the Curious. Some Perfons, perhaps, may cbjeft to the Promifcuous AlTemblage of the various Subjects here exhibited, and be ready to wifh that they had been allotted in Order and Method, according to Genus and Species; and it muft be confelTed, that fuch a Proceeding would have proved extremely fatisfa£lory to eveny true Lover of Science. Such would have been highly pleafed to have feen each Article named, and ftand in its proper Place. But however defirable fuch an Attainment might have been to a few Cognofcentl, it is very certain that the Majority of the World are not MethocU/is. They love Variety more than Order, and would rather purchafe Twenty different Species of Cones ox turbos in One Lot, than the fame Number of High Admirals or Wentletraps. Yet to gratify every Palate, C?jre has been taken, as much as poffible, to keep the Grand ClaJJcs^ and often the Genera together; at leaft as far as Re(pe£l to Rarity^ or Beauty, would allow. And in this Difpofition, there are very few Subjefts but will occur again and again ; fo that almoft every Perfon defirous of becoming a Purchafer, may have an Opportunity of fupplying his Wants. Whereas, in a methodical Arrangement, it muft of Neceffity have frequently happened, either that a Multitude of fhe fa?ne Species muft be fold together in One Lot., (which very few would chiifc to purchafe) er each Individual of that Species, muft be difpofed of fingly^ or in Pairs ; which would have multiplied the Number of Lots to fuch a Degree as would -extend the Sale to as many Weeks^ as it confifts at prefent of Days. It is hoped however, that the Man oi Science will not be altogether difappdinted in the prefent Arrangement of the Catalogue ; for as much Pains and Care have been taken to affix the proper claffical, or generally received Names, to as many Articles as the Time and Abilhies of the Compiler^'would allow ; it will be no ^reat Trouble for him to caft his Eye over each Day's Sale, as it occurs, and he will hardly fail to meet in one or more of them, with the Subjects he defires. In Order therefore to bis more ready Underftanding the various Articles re- corded in the following Catalogue, it remains only to fubjoin an Explanation <)f the References and Abbreviations made Ufe of in it. REFE- — — — — —— REFERENCES and ABBREVIATIONS EXPLAINED. J^RGENF.—Conch'iliologie, par M. D'Argenville.—Paris, 1757, Buonani.—Recreatione Dell' Occhio e Delia Mente, dal Fllippo Bucnanni.—- x68t Soin. mus. cees. —Teftacea Mufei Cafarei Vindobonenfis, qua Juffu Mariee Therefiae, Augufta difpofuit & Defcripfit Ignatius a Born, Equ. Vindoioru-e 1780 j^irander Fofs. Hanten.—FolTilia Hantonicnfia collefta, & in Mufcaeo Britannico depo- fuo, a Guftavo Brander, R. S. and S. A. S. Muf. Brit, Cur. Ijondini, 1766 Srinws Jamaica.—The Civil and Natural Hillory of Jamaica, by Patrick Erovvn, M. D.— Loudon, 1756 i?Mw7«.—Catalogue Syflematique & raifonne dcs Curiofites de la Nature, tc de I'Art, qui compofent le Cabinet de M. D'Avlla, en 3 Tom.-^A Paris, iy6j Drwy.—lUuftrations of Natural Hiflory, wherein are exhibited Figures of exotic la- vols, fefts, in 3 by D. Drxxry.—'London j 1770, 177J, and ly^z jBUis's Corallines or—An EflTay towards a Natural Hiftory of Corallines, &c. by John Ellis, F. R. S. London, 1755' Ellis Zot^h.—The Natural Hillory of many curious and uncommon Zoophytes, col- leded from various parts of the Globe, by the late John Ellis, Efq. F.R.S. Soc. Reg. Upfal. Author of the Natural Hiftory of Englidi Corallines, and other Works, fyftematically arranged and defcribed, by Daniel Solander, M.
Recommended publications
  • Digitalisation: Re-Imaging the Real Beyond Notions of the Original and the Copy in Contemporary Printmaking: an Exegesis
    Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2017 Imperceptible Realities: An exhibition – and – Digitalisation: Re- imaging the real beyond notions of the original and the copy in contemporary printmaking: An exegesis Sarah Robinson Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Printmaking Commons Recommended Citation Robinson, S. (2017). Imperceptible Realities: An exhibition – and – Digitalisation: Re-imaging the real beyond notions of the original and the copy in contemporary printmaking: An exegesis. https://ro.ecu.edu.au/theses/1981 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1981 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth).
    [Show full text]
  • Rembrandt Packet Aruni and Morgan.Indd
    Rembrandt Harmenszoon Van Rijn Etchings Education Packet The Florida State University September 20- October 6 Museum of Fine Arts See website for updates of times, www.MOFA.fsu.edu hours and events. Table of Contents Rembrandt Harmenszoon van Rijn Biography ...................................................................................................................................................2 Rembrandt’s Styles and Influences ............................................................................................................ 3 Printmaking Process ................................................................................................................................4-5 Focus on Individual Prints: Landscape with Three Trees ...................................................................................................................6-7 Hundred Guilder .....................................................................................................................................8-9 Beggar’s Family at the Door ................................................................................................................10-11 Suggested Art Activities Three Trees: Landscape Drawings .......................................................................................................12-13 Beggar’s Family at the Door: Canned Food Drive ................................................................................14-15 Hundred Guilder: Money Talks ..............................................................................................16-18
    [Show full text]
  • Rembrandt, with a Complete List of His Etchings by Arthur Mayger Hind
    The Project Gutenberg EBook of Rembrandt, With a Complete List of His Etchings by Arthur Mayger Hind This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: Rembrandt, With a Complete List of His Etchings Author: Arthur Mayger Hind Release Date: February 5, 2010 [Ebook 31183] Language: English ***START OF THE PROJECT GUTENBERG EBOOK REMBRANDT, WITH A COMPLETE LIST OF HIS ETCHINGS *** Rembrandt, With a Complete List of his Etchings Arthur M. Hind Fredk. A. Stokes Company 1912 144, II. Rembrandt and his Wife, Saskia, 1636, B. 19 Contents REMBRANDT . .1 BOOKS OF REFERENCE . .7 A CHRONOLOGICAL LIST OF REMBRANDT'S ETCHINGS . .9 Illustrations 144, II. Rembrandt and his Wife, Saskia, 1636, B. 19 . vii 1, I. REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354. 24 7, I. BEGGAR MAN AND BEGGAR WOMAN CON- VERSING. 1630. B. 164 . 24 20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66 . 25 23, I. BALD-HEADED MAN (REMBRANDT'S FA- THER?) In profile r.; head only, bust added after- wards. 1630. B. 292. First state, the body being merely indicated in ink . 26 38, II. THE BLIND FIDDLER. 1631. B. 138 . 27 40. THE LITTLE POLANDER. 1631. B. 142. 139. THE QUACKSALVER. 1635. B. 129. 164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639. B. 133 .
    [Show full text]
  • A Catalogue of Rembrandt's Etchings
    Fk-.oVO, UU«xH Digitized by the Internet Archive in 2011 with funding from Brigham Young University http://www.archive.org/details/catalogueofrembrOOhind a' catalogue of rembrandt's etchings CHRONOLOGICALLY ARRANGED AND COMPLETELY ILLUSTRATED B y ARTHUR M. HIND OF THE BRITISH MUSEUM SLADE PROFESSOR OF FINE ART IN THE UNIVERSITY OF OXFORD IN TWO VOLUMES VOL. I INTRODUCTION AND CATALOGUE WITH FRONTISPIECE IN PHOTOGRAVURE, AND TEN PLATES ILLUSTRATING STUDIES FOR THE ETCHINGS METHUEN AND CO. LTD. 36 ESSEX STREET W.C. LONDON First Published February igis Second Edition, revised and in part rewritten . '9^3 THE LIBRARY BRIGHAM YOUWG UIN/IVERSIT^ PROVO, UTAH PREFACE THE present catalogue is a revised edition of the one which appeared in 1912 in my Rembrandt's Etchings, an Essay and a Catalogue, with some Notes on the Drawings. The Introduction is also composed to a large extent of material from the same volume, but revised and re-arranged with the definite object of providing such notes as would be of most use to the student and collector of Rembrandt's etchings (e.g. in the addition of a list of values). The volume of plates, to which a few subjects have been added since 1912, will no doubt be of service for purposes of identifica- tion, and will, I hope, appeal equally to the amateur or artist who merely wishes to be reminded of this incomparable series of subjects. For drawing my attention to new states or other details of description in the Catalogue, I would express acknowledgment to Jhr. Mr. J. F.
    [Show full text]
  • Remembering Rembrandt
    For Immediate Release 13 February 2006 Contact: Hannah Schmidt 020.7389.2964 [email protected] Remembering Rembrandt ... CHRISTIE’S CELEBRATES REMBRANDT’S 400TH ANNIVERSARY Old Master, Modern and Contemporary Prints Wednesday, 29 March 2006 Christie’s London London – On July 15, 1606, one of the world’s most versatile, innovative, and influential artists Rembrandt Harmensz van Rijn (1606-1669) was born in Leiden. Four hundred years later, Christie’s joins the celebrations of the anniversary of the master’s birth. An important group of fifty-five etchings by the artist from the collection of Dutch industrialist and patron, G.A.H. Buisman Jzn. will be offered alongside the 29 March sale of Old Master, Modern and Contemporary Prints in London. “This superb private collection lends a fascinating insight into the technique and mastery of the artist’s graphic oeuvre and with estimates starting at just £1,500 offers an excellent opportunity to collect an original by this famous artist in his 400th anniversary year,” said Richard Lloyd, Head of Christie’s Print Department. Rembrandt was a multi-talented artist, acquiring international fame not only as painter and draughtsman but also for his graphic works. He explored different forms, styles and subjects throughout his artistic life, with his first etching dating to circa 1626 and his last from 1665. The strength of his reputation as one of the most important graphic artists remains to this day. The collection to be sold at Christie’s reflects the broad range of subjects that Rembrandt addressed from portraits, and self-portraits, to landscapes, allegorical scenes, mythological and biblical stories as well as animal studies.
    [Show full text]
  • The Horse-Breeder's Guide and Hand Book
    LIBRAKT UNIVERSITY^' PENNSYLVANIA FAIRMAN ROGERS COLLECTION ON HORSEMANSHIP (fop^ U Digitized by the Internet Archive in 2009 with funding from Lyrasis IVIembers and Sloan Foundation http://www.archive.org/details/horsebreedersguiOObruc TSIE HORSE-BREEDER'S GUIDE HAND BOOK. EMBRACING ONE HUNDRED TABULATED PEDIGREES OF THE PRIN- CIPAL SIRES, WITH FULL PERFORMANCES OF EACH AND BEST OF THEIR GET, COVERING THE SEASON OF 1883, WITH A FEW OF THE DISTINGUISHED DEAD ONES. By S. D. BRUCE, A.i3.th.or of tlie Ainerican. Stud Boole. PUBLISHED AT Office op TURF, FIELD AND FARM, o9 & 41 Park Row. 1883. NEW BOLTON CSNT&R Co 2, Entered, according to Act of Congress, in the year 1883, By S. D. Bruce, In the Office of the Librarian of Congress, at Washington, D. C. INDEX c^ Stallions Covering in 1SS3, ^.^ WHOSE PEDIGREES AND PERFORMANCES, &c., ARE GIVEN IN THIS WORK, ALPHABETICALLY ARRANGED, PAGES 1 TO 181, INCLUSIVE. PART SECOISTD. DEAD SIRES WHOSE PEDIGREES AND PERFORMANCES, &c., ARE GIVEN IN THIS WORK, PAGES 184 TO 205, INCLUSIVE, ALPHA- BETICALLY ARRANGED. Index to Sires of Stallions described and tabulated in tliis volume. PAGE. Abd-el-Kader Sire of Algerine 5 Adventurer Blythwood 23 Alarm Himvar 75 Artillery Kyrle Daly 97 Australian Baden Baden 11 Fellowcraft 47 Han-v O'Fallon 71 Spendthrift 147 Springbok 149 Wilful 177 Wildidle 179 Beadsman Saxon 143 Bel Demonio. Fechter 45 Billet Elias Lawrence ' 37 Volturno 171 Blair Athol. Glen Athol 53 Highlander 73 Stonehege 151 Bonnie Scotland Bramble 25 Luke Blackburn 109 Plenipo 129 Boston Lexington 199 Breadalbane. Ill-Used 85 Citadel Gleuelg...
    [Show full text]
  • E-N Fo N a D Vii.Mmxiii
    e - n e w s f o a n i d d a o t i o s t n c u vii.mmxiii 1. Carl Blechen, View of the Colosseum in Rome, 1829 Oil on paper, mounted on panel, 18.7 x 31.9 cm Loan, promised gift from a private collector In 2010, as well as French, Danish and Dutch oil sketches from the estate of Carlos van Hasselt, the Fondation Custodia also acquired a group of works by Ger- man artists. Something I had never thought possible, to be able to add to these a work by Carl Blechen (1798–1840) – the most important exponent of the oil sketch from the German-speaking regions – has now come about. We owe this acquisi- tion to the immediate response of a private collector, who acted instantly when an unpublished View of the Colosseum in Rome dated 1829 came on to the market this spring (fig. 1). Prompted by enthusiasm about the initiative of expanding the collec- tion of oil sketches into an exciting and representative entity, he bought the paint- ing and loaned it to the Fondation Custodia with the intention of donating it in the DE L’ALLEMAGNE, future. : CARL BLECHEN Carl Blechen had long wanted to travel to Italy and finally set off on 6 September 1828, returning to Berlin fourteen months later. His trip released something in him. Painting en plein air led to an assurance in his brushwork and a different orientation in his art. His friend Karl Friedrich Schinkel called Blechen’s oil sketches ‘etwas promised gift Wirkliches von Kunst’, in which admiration for his faithfulness to visible reality resonates.
    [Show full text]
  • Pur-Sang Femelle, 1858 (XX=100.00%
    BROWN BESS (Pur-Sang Femelle, 1858 (XX=100.00% )) GOHANNA PS 1790 GOLUMPUS PS 1802 CATTON CATHERINE PS 1795 PS 1809 ROYAL OAK TIMOTHY PS 1794 XX=100.00% - OX=0.00% LUCY GREY PS 1804 LUCY PS 1789 PS 1823 SORCERER PS 1796 SMOLENSKO MARE SMOLENSKO PS 1810 XX=100.00% - OX=0.00% WOWSKI PS 1797 PS 1818 © www.Webpedigrees.com SLANE BENINGBROUGH PS 1791 XX=100.00% - OX=0.00% LADY MARY PS 1800 HIGHFLYER MARE PS 1790 PS 1833 KING FERGUS PS 1775 ORVILLE BENINGBROUGH PS 1791 XX=100.00% - OX=0.00% HEROD MARE PS 1780 PS 1799 ORVILLE MARE HIGHFLYER PS 1774 XX=100.00% - OX=0.00% EVELINA PS 1791 TERMAGANT PS 1772 PS 1819 HEROD PS 1758 MISS GRIMSTONE WEAZLE PS 1776 XX=100.00% - OX=0.00% ECLIPSE MARE PS 1772 PS 1796 BLIGHT ANCASTER PS 1768 XX=100.00% - OX=0.00% ANCASTER MARE PS 1788 DAMASCUS ARABIAN MARE PS 1770 PS 1851 POT 8 OS PS 1773 WHALEBONE WAXY PS 1790 XX=100.00% - OX=0.00% MARIA PS 1777 PS 1807 CAMEL TRUMPATOR PS 1782 XX=100.00% - OX=0.00% PENELOPE PS 1798 PRUNELLA PS 1788 PS 1822 BUZZARD PS 1787 SELIM MARE SELIM PS 1802 XX=100.00% - OX=0.00% ALEXANDER MARE PS 1790 PS 1812 CAMEL MARE SIR PETER TEAZLE PS 1784 XX=100.00% - OX=0.00% MAIDEN PS 1801 PHOENOMENON MARE 24 PS 1788 PS 1841 CASTREL PS 1801 SLEIGHT OF HAND PANTALOON PS 1824 XX=100.00% - OX=0.00% IDALIA PS 1815 PS 1836 LADY ELIZABETH FILHO DA PUTA PS 1812 XX=100.00% - OX=0.00% DECOY PS 1830 FINESSE PS 1815 PS 1845 DON QUIXOTE PS 1784 MISS WENTWORTH CERVANTES PS 1806 XX=100.00% - OX=0.00% EVELINA PS 1791 PS 1819 STAMFORD PS 1794 XX=100.00% - OX=0.00% YOUNG WRYNECK PS 1809 WRYNECK PS 1800 KING
    [Show full text]
  • Open Access Version Via Utrecht University Repository
    Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p.
    [Show full text]
  • 12 - October 2009 the Note from CONE the Editor
    THE CONE COLLECTOR #12 - October 2009 THE Note from CONE the editor COLLECTOR It is always a renewed pleasure to put together another issue of Th e Cone Collector. Th anks to many contributors, we have managed so far to stick to the set schedule – André’s eff orts are greatly to be Editor praised, because he really does a great graphic job from the raw ma- António Monteiro terial I send him – and, I hope, to present in each issue a wide array of articles that may interest our many readers. Remember we aim Layout to present something for everybody, from beginners in the ways of André Poremski Cone collecting to advanced collectors and even professional mala- cologists! Contributors Randy Allamand In the following pages you will fi nd the most recent news concern- Kathleen Cecala ing new publications, new taxa, rare species, interesting or outstand- Ashley Chadwick ing fi ndings, and many other articles on every aspect of the study Paul Kersten and collection of Cones (and their relationship to Mankind), as well Gavin Malcolm as the ever popular section “Who’s Who in Cones” that helps to get Baldomero Olivera Toto Olivera to know one another better! Alexander Medvedev Donald Moody You will also fi nd a number of comments, additions and corrections Philippe Quiquandon to our previous issue. Keep them coming! Th ese comments are al- Jon Singleton ways extremely useful to everybody. Don’t forget that Th e Cone Col- lector is a good place to ask any questions you may have concerning the identifi cation of any doubtful specimens in your collections, as everybody is always willing to express an opinion.
    [Show full text]
  • On Adriaen Coorte, Elias Van Den Broeck, and the Je Ne Sais Quoi of Painting
    Volume 8, Issue 2 (Summer 2016) Sublime Still Life: On Adriaen Coorte, Elias van den Broeck, and the Je ne sais quoi of Painting Hanneke Grootenboer [email protected] Recommended Citation: Hanneke Grootenboer, “Sublime Still Life: On Adriaen Coorte, Elias van den Broeck, and the Je ne sais quoi of Painting,” JHNA 8:2 (Summer 2016), DOI: 10.5092/jhna.2016.8.2.10 Available at https://jhna.org/articles/sublime-still-life-adriaen-coorte-elias-van-den-broeck-je-ne- sais-quoi-painting/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 7:2 (Summer 2015) 1 SUBLIME STILL LIFE: ON ADRIAEN COORTE, ELIAS VAN DEN BROECK, AND THE JE NE SAIS QUOI OF PAINTING Hanneke Grootenboer This paper explores the ways in which Adriaen Coorte (1665–1707) in his still lifes presents philosophical reflections on sublimity. I argue that throughout his oeuvre Coorte, despite the unusually small size of his works (often not much larger than a postcard), can be seen searching for the limits of painting. Special attention is given to the unconven- tional way in which he animates his fruits and shells, presenting them as if they are actors in an indefinable place, and the rather extreme contradictions in dimension and scale he employs. I conclude by referring to another type of sublimity in painting in a truly genuine fusion of painting and collage in a forest piece by Elias van den Broeck.
    [Show full text]
  • Rembrandt's Three Crosses
    Mildred Lane Kemper Art Museum Spotlight Series: October 2008 By Paul Crenshaw, assistant curator for prints and drawings and senior lecturer in art history One of the most dynamic prints ever made, Rembrandt van Rijn’s The Three Crosses (1653) displays technical innovation and engagement with the human subjectivity of Rembrandt van Rijn The Three Crosses, 1653 Drypoint (4th state), 15 1/4 x 17 13/16" Christ’s death. A torrential downpour of lines Gift of Dr. Malvern B. Clopton, 1930 envelopes dozens of figures on the hill of Rembrandt van Rijn Golgotha, where Christ is pictured crucified The Three Crosses, 1660-61 Etching and drypoint (4th state)tate) amidst the two thieves. Even though it is an 15 1/4 x 17 13/16 " Gift of Dr. Malvern B. Clopton, 1930 inherently tragic subject commonly portrayed in Christian tradition, never before had it been staged with such sweeping emotional force. Rembrandt was inspired by the text of the Gospels (Matthew 27:45–54) proclaiming that a darkness covered the land from noon to three o’clock, when Jesus cried out with a loud voice, “Elí, Elí, lemá sabachtháni?” (“My God, my God, why have you forsaken me?”). When Jesus died, the passage continues, the earth shook, rocks split, tombs opened, and the bodies of many sleeping saints arose. To achieve these supernatural effects, Rembrandt employed the kind of bold technical ingenuity that helped define him as one of the most significant printmakers of his age. The Kemper Art Museum impression is a fine example of the fourth state of the print, which gives a dramatically different tenor and narrative focus to his subject than earlier states did.
    [Show full text]