DOCSLIB.ORG

Projet Post-Doctoral : La New Shakespeare Galle

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Projet Post-Doctoral : La New Shakespeare Galle Amandine Rabier! ! Laboratoire d’excellence « Création, Arts et Patrimoines », ! Projet post-doctoral :! ! La New Shakespeare Gallery ou l’itinéraire d’un échec ! ! Plateforme 4 : ! Exposition et Création : Pratiques sociales et expériences du musée ! Unité d’accueil principale : Centre de Recherches sur les Arts et le Langage, Ecole des Hautes Etudes de Sciences Sociales! Unité d’accueil secondaire : HiCSA, Université Paris 1, Panthéon Sorbonne! ! ! État de l’art :! ! En mai 1789 naît, sous l’impulsion d’un certain John Boydell, un nouveau mode d’exposi- tion en Angleterre, la Gallery. Nouveau, car porteur d’une nouvelle définition de ce terme. Il ne s’agit plus de la galerie au sens d’un lieu aménagé dans ou attenant à une résidence aristocratique, rassemblant une collection de peinture privée témoignant du pouvoir autant que du raffinement de son collectionneur, mais d’une salle d’exposition aménagée à cet effet, en plein centre de Londres, accessible à tous, dès lors que l’on s’acquittait d’un droit d’entrée de 1 shilling. ! L’exposition était alors une étape, la vitrine d’un plus vaste projet qui consistait en l’édition des Œuvres de Shakespeare illustrée, gravée d’après les tableaux de la galerie, conçue avec le concours de l’éditeur George Steevens, ainsi qu’en une autre publication exclusi- vement consacrée aux gravures. Les œuvres sont ainsi commandées aux plus éminents artistes de la Royal Academy, autour d’un thème qui devient le fil conducteur de l’expositi- on. Concernant la Boydell Gallery, le thème adopté à l’unanimité fut Shakespeare. À son ouverture, la Shakespeare Gallery de Boydell rencontra un immense succès. Un enthou- siasme qui contamina la critique puisque, bonne ou mauvaise, elle abonda sur l’événe- ment. Bien que les détracteurs fussent nombreux, peu importait, la Boydell Gallery occu- pait le devant de la scène, quitte à éclipser cette année-là l’exposition annuelle de la Royal Academy. Et le public suivit comme en attestent les témoignages via les correspondances de l’époque. ! Dans son ouvrage The Shows of London, Richard Altick intègre ce nouveau concept de Gallery dans les spectacles en vogue en Angleterre1. Parmi les spectacles de curiosités humaines, de pantomimes, ou encore les spectacles à effets visuels, comme ceux de la lanterne magique, des panoramas, de fantasmagories, la Gallery incarne le spectacle de la peinture. L’exposition Art on the line et le catalogue, dirigé par David Solkin, qui l’acco- mpagne, montrent d’ailleurs comment les expositions annuelles de la Royal Academy étaient elles aussi envisagées comme des spectacles par ce que Mark Hallett nomme la mise en espace d’une narration visuelle2. Luisa Calè, qui s’est intéressée particulièrement à la Milton Gallery de Henry Fuseli, a elle aussi définit les dispositifs mis en place par le peintre pour donner des équivalents spatiaux au processus narratif du poète3.! La réflexion grandissante sur les stratégies d’expositions publiques ou privées implique une nouvelle donnée : la prise en compte du spectateur. Pascal Griener redéfinit la notion de public au XVIIIe siècle et insiste sur le nouveau lien qui unit l’œuvre au spectateur4. Il analyse l’accès aux collections de peinture par le public avant la constitution des institu- tions muséales. Néanmoins, son ouvrage s’en tient à la notion commune de galerie pré- cédemment évoquée. Nous aimerions donc poursuivre ces recherches en nous intéres- sant à cette nouvelle forme de Gallery qui tient d’autant plus compte de la réception qu’elle est fortement déterminée par la notion de rentabilité. ! À l’époque de Boydell, les Galleries se multiplient : Thomas Macklin crée la Poets’ Gallery qui ouvre un an avant celle de Boydell, l’Historic Gallery de Robert Bowyer ouvre en 17925. Ces deux dernières font l’objet d’une étude6, mais la Gallery qui concentre toute l’attention à l’époque de sa création comme chez les historiens de l’art actuels, reste la 1 Richard Altick, The shows of London, Cambridge (Massachussets) and London, Harvard University Press, 1978. 2 David Solkin (ed.) Art on the Line : The Royal Academy Exhibitions at Somerset House, 1780-1836, New Haven, Yale University Press, 2001, p. 77-91. Mark Hallett, « Reading the Walls : Pictorial Dialogue at the British Royal Academy » in Eighteenth-Century Studies, Vol. 37, N°4, Summer 2004, p. 581-604. 3 Luisa Calè, Henry Fuseli’s Milton Gallery : ‘Turning Readers into Spectators’, London, Clarendon Press, 2006. 4 Pascal Griener, La République de l’œil, l’expérience de l’art au siècle des lumières, Paris, Odile Jacob, 2010, p. 124. 5 Notons que ces Galleries tentent de se substituer ainsi à la Royal Academy qui selon Boydell échoue dans sa fonction de promouvoir la peinture d’histoire. 6 T. S. R. Boase, « Macklin and Bowyer » in Journal of the Warburg and Courtauld Institute, Vol.26 n°1/2, 1963, p.148-177. Boydell Gallery7. Nous ne nous attarderons pas ici sur le bilan historiographique de cette dernière, citons simplement l’étude de Winifred Friedman qui est la première à faire l’inve- ntaire des œuvres de la Shakespeare Gallery de Boydell et à donner un descriptif sérieux de l’entreprise en insistant notamment sur l’aspect commercial du projet8. Quant à l’étude la plus récente, elle est menée par Rosie Dias9, spécialiste de la question du display en Angleterre au tournant du XVIIIe et du XIXe siècle qui, dans le cas de la Boydell Gallery, arti- cule son édification à la construction de l’identité nationale à cette même période.! ! ! Description du projet :! ! Parmi les Galleries les moins étudiées se trouve celle qui nous intéresse, la « New Sha- kespeare Gallery » de James Woodmason. Nous avons recensé deux articles sur le sujet, écrit par un même auteur, Robin Hamlyn10. Une si maigre fortune critique est d’autant plus surprenante que Woodmason calque le projet de sa Gallery sur celui de Boydell. Dans son article le plus ancien, l’auteur fait un état des lieux des étapes de construction du projet de Woodmason mais son travail, bien que très utile, est avant tout descriptif et ne rend guère compte d’une vision et d’une mise en perspective de la Gallery. Son second article, en re- vanche, initie la comparaison entre la Boydell et la Woodmason Gallery mais sans pour 7 Pour un approfondissement bibliographique de la Boydell Gallery, voir l’ouvrage très complet de Walter Pape et Frederick Burwick (dir.), The Boydell Shakespeare Gallery, Bottrop, Essen, Verlag Peter Pomp, 1996 (et plus particulièrement les chapitres « The Romantic reception of the Boydell Shakespeare Gallery: Lamb, Coleridge, Hazlitt » de Frederick Burwick et « Boydell's Shakespeare Gallery and its role in promoting English history painting » d’Hildegard Hammerschmidt-Hummel) ainsi que l'article d’Isabelle Baudino « John Boydell et la Shakespeare Gallery » in Bulletin de la société d'études anglo-américaines des XVIIe et XVIIIe siècles, n°40, 1995, p. 67-88, qui est l’une des rares études françaises sur le sujet. Pour un complément d’information, on pourra également se référer aux autres publications : William D. Moffat, « The Story of the Boydell Shakespeare » in Shakespeariana, vol.IV, 1887 ; Lawrence Thompson, « The Boydell Shakespeare: An English Monument to Graphic Arts » in The Princeton University Library Chronicle, février 1940, p. 17-24 ; Altick, « Eighteenth-Century book illustrations - Boydell's Shakespeare Gallery - Macklin's Poet's Gal- lery - Fuseli's Milton Gallery » Part one, Chapter 2, 1985, p. 37-56 ; Stuart Sillars, « «A magnificent Scheme, if it can but be effected» : Boydell, criticism and appropriation » in Painting Shakespeare : the artist as critic 1720-1820, New York, Cambridge University Press, 2006 ; Marketing Shakespeare: The Boydell Gallery (1789-1805) and Beyond, exposition organisée par la Folger Shakespeare Library du 20 septembre 2007 au 5 janvier 2008. 8 Winifred Friedman, Boydell's Shakespeare Gallery, New York, Garland, 1976. 9 Rosie Dias, Exhibiting Englishness. John Boydell’s Shakespeare Gallery and the Formation of a National Aesthetic, New Heaven and London, Yale University Press, 2013. 10 Robin Hamlyn, « An Irish Shakespeare Gallery » in Burlington Magazine, vol. 120, N°905, 1978, p. 515-529, Robin Hamlyn « The Shakespeare Galleries of John Boydell and James Woodmason » in Jane Martineau (ed.), Shakespeare in Art, Ferrara and London, Merrell, 2003, p. 97-115. autant, là encore, mettre en perspective l’aménagement de l’espace des deux collections et en limitant ses études de cas aux peintres Henry Fuseli et James Northcote. C’est donc en prolongeant cette comparaison amorcée que nous voudrions construire notre étude, afin de comprendre le parcours chaotique de cette Gallery.! Attentif à l’émulation que provoque la Shakespeare Gallery de John Boydell, l’entrepr- eneur James Woodmason importe le projet en Irlande et ouvre, en 1793, à Dublin, une Irish Shakespeare Gallery [sic] conçue sur le modèle de John Boydell. Pourtant, contrai- rement à celui de son devancier, ce projet est un échec. Étant donné le succès des Galle- ries à Londres, et particulièrement de celle de Boydell dont il s’est largement inspiré, Woodmason ne doute pas du potentiel de son entreprise et pense simplement ne pas s’être adressé au bon public. Il emporte donc tout naturellement son projet à Londres, afin de rentabiliser cette affaire mal engagée. Woodmason loue la salle de James Christie (créateur de la maison de vente du même nom), située dans la rue de Pall Mall, exacte- ment en face du bâtiment de la Gallery de Boydell. Il lui fait donc directement concurrence, en choisissant non seulement le même thème pour sa Gallery, Shakespeare, mais aussi en utilisant, comme Boydell quelques années plus tôt, les mêmes artistes académiciens bien connus du public : Reynolds, Fuseli, Northcote, West, Opie... Woodmason affiche lui aussi l’ambition de créer une école anglaise de la peinture d’histoire.
Load more

Recommended publications
  • John Boydell's Shakespeare Gallery and the Promotion of a National Aesthetic
    JOHN BOYDELL'S SHAKESPEARE GALLERY AND THE PROMOTION OF A NATIONAL AESTHETIC ROSEMARIE DIAS TWO VOLUMES VOLUME I PHD THE UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2003 2 TABLE OF CONTENTS Page Volume I Abstract 3 List of Illustrations 4 Introduction 11 I Creating a Space for English Art 30 II Reynolds, Boydell and Northcote: Negotiating the Ideology 85 of the English Aesthetic. III "The Shakespeare of the Canvas": Fuseli and the 154 Construction of English Artistic Genius IV "Another Hogarth is Known": Robert Smirke's Seven Ages 203 of Man and the Construction of the English School V Pall Mall and Beyond: The Reception and Consumption of 244 Boydell's Shakespeare after 1793 290 Conclusion Bibliography 293 Volume II Illustrations 3 ABSTRACT This thesis offers a new analysis of John Boydell's Shakespeare Gallery, an exhibition venture operating in London between 1789 and 1805. It explores a number of trajectories embarked upon by Boydell and his artists in their collective attempt to promote an English aesthetic. It broadly argues that the Shakespeare Gallery offered an antidote to a variety of perceived problems which had emerged at the Royal Academy over the previous twenty years, defining itself against Academic theory and practice. Identifying and examining the cluster of spatial, ideological and aesthetic concerns which characterised the Shakespeare Gallery, my research suggests that the Gallery promoted a vision for a national art form which corresponded to contemporary senses of English cultural and political identity, and takes issue with current art-historical perceptions about the 'failure' of Boydell's scheme. The introduction maps out some of the existing scholarship in this area and exposes the gaps which art historians have previously left in our understanding of the Shakespeare Gallery.
    [Show full text]
  • Peter Canon-Brookes, Ed., the Painted Word: British History Painting, 1750-1830
    REVIEW Peter Canon-Brookes, ed., The Painted Word: British History Painting, 1750-1830 G. E. Bentley, Jr. Blake/An Illustrated Quarterly, Volume 27, Issue 3, Winter 1993-1994, pp. 79-80 Winter 1993/94 BLAKE/AN ILLUSTRATED QUARTERLY 79 all-important cultural text, the more so since it acknowledges that in the eyes The Painted Word: British of current academic feminists, this style failed to achieve the revolution in History Painting, 1750- female discourse that Wollstonecraft 1830. Ed. Peter Canon- attempted. Brookes. Woodbridge, Kelly concludes with an interesting Suffolk and Rochester analysis of Wollstonecraft's Historical NY: The Boydell Press, and Moral View of the Origin and 1991. 139 pp. 156 plates. Progress of the French Revolution, which he reads as an attempt to re- $70.00. claim a "feminized" French Revolution (170), a controversial reading of her Letters from Scandinavia as the self- Reviewed by destructive representation of the G. E. Bentley,Jr. female philosopher as merely a woman (193), and a familiar reading of Maria, or the Wrongs of Woman, his impressive little book on The heroism were in great houses and which usefully focuses on the trial Painted Word has nothing to do churches and munificent institutions, scene as staging the thematic concerns T with William Blake (who is mentioned such as the Royal Society of Arts which of the book as a whole. only in an aside to Stothard's "Pil- commissioned (but did not pay) James Readers will continue to turn to grimage to Canterbury" engraving). Barry to cover the walls of its
    [Show full text]
  • Robert Bowyer (1758-1834) Artist, Publisher and Preacher
    Robert Bowyer (1758-1834) Artist, Publisher and Preacher OBERT BOWYER must be unique in the history of Baptists. As R officially-appointed miniature painter to King George III he often moved freely in the world of the Court and the fashionable; yet throughout all his adult life he retained an active membership of Baptist churches. Indeed in his later years he served as pastor to a small cause he had helped to begin. Certain features of his public life have been traced,l but the need for a fuller outline with due attention to his religious activities seems long overdue. Bowyer came originally from Portsmouth. 2 He had at least one brother, Amos, and two sisters, Susannah and another known later as Mrs. Leeks.s Unfortunately the only sources for the beginnings of his career as an artist are family and personal reminiscences. 4 The romantic version of these is that Bowyer was offered, whilst still a youth, an opportunity to migrate to America. His heart already belonged to one Mary Shoveller, also of Portsmouth, and Bowyer determined to offer her, as a keepsake, a self-portrait attempted with the aid of a looking-glass. A gentleman saw the result, pressed Bowyer to attempt the same for him, and Bowyer's. career was launched. Rather than go to America, he went to seek his fame in London. 5 The other more prosaic version was that Bowyer was already in London and began painting miniatures after observing some in a shop in Newgate Street. 6 All that appears certain is that Bowyer came from an unpromising background, and unlike many other fashion­ able artists of the day, his success was due largely to his own initiative and the skilful use of his native gift.
    [Show full text]
  • Grosvenor Prints Catalogue
    Grosvenor Prints Tel: 020 7836 1979 19 Shelton Street [email protected] Covent Garden www.grosvenorprints.com London WC2H 9JN Catalogue 102 Item 169: Garrick in the Green Room. Cover: Detail of item 34 Back: Detail of Item 9 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 English collectors. This series of paintings, commemorating the deeds of famous Englishmen, was planned for the decoration of the Duke of Richmond's apartment at Goodwood. See BM 1859,0709.685 for the first published state. See: 10619 Stock: 54252 3. [Title page] No 3 of a Series of Views in the West Indies: Engraved from Drawings taken recently in the Islands: With Letter Press Explanations Made From Actual Observation. Davison, Whitefriars. London: [Smith Elder & Co, Cornhill] Fleet-Street [n.d., 1827-29.] Rare & scarce title sheet, letterpress with wood- engraved border, label with mss. publisher details stuck 1. [The Humours of Hob at the Country on. 290 x 440mm (11½ x 17¼"). Laid on card, wear to Wake in the Opera of Flora.] paper surface. £280 J. Laguerre Inv.t et Delin. Claude Du Bosc fe. [n.d., The title sheet of the third (and last, of a planned eight] c.1745.] parts of J. Johnston's 'Views in the West Indies', a Oblong folio, 19th century half morocco gilt, morocco series of an engraved map and eleven aquatint views. title label on front board; eight numbered plates, as The series was begun by Mess.rs Underwood but called for, laid on contemporary canvas.
    [Show full text]
  • William Blake and His Circle Part III: Commercial Book Engravings
    708 William Blake and His Circle Part III: Commercial Book Engravings Part III COMMERCIAL BOOK ENGRAVINGS528 Section A ILLUSTRATIONS OF INDIVIDUAL AUTHORS529 ADAMS, Michael New Royal Geographical Magazine (1793, 1794) 1793 NEW LOCATIONS: British Library, Cambridge, Dalhousie, Union Theological Seminary 1794 NEW LOCATIONS: Cambridge (in 48 parts; also reproduced in Primary Source Microfilms), Leeds ALLEN, Charles A New and Improved History of England (1797) TITLE: A NEW AND IMPROVED │ HISTORY OF ENGLAND, │ FROM │ THE INVASION OF JULIUS CÆSAR TO THE END OF THE │ THIRTY-SEVENTH 528 Many of the new locations for books with Blake's commercial engravings after Fuseli below, particularly those in Swiss libraries, derive from the admirable details in David Weinglass, Prints ... After Fuseli (1994). 529 In 2010 for the first time I record contemporary references to separately issued prints by Blake.After 2015, I no longer record post-1863 sales of unremarkable copies of books with Blake's commercial engravings. For voluminous records of these, see Robert N. Essick, "Blake in the Marketplace", Blake, (2016 ff.) 708 William Blake and His Circle 709 Part III: Commercial Book Engravings YEAR OF THE REIGN │ OF KING GEORGE THE THIRD [i.e., 1797]. │ - │By CHARLES ALLEN, A.M.│ AUTHOR OF THE ROMAN HISTORY &c. │ - │ THE SECOND EDITION, │ EMBELLISHED WITH FOUR COPPER PLATES, AND A CHRONOLO- │ GICAL CHART OF THE REVOLUTIONS IN GREAT BRITAIN. │ - │ Concluding with a short but comprehensive Historical View │ of Europe, from the abolition of the Monarchical form of │ government in France; the military and naval operations, │ with the conquests and revolutions in Italy to the │ peace of Udina.
    [Show full text]
  • Lowell Libson Limited British Art
    LOWELL LI BSON LTD 2 0 12 • LOWELL LIBSON LIMITED BRITISH ART 3 Clifford Street · London w1s 2lf +44 (0)20 7734 8686 · [email protected] www.lowell-libson.com LL 2012 text for Alta.indd 1 01/12/2011 13:05 LOWELL LIBSON LTD 2012 LL 2012 text for Alta.indd 2 01/12/2011 13:05 LL 2012 text for Alta.indd 3 01/12/2011 13:05 INDEX OF ARTISTS LOWELL LIBSON LTD Richard Parkes Bonington 96–101 Robert Carpenter 64 3 Clifford Street · London w1s 2lf John Constable 86–95 Telephone: +44 (0)20 7734 8686 Fax: +44 (0)20 7734 9997 David Cox 112–117 Email: [email protected] Richard Earlom 58 Website: www.lowell-libson.com Henry Edridge 73 The gallery is open by appointment, Monday to Friday James Jefferys 56 The entrance is in Old Burlington Street Thomas Gainsborough 18–31 Daniel Gardner 42 In 2012 our exhibition schedule is: Hubert Gravelot 12 Master Drawings New York Valentine Green 60 January 21–28 William Holman Hunt 118 George Lambert 16 TEFAF Maastricht Thomas Lawrence 76–79 March 16–25 John Linnell 102 Master Drawings London Thomas Malton 70 June 27 – July 5 Master of the Giants 56 John Hamilton Mortimer 54 Matthew William Peters 50 George Romney 32–41 Michael Angelo Rooker 68 George Stubbs 52 Peltro William Tomkins 44 Francis Towne 62 William Turner of Oxford 104–111 George Augustus Wallis 80 Cover: a sheet of 18th-century Italian paste paper (collection: Lowell Libson) Richard Westall 48, 84 John Michael Wright 8 Frontispiece: detail from Sir John Morshead George Romney (see pages 38–41) Joseph Wright of Derby 58–61 LL 2012 text for Alta.indd 4 01/12/2011 13:05 LL 2012 text for Alta.indd 5 01/12/2011 13:05 We are delighted to be able to publish some of the acquisitions – paintings, drawings, watercolours, prints and sculpture – which we have made over the last year.
    [Show full text]
  • Issues) and Searcher Based at the Centre for Eighteenth Century Studies, Begin with the Summer Issue
    AN ILLUSTRATED QUARTERLY Blake Books: Publications and Discoveries, 2006 VOLUME 41 NUMBER 1 SUMMER 2007 &Uk e AN ILLUSTRATED QUARTERLY www.blakequarterly.org VOLUME 41 NUMBER 1 SUMMER 2007 CONTENTS Article Minute Particulars William Blake and His Circle: Blake in the Times Digital Archive A Checklist of Publications and Discoveries in 2006 By Keri Davies 45 By G. E. Bentley, Jr., with the Assistance ofHikari Sato for Japanese Publications "VISIONS OP BLAKE, THE ARTIST": An Early Reference to William Blake in the Timet By Angus Whitehead 46 Review Blake Society Annual Lecture, 28 November 2006: Patti Smith at St. James's Church, Piccadilly Reviewed by Magnus Ankarsjo ■II ADVISORY BOARD (,. I . Bentley, Jr., University of Toronto, retired Nelson Hilton, University of Georgia Martin Butlin, London Anne K. Mellor, University of California, Los Angeles Detlcf w. Ddrrbecker, University of Trier Joseph Viscomi, University of North Carolina at Chapel Hill Robert N. Lssick, University of California, Riverside David Worrall, The Nottingham Trent University Angela Esterhammer, University of Western Ontario CONTRIBUTORS David Worrall, Faculty of Humanities, The Nottingham Trent University, Clifton Lane, Nottingham NG11 8NS UK Email: [email protected] G. E. BENTLEY, JR., is a recovering book collector but is still ad• dicted to scholarship, at the moment to Blake's heavy metal and bibliomania (a confession) and Blake's murderesses. MAGNUS ANKARSJO ([email protected]) is a lecturer at Nottingham Trent University and Loughborough Universi• ty. He is the author of William Blake and Gender (2006) and is currently completing the manuscript of Reconstructing Blake, on the substantial changes that Blake studies are now under• going in the wake of recent discoveries about Blake's life, par• ticularly his Moravian family background.
    [Show full text]
  • Issue Will Be Applied to the 4 Issues CONTRIBUTORS of the Current Volume
    AN ILLUSTRATED QUARTERLY VOLUME 29 NUMBER 4 SPRING 1996 £%Ue AN ILLUSTRATED QUARTERLY VOLUME 29 NUMBER 4 SPRING 1996 CONTENTS Articles Blake in the Marketplace, 1995, Including a Survey of Blakes in Private Ownership by Robert N. Essick 108 William Blake and His Circle: A Checklist of Publications and Discoveries in 1995 by G.E. Bentley, Jr. With the Assistance of Keiko Aoyatna 131 Newsletter Wordsworth Summer Conference at Dove Cottage, Romanticism in Perspective, William Blake Collection Moves Home, Milton, the Opera 168 ceived after the summer issue will be applied to the 4 issues CONTRIBUTORS of the current volume. Foreign addresses (except Canada and Mexico) require an $8 per volume postal surcharge for G. E. BENTLEY, JR., now retired from the University of Toronto, surface, an $18 per volume surcharge for air mail delivery. is working on a biography of Blake. U.S. currency or international money order necessary. Make checks payable to Blake/An Illustrated Quarterly. Address all subscription orders and related communications to ROBERT N. ESSICK, Professor of English, University of Cali• Patricia Neill, Blake, Department of English, University of fornia, Riverside, has been writing sales reviews for this jour• Rochester, Rochester, NY 14627. nal for 25 years. BACK ISSUES are available at a reduced price. Address Patricia D O R Neill for a list of issues and prices. MANUSCRIPTS are welcome. Send two copies, typed and EDITORS: Morris Eaves and Morton D. Paley documented according to forms suggested in The MLA BIBLIOGRAPHER: G. E. Bentley, Jr. Style Manual, to either of the editors: Morris Eaves, Dept.
    [Show full text]
  • John Frederick Lewis Collection of Autographs of Engravers, 1721-1914 (Bulk 1775-1850) FLP.RBD.ENGRAVERS
    John Frederick Lewis collection of autographs of engravers, 1721-1914 (Bulk 1775-1850) FLP.RBD.ENGRAVERS This finding aid was produced using the Archivists' Toolkit January 04, 2012 Describing Archives: A Content Standard Free Library of Philadelphia: Rare Book Department 2010.11.15 Philadelphia, PA, 19103 John Frederick Lewis collection of autographs of engravers, 1721-1914 (Bulk 1775-1850) ... Table of Contents Summary Information ................................................................................................................................. 3 Biographical/Historical note.......................................................................................................................... 4 Scope and Contents note............................................................................................................................... 4 Arrangement note...........................................................................................................................................4 Administrative Information .........................................................................................................................5 Related Materials ........................................................................................................................................ 5 Controlled Access Headings..........................................................................................................................5 Collection Inventory.....................................................................................................................................
    [Show full text]
  • LOWELL LIBSON LTD 2 016 • New York · Annual Exhibition British Art: Recent Acquisitions at Stellan Holm · 1018 Madison Avenue 23–30 January 2016
    LOWELL LIBSON LTD 2 016 • New York · annual exhibition British Art: Recent Acquisitions at Stellan Holm · 1018 Madison Avenue 23–30 January 2016 Maastricht TEFAF: The European Fine Art Fair 11–20 March 2016 LONDON MASTERPIECE LONDON 30 June–6 July 2016 London LONDON ART WEEK 1–8 July 2016 [ B ] LOWELL LIBSON LTD 2016 • Agostino Aglio 80 Catherine Andras 54 Mary Black 38 Adam Buck 56 3 Clifford Street · London w1s 2lf Edward Burch 64 Telephone: +44 (0)20 7734 8686 John Constable 84, 88 Email: [email protected] Website: www.lowell-libson.com Richard Cosway 68 John Robert Cozens 28 Lowell Libson [email protected] Sir Nathaniel Dance 18 Jonny Yarker [email protected] John Downman 42 Deborah Greenhalgh [email protected] Richard Eurich 106 Thomas Gainsborough 26 Cressida St Aubyn [email protected] Benjamin Robert Haydon 74 John Hoppner 48 Thomas Hudson 14 James Jefferys 58, 62 Louis Laguerre 9 Lady Mary Lowther 34 Samuel Palmer 98 George Richmond 77 Thomas Rowlandson 32 John Russell 50 We are delighted to be supporting the following exhibitions in 2016: Archibald Skirving 45 NEW YORK Michael Henry Spang 64 Pierre-Jean Mariette and The Art of Collecting Drawings George Stubbs 22 The Morgan Library & Museum, New York, Henry Tonks 102 22 January – 1 May William Turner of Oxford 94 LONDON Light, time, legacy: Francis Towne’s Benjamin West 70 watercolours of Rome The British Museum, Rex Whistler 104 21 January – 14 August Matthew Cotes Wyatt 72 This catalogue presents some of the remarkable acquisitions that we have made over the last year.
    [Show full text]
  • British Art Studies November 2017 British Art Studies Issue 7, Published 30 November 2017
    British Art Studies November 2017 British Art Studies Issue 7, published 30 November 2017 Cover image: Clare Twomey, Made in China, ceramic vessels, 2016. Installed at the Yale Center for British Art, New Haven, 2017.. Digital image courtesy of Yale Center for British Art | Photo: Richard Caspole PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. A joint publication by Contents “The Snob’s Chaldron”: Alexander Davison and the Private Patronage of History Painting in Early Nineteenth-Century Britain, Katherine Gazzard “The Snob’s Chaldron”: Alexander Davison and the Private Patronage of History Painting in Early Nineteenth-Century Britain Katherine Gazzard Abstract In 1806, the wealthy merchant Alexander Davison commissioned eight leading artists to produce paintings depicting scenes from British history to hang in the dining room of his London townhouse in St James’s Square.
    [Show full text]
  • Chelsea Book Fair 6 & 7 November 2015
    Chelsea Book Fair 6 & 7 November 2015 A selection of highlights Bernard Quaritch Ltd [email protected] +44 (0)20 7297 4888 1. CHAUCER, Geoffrey. The Workes of our ancient and learned English Poet, Geoffrey Chaucer, newly printed. To that which was done in the former Impression, thus much is now added. 1. In the Life of Chaucer many Things inserted. 2. The whole Worke by old Copies reformed. 3. Sentences and Proverbes noted. 4. The Signification of the old and obscure Words prooved: also Characters shewing from what Tongue or Dialect they be derived. 5. The Latine and French, not Englished by Chaucer, translated. 6. The Treatise called Jacke Upland, against Friers: and Chaucers A. B. C. called La Priere de Nostre Dame, at this Impression added. London, Printed by Adam Islip, 1602. Folio, ff. [24], 376, [14], black letter, with a copperplate portrait of Chaucer within a family tree by John Speed after Hoccleve, woodcut initials, terminal errata leaf; title-page slightly dusty, but a very good copy in early stiff vellum, red morocco label. £6000 Second Thomas Speght edition (sixth collected edition), revised much for the better by Francis Thynne; this is the variant with Adam Islip rather than George Bishop in the imprint. The portrait of Chaucer, which first appeared in the Speght edition of 1598, is the first engraved representation of the poet. Francis Thynne, son of William Thynne who had edited Chaucer’s Workes in 1532, had been preparing a commentary on Chaucer when Thomas Speght published his edition of 1598. Thynne abandoned his commentary, wrote some criticisms of Speght’s edition, and then joined with Speght to produce this revised edition, also contributing a poem ‘Upon the picture of Chaucer’.
    [Show full text]