DOCSLIB.ORG

The J. Paul Getty Museum Journal Volume 21 1993

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The J. Paul Getty Museum Journal Volume 21 1993 The J. Paul Getty Museum JOURNAL Volume 21/1993 Including Acquisitions /1992 EDITORIAL BOARD BARBARA C. ANDERSON Collections Projects Administrator BURTON B. FREDERICKSEN Senior Research Curator PETER FUSCO Curator of Sculpture and Works of Art GEORGE R. GOLDNER Curator of Drawings Curator of Paintings DEBORAH GRIBBON Associate Director and Chief Curator THOMAS KREN Curator of Manuscripts Adjunct Curator of Paintings WESTON NAEF Curator of Photographs MARION TRUE The J. Paul Getty Museum Journal is published Curator of Antiquities annually in December. Manuscripts should be submitted no later than October i for JOHN WALSH consideration for the next year's issue. Director For more information about the Journal, GILLIAN WILSON contact the editor, The J. Paul Getty Museum Curator of Decorative Arts Journal, P.O. Box 2112, Santa Monica, California 90407-2112. Subscription and back- issue requests should be sent to the J. Paul CHRISTOPHER HUDSON Getty Museum Distribution Center at the Publisher same address. JOHN HARRIS The paper and binding in this book meet the Editor guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. Abbreviation: GettyMusJ Unless otherwise specified, all photographs are courtesy of the institution owning the work illustrated. © 1993 The J. Paul Getty Museum 17985 Pacific Coast Highway Malibu, California 90265-5799 (310) 459-7611 ISBN 0-89236-256-1 ISSN 0362-1979 Contents THE Introduction: The Collections and the Year's Activities 5 J. PAUL GETTY MUSEUM JOHN WALSH JOURNAL pift-eenth.Centuj-y Illumination and the Work of Pedro de Toledo 11 BARBARA C. ANDERSON VOLUME 21 1993 A Hellenistic Portrait Head 29 ARIEL HERRMANN A Self-Portrait Drawing by Jonathan Richardson 43 JILL FINSTEN The Master of Getty Ms. 10 and Fifteenth-Century Manuscript 55 Illumination in Lyons LYNN F. JACOBS The Sarcophagus of Titus Aelius Evangelus and Gaudenia Nicene 85 PETER J. HOLLIDAY ACQUISITIONS / 1992 Notes to the Reader 102 Drawings 122 Antiquities 103 Decorative Arts 139 Manuscripts 111 Sculpture and Works of Art 143 Paintings 115 Photographs 149 Trustees and Staff List 164 This page intentionally left blank 5 Introduction: The Collections and the Years Activities This account of the Museum's year in 1992 has to be colonies of South Italy decorated with a marvelously partly secondhand, since I was away from July through expressive incised drawing of lounging satyrs. Three December. A sabbatical at Oxford gave me a chance to fine Greek and Roman bronze statuettes belonged to read, write, and reflect on nine years at the Getty the group as well as three remarkable vases and a Museum. My absence seemed not to slow the Muse­ splendid Greco-Roman marble statuette that may re­ um's pace at all: great works of art were bought, large flect the lost Olympian Zeus by Phidias. projects advanced, and the public was treated to an Our Hellenistic goldsmiths' work was made exciting program of events. For most directors an stronger by the addition of a beautiful laurel wreath of absence of this length would be unthinkable. It was a type not previously represented in the collection. only possible for me because I had the generous under­ The Museum is already strong in metal vessels and standing of the Getty Trust, especially its president now can begin to show the brilliance of Greek crafts­ and CEO, Harold Williams, and because I knew that manship in jewelry. the Museum's two associate directors, Deborah Grib- Among other acquisitions of the department was bon and Barbara Whitney, could serve as acting direc­ a tiny bronze Roman head of Demosthenes, very like tors with the greatest skill and confidence. They did. the bronzes found in the Villa dei Papiri in Her- culaneum, on which the Museum's building is based. The orator is portrayed with the harsh features of a THE COLLECTIONS champion of a lost cause—that of the Greeks against the Macedonians. The slump in the art market that has accompanied a The DEPARTMENT OF MANUSCRIPTS acquired a worldwide economic decline during the past few years major manuscript, one of the most delightful Gothic persisted in 1992. There was relatively little benefit for examples in private hands, the so-called Bute Psalter. us, however. It was largely a seller's market for the It is especially notable for the elegant, energetic fig­ best and rarest objects in all fields, and prices for these ures and the drolleries and grotesques that embellish continued to either hold their own or go up. This the margins. An initial A with Three Marys at the Tomb meant that the rate of our purchases did not recover in of about 1460-70 by the eccentric Lombard illumina­ 1992 from the slowdown of the late 1980s, when a tor Bartolomeo Rigossi is remarkable for its lush sur­ relatively fixed (though large) annual acquisitions face of gold and yellow highlights. budget was squeezed by ever-rising prices. Neverthe­ We had the satisfaction of locating eighty-one less, the results in 1992 were impressive. long-lost text pages from a northern French Gothic THE DEPARTMENT OF ANTIQUITIES made several antiphonal whose illuminated leaves were acquired major purchases, the most important being a group of with the Ludwig collection in 1983. The text pages works from a single private collection in New York. have a refined beauty of their own and, when rebound These include an astonishing ensemble of Hellenistic with the illuminated pages, will restore the appearance jewelry that was almost certainly made in Ptolemaic of the original book. Alexandria during the late third or early second cen­ The five purchases made for the DEPARTMENT OF turies B.C. These pieces are not only among the finest PAINTINGS in 1992 included some remarkable rediscov­ ever to appear but are also entirely intact. Part of the eries. A Venus and Adonis by Titian, considered a same purchase was a bronze helmet from the Greek workshop version of the picture painted for the King 6 Walsh of Spain in 1554, proved to be a well-preserved auto­ ing the story of the ill-fated Adonis. graph work of exceptional liveliness and strength. Another group of remarkable Italian drawings Despite its distinguished earlier history it had hung was purchased, including several previously unknown for years high on the wall of an English house. A sheets connected with important commissions. Lead­ completely unknown early Rubens in nearly perfect ing the list is a preparatory study by Mantegna for his condition—a scene of Samson pulling the Philistine altarpiece in the church of San Zeno in Verona, begun temple down around his head—came to light and was in 1476. This becomes our second study for this bought in 1992. The painter, who was in his twenties, masterpiece. A keenly expressive chalk drawing by had already absorbed the lessons of the late Renais­ Bronzino of a man's hand was made in preparation sance painters in Venice and Rome and commanded an for the artist's Deposition, which was begun in 1542. astonishing virtuosity. Another splendid sixteenth-century drawing, also un­ A pair of wings of a lost altarpiece by Fra known until recently, is Andrea del Sarto's chalk study Angelico provided a rare chance to add the work of of male figures at a balustrade, our fourth drawing by this wonderfully expressive painter to the collection. this great Florentine master. Another lost painting, which had reappeared in a An energetic compositional study by Pietro da London auction, is the great portrait of Pope Clement Cortona for the Crucifixion altarpiece he painted in VII by Sebastiano del Piombo. Painted by the pope's the early 1660s came to the Getty, one of the relatively court artist in about 1531, it is a somber, glowing few highly important Italian Baroque drawings to image of worldly power. come on the market recently. Finally, among many Rubens s older contemporary in Antwerp, Jan other Italian examples is the large Allegory of the Life of Breughel, painted many versions of a scene in which Canova by the Neoclassical painter Felice Giani, a all the creatures of the Earth are marshaled to enter design for an elaborate memorial to the sculptor, who Noah's ark. The best of these works of art was at the time of his death in 1822 was the most cele­ acquired by the Museum in 1992. brated artist in the world. Thirty-two paintings from the collection, mostly Most acquisitions for the DEPARTMENT OF DECO­ Italian, were sold at auction in 1992, and the proceeds RATIVE ARTS continue to serve the specific purposes of applied to the purchase of paintings of vastly greater completing installations planned for the new Museum importance. None of those sold were of potential use in Brentwood. There were exceptions in 1992, how­ for exhibition; all had been relegated to storage in ever. The most impressive is a tapestry from the cele­ recent years, and many were too damaged to show. brated series Les Anciennes Indes woven at the THE DEPARTMENT OF DRAWINGS made twenty- Gobelins factory during the reign of Louis XIV. It seven purchases. These included a group of German represents a scene in Brazil full of real and imagined and Swiss drawings, the rarest of which was the large inhabitants—natives, birds, fish, and animals, includ­ sheet of studies of peonies made by Martin Schon- ing a striped horse and (improbably) a rhinoceros. gauer for his masterpiece, The Madonna of the Rose Fabulous in another way is the turned ivory object Garden of 1473. This is the only known watercolor produced by Frangois Barreau around 1800. The piece, study from nature by this pioneer German artist, who which has defied our efforts to title it, must have been opened the way for the discoveries of Durer.
Load more

Recommended publications
  • Aizanitis Bölgesi Mezar Taşlari
    T.C PAMUKKALE ÜNİVERİSTESİ ARKEOLOJİ ENSTİTÜSÜ Doktora Tezi Arkeoloji Anabilim Dalı Arkeoloji Doktora Programı AİZANİTİS BÖLGESİ MEZAR TAŞLARI Zerrin ERDİNÇ Danışman Prof. Dr. Elif ÖZER 2020 DENİZLİ DOKTORA TEZİ ONAY FORMU Arkeoloji Anabilim Dalı, Doktora Programı öğrencisi Zerrin ERDİNÇ tarafından Prof. Dr. Elif ÖZER yönetiminde hazırlanan “Aizanitis Bölgesi Mezar Taşları” başlıklı tez aşağıdaki jüri üyeleri tarafından 24.02.2020 tarihinde yapılan tez savunma sınavında başarılı bulunmuş ve Doktora Tezi olarak kabul edilmiştir. Jüri Başkanı-Danışman Prof. Dr. Elif ÖZER Jüri Jüri Prof. Dr. Celal Şimşek Prof. Dr. Hüseyin Sabri ALANYALI Jüri Jüri Prof. Dr. Bilal SÖĞÜT Prof. Dr. Ertekin Doksanaltı Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Yönetim Kurulu’nun …………..tarih ve ………….. sayılı kararıyla onaylanmıştır. Prof. Dr. Celal ŞİMŞEK Enstitü Müdürü Bu tezin tasarımı, hazırlanması, yürütülmesi, araştırmalarının yapılması ve bulgularının analizlerinde bilimsel etiğe ve akademik kurallara özenle riayet edildiğini; bu çalışmanın doğrudan birincil ürünü olmayan bulguların, verilerin ve materyallerin bilimsel etiğe uygun olarak kaynak gösterildiğini ve alıntı yapılan çalışmalara atıfta bulunulduğunu beyan ederim. İmza Zerrin ERDİNÇ ÖNSÖZ Aizanoi Phrygia Bölgesi’nin en önemli kentlerinden birisidir. Hellenistik ve Roma dönemlerinde stratejik konumu ve Zeus Tapınağı ile bölgenin kilit noktası haline gelmiştir. Özellikle Roma Dönemi’nde Aizanoi territoryumuna verilen isim olan Aizanitis Bölgesi çevresindeki kentlerden daha önemli bir konumda yer almış, Meter Steunene kutsal alanı ve Zeus tapınağı ile çevre kentlerin de dini merkezi haline gelmiştir. 2016 yılından bu yana bu güzel kentte arkeolojiye emek veren bu harika ekibe dâhil olduğum için kendimi çok şanslı saymaktayım. Bana bu şansı veren ve inanarak bana bu malzemeyi emanet eden saygıdeğer hocam Prof. Dr. Elif Özer’e sonsuz teşekkürlerimi sunuyorum.
    [Show full text]
  • The Toilet of Venus Circle of Veronese
    THE TOILET OF VENUS CIRCLE OF VERONESE THE COURTAULD INSTITUTE OF ART RESEARCH FORUM: CONSERVATION AND ART HISTORICAL ANALYSIS WORKS FROM THE COURTAULD GALLERY By Sarah Bayliss and Alexandra Fliege 1 TABLE OF CONTENTS Table of Contents......................................................................................................................................... 2 Introduction................................................................................................................................................... 3 Iconography................................................................................................................................................... 3 Composition................................................................................................................................................... 6 Provenance..................................................................................................................................................... 9 Materials and Techniques........................................................................................................................ 10 Conclusion...................................................................................................................................................... 13 Bibliography.................................................................................................................................................. 15 Illustrations...................................................................................................................................................
    [Show full text]
  • Dining Room 14
    Dining Room 14 Charles Sackville, 6th Earl of Dorset Richard Lumley, 2nd Earl of (1643–1706) Scarborough (1688?–1740) by Sir Godfrey Kneller (1646–1723) by Sir Godfrey Kneller (1646–1723) Oil on canvas, c.1697 Oil on canvas, 1717 NPG 3204 NPG 3222 15 16 Thomas Hopkins (d.1720) John Tidcomb (1642–1713) by Sir Godfrey Kneller (1646–1723) by Sir Godfrey Kneller (1646–1723) Oil on canvas, 1715 Oil on canvas, c.1705–10 NPG 3212 NPG 3229 Charles Lennox, 1st Duke of Charles Howard, 3rd Earl of Carlisle Richmond and Lennox (1672–1723) (1669 –1738) by Sir Godfrey Kneller (1646 –1723) by Sir Godfrey Kneller (1646 –1723) Oil on canvas, c.1703–10 Oil on canvas, c.1700–12 NPG 3221 NPG 3197 John Dormer (1669–1719) Abraham Stanyan (c.1669–1732) by Sir Godfrey Kneller (1646 –1723) by Sir Godfrey Kneller (1646–1723) Oil on canvas, c.1705–10 Oil on canvas, c.1710–11 NPG 3203 NPG 3226 Charles Mohun, 4th Baron Mohun Algernon Capel, 2nd Earl of Essex (1675?–1712) (1670–1710) by Sir Godfrey Kneller (1646 –1723) by Sir Godfrey Kneller (1646–1723) Oil on canvas, 1707 Oil on canvas, 1705 NPG 3218 NPG 3207 17 15 Further Information If there are other things that interest you, please ask the Room Steward. More information on the portraits can be found on the Portrait Explorer upstairs. All content © National Portrait Gallery, London (NPG) or The National Trust (NT) as indicated. Dining Room 14 William Walsh (1662–1708) Charles Dartiquenave by Sir Godfrey Kneller (1646–1723) (1664?–1737) Oil on canvas, c.1708 after Sir Godfrey Kneller (1646–1723) NPG 3232 Oil on
    [Show full text]
  • The Best of Renaissance Florence April 28 – May 6, 2019
    Alumni Travel Study From Galleries to Gardens The Best of Renaissance Florence April 28 – May 6, 2019 Featuring Study Leader Molly Bourne ’87, Professor of Art History and Coordinator of the Master’s Program in Renaissance Art at Syracuse University Florence Immerse yourself in the tranquil, elegant beauty of Italy’s grandest gardens and noble estates. Discover the beauty, drama, and creativity of the Italian Renaissance by spending a week in Florence—the “Cradle of the Renaissance”—with fellow Williams College alumni. In addition to a dazzling array of special openings, invitations into private homes, and splendid feasts of Tuscan cuisine, this tour offers the academic leadership of Molly Bourne (Williams Class of ’87), art history professor at Syracuse University Florence. From the early innovations of Giotto, Brunelleschi, and Masaccio to the grand accomplishments of Michelangelo, our itinerary will uncover the very best of Florence’s Renaissance treasury. Outside of Florence, excursions to delightful Siena and along the Piero della Francesca trail will provide perspectives on the rise of the Renaissance in Tuscany. But the program is not merely an art seminar—interactions with local food and wine experts, lunches inside beautiful private homes, meanders through stunning private gardens, and meetings with traditional artisans will complement this unforgettable journey. Study Leader MOLLY BOURNE (BA Williams ’87; PhD Harvard ’98) has taught art history at Syracuse University Florence since 1999, where she is also Coordinator of their Master’s Program in Renaissance Art History. A member of the Accademia Nazionale Virgiliana, she has also served as project researcher for the Medici Archive Project and held a fellowship at Villa I Tatti, the Harvard Center for Renaissance Studies.
    [Show full text]
  • SYMBOLIC HISTORY Through Sight and Sound
    SYMBOLIC HISTORY Through Sight and Sound 16. Giants in the Earth (16th Century) CHARLES G. BELL ST. JOHN'S COLLEGE SANTA FE, NEW MEXICO or 1260 CANYON ROAD SANTA FE, NEW MEXICO 87501 September 1995 Last Revised January ‘96 1 Charles Greenleaf Bell, 1260 Canyon Rd., Santa Fe, NM 87501 SYMBOLIC HISTORY Through Sight and Sound 16. Giants in the Earth (16th Century) 1) Giulio Romano, 1530-32, Fall of the Giants, frescoed room, corner and two walls, Palazzo del Te, Mantua (CGB '86) 1a) Same, detail, stream and Giant under rocks, (CGB '86); video brings in another detail from the last slide of the show, 80+1. Music: Ant .de Cabezon, c. 1540, Tiento de Primer Tono, Videro on HMV DA 5207 In The Winter's Tale, the living Hermione is presented as a statue "by that rare Italian master Julio Romano, who, had he himself eternity, and could put breath into his work, would beguile Nature of her custom, so perfectly is he her ape." In this 1530 Mantuan vault, his heaven-storming giants fall under the rocks of Pelion and Ossa. (music) In the tientos of Cabezon, we feel what turned the loves and thought of that century toward Prometheus, Icarus, Phaeton and Faust. 2) Titian, 1543-44, David and Goliath, Santa Maria della Salute, Venice; + V detail) (music continued) There were giants in the earth in those days...when the sons of God came in unto the daughters of men. And when the spiritual force stored in medieval creed-condensers struck through the physical, it stirred Gargantuan prodigies: the arts of space and mass, Hermetic and Lucretian science, Reformation, Utopias, world conquest, Platonic love, the Age of Gold.
    [Show full text]
  • Sarah Churchill by Sir Godfrey Kneller Sarah Churchill Sarah Churchill Playing Cards with Lady Fitzharding Barbara Villiers by S
    05/08/2019 Sarah Churchill by Sir Godfrey Kneller Sarah Churchill Sarah Churchill playing cards with Sarah Churchill by Sir Godfrey Lady Fitzharding Barbara Villiers by Kneller Sir Godfrey Kneller Letter from Mrs Morley to Mrs Freeman Letter from Mrs Morley to Mrs Freeman 1 05/08/2019 Marlborough ice pails possibly by Daivd Willaume, British Museum The end of Sarah on a playing card as Anne gives the duchess of Somerset John Churchill 1st Duke of Sarah's positions Marlborough by John Closterman after John Riley John Churchill by Sir Godfrey Kneller John Churchill by Sir Godfrey Kneller 2 05/08/2019 John Churchill by the studio of John John Churchill Michael Rysbrack, c. 1730, National Portrait Gallery John Churchill in garter robes John Churchill by Adriaen van der Werff John with Colonel Armstrong by Seeman Marlborough studying plans for seige of Bouchain with engineer Col Armstrong by Seeman 3 05/08/2019 Louis XIV by Hyacinthe Rigaud Nocret’s Family Portrait of Louis in Classical costumes 1670 Charles II of Spain artist unknown Louis XIV and family by Nicholas de Largillière Philip V of Spain by Hyacinthe Rigaud Charles of Austria by Johann Kupezky 4 05/08/2019 James Fitzjames D of Berwick by Eugene of Savoy by Sir Godfrey unknown artist Kneller Blenheim tapestry Marshall Tallard surrendering to Churchill by Louis Laguerre Churchill signing despatches after Blenheim by Robert Alexander Hillingford 5 05/08/2019 Note to Sarah on the back of a tavern bill Sir John Vanbrugh by Sir Godfrey Kneller Castle Howard Playing card showing triumph in London Blenheim Palace 6 05/08/2019 Admiral Byng by Jeremiah Davison Ship Model Maritime Museum 54 guns Louis swooning after Ramillies Cartoon of 1706 Pursuit of French after Ramillies by Louis Laguerre 7 05/08/2019 Thanksgiving service after Ramillies Oudenarde by John Wootton Oudenarde on a playing card Malplaquet by Louis Laguerre Malplaquet tapestry at Marlbrook s'en va t'en guerre Blenheim 8 05/08/2019 Marlborough House Marlborough House Secret Peace negotiations 1712 Treaty of Utrecht 1713 9.
    [Show full text]
  • Amazons, Thracians, and Scythians , Greek, Roman and Byzantine Studies, 24:2 (1983:Summer) P.105
    SHAPIRO, H. A., Amazons, Thracians, and Scythians , Greek, Roman and Byzantine Studies, 24:2 (1983:Summer) p.105 Amazons, Thracians, and Scythians H A. Shapiro HE AMAZONS offer a remarkable example of the lacunose and T fragmented state of ancient evidence for many Greek myths. For while we hear virtually nothing about them in extant litera­ ture before the mid-fifth century, they are depicted in art starting in the late eighth! and are extremely popular, especially in Attica, from the first half of the sixth. Thus all we know about the Greeks' con­ ception of the Amazons in the archaic period comes from visual rep­ resentations, not from written sources, and it would be hazardous to assume that various 'facts' and details supplied by later writers were familiar to the sixth-century Greek. The problem of locating the Amazons is a good case in point. Most scholars assume that Herakles' battle with the Amazons, so popular on Attic vases, took place at the Amazon city Themiskyra in Asia Minor, on the river Thermodon near the Black Sea, where most ancient writers place it.2 But the earliest of these is Apollodoros (2.5.9), and, as I shall argue, alternate traditions locating the Ama­ zons elsewhere may have been known to the archaic vase-painter and viewer. An encounter with Amazons figures among the exploits of three important Greek heroes, and each story entered the Attic vase­ painters' repertoire at a different time in the course of the sixth century. First came Herakles' battle to obtain the girdle of Hippolyte (although the prize itself is never shown), his ninth labor.
    [Show full text]
  • Girolamo Muziano, Scipione Pulzone, and the First Generation of Jesuit Art
    journal of jesuit studies 6 (2019) 196-212 brill.com/jjs Girolamo Muziano, Scipione Pulzone, and the First Generation of Jesuit Art John Marciari The Morgan Library & Museum, New York [email protected] Abstract While Bernini and other artists of his generation would be responsible for much of the decoration at the Chiesa del Gesù and other Jesuit churches, there was more than half a century of art commissioned by the Jesuits before Bernini came to the attention of the order. Many of the early works painted in the 1580s and 90s are no longer in the church, and some do not even survive; even a major monument like Girolamo Muzia- no’s Circumcision, the original high altarpiece, is neglected in scholarship on Jesuit art. This paper turns to the early altarpieces painted for the Gesù by Muziano and Scipione Pulzone, to discuss the pictorial and intellectual concerns that seem to have guided the painters, and also to some extent to speculate on why their works are no longer at the Gesù, and why these artists are so unfamiliar today. Keywords Jesuit art – Il Gesù – Girolamo Muziano – Scipione Pulzone – Federico Zuccaro – Counter-Reformation – Gianlorenzo Bernini Visitors to the Chiesa del Gesù in Rome, or to the recent exhibition of Jesuit art at Fairfield University,1 might naturally be led to conclude that Gianlorenzo 1 Linda Wolk-Simon, ed., The Holy Name: Art of the Gesù; Bernini and His Age, Exh. cat., Fair- field University Art Museum, Early Modern Catholicism and the Visual Arts 17 (Philadelphia: Saint Joseph’s University Press, 2018).
    [Show full text]
  • Structural Conservation of Panel Paintings 306
    PART FOUR Current Approaches to the Structural Conservation of Panel Paintings 306 Florentine Structural Stabilization Techniques Andrea Rothe and Giovanni Marussich by the great flood of 1966 in Florence than by both World Wars combined. Many paintings Mand other artifacts were submerged in the floodwaters for more than eighteen hours. They were covered with mud mixed with heavy deposits of heating oil that had seeped from the storage tanks housed in the many basements of the city.The worst damage was done to the large num- ber of panel paintings in Florence and the surrounding countryside; those that had been submerged swelled many inches beyond their original size. Subsequently, these paintings were subjected to a long and gradual drying process, first in the limonaia, the old hothouses built by the Medici in the Boboli Gardens for their favorite collection of citrus plants. These hothouses were quickly converted into one large humidity chamber. The humidity was raised to 95% at a temperature of 12 °C over a two-year period. Afterward, the treatment was continued in the former army bar- racks of the Fortezza da Basso, which in the meantime had been trans- formed into the largest restoration laboratory in the world; it had, in fact, become an independent governmental department, a soprintendenza, by special decree. Despite the carefully controlled drying process, many of the panels shrank considerably. This shrinkage caused severe blistering and cupping of the paint layers, as well as deformation of the supports (Cianfanelli, Ciani Passeri, and Rossi Scarzanella 1992). Consequently, many of the panel paintings had to be transferred to canvases and to new, rigid supports.
    [Show full text]
  • Unclaimed Capital Credits If Your Name Appears on This List, You May Be Eligible for a Refund
    Unclaimed Capital Credits If your name appears on this list, you may be eligible for a refund. Complete a Capital Credits Request Form and return it to TCEC. 0'GRADY JAMES ABERNATHY RENETHA A ADAIR ANDY 2 C INVESTMENT ABETE LILLIE ADAIR CURTIS 2 GIRLS AND A COF FEE ABEYTA EUSEBIO ADAIR KATHLEEN SHOP ABEYTA SAM ADAIR LEANARD 21 DIESEL SERVICE ABLA RANDALL ADAIR SHAYLIN 4 RED CATTLE CO ABODE CONSTRUCTIO N ADAME FERNAND 5 C FARMS ABRAHA EDEN M ADAMS & FIELD 54 DINER ABRAHAM RAMPHIS ADAMS ALFRED 54 TOWING & RECOV ERY ABREM TERRY ADAMS ALVIN A & C FEED STORE ABSOLUTE ENDEAVORS INC ADAMS ALVIN L A & I SKYLINE ROO FING ACEVEDO ARNALDO ADAMS ASHLEY A & M CONSTRUCTIO N CO ACEVEDO DELFINA A ADAMS BAPTIST CHURCH A & S FARMS ACEVEDO LEONARD ADAMS CHARLES G A C CROSSLEY MOTE L ACKER EARL ADAMS DARREL A W H ON CO ACKER LLOYD ADAMS DAVID A WILD HAIR ACKER NELDA ADAMS DELBERT AARON KENNETH ACKERMAN AMIRAH ADAMS DIANE M ABADI TEAME ACKERS MELVIN D ADAMS DORIS ABARE JASMINE ACOSTA ARMANDO ADAMS DOYLE G ABARE KALYN ACOSTA CESAR ADAMS FERTILIZER ABAYNEH SOLOMON ACOSTA FERNANDO ADAMS GARY ABB RANDALL CORPO RATION ACOSTA GARCIA R ADAMS HALEY D ABBOTT CLYDE ACOSTA GILBERTO E ADAMS HEATHER ABBOTT CLYDE V ACOSTA JOE ADAMS JEROD ABBOTT FLOYD K ACOSTA JOSE A ADAMS JERRY ABBOTT MAUREAN ACOSTA MARIA ADAMS JILL M ABBOTT ROBERT ACOSTA VICTOR ADAMS JOHN ABBOTT SCOTTY ACTION REALTY ADAMS JOHNNY ACTON PAM ADAMS LINDA Current as of February 2021 Page 1 of 190 Unclaimed Capital Credits If your name appears on this list, you may be eligible for a refund.
    [Show full text]
  • Saint Michael's Church
    ! Saint Michael’s Church ! APRIL 28th 29th, 2018 First Holy Communion ! MASS SCHEDULE 7:30 AM & : Central Palisades Park, Saturday 5:30 Sunday 7:30, Korean, AM, Sunday Mass at : PM-Spanish OUR PARISH - Korean Reverend Minhyun Cho, Pastor Feast: AM, Ernest G. Rush, Parochial Vicar Vigil 7:30 Reverend Stanley Lobo, Priest In Residence Sister Clara Kim, Pastoral Associate Ms. Patricia Miller, Office Manager/Bookkeeper Mrs. Seung (Michaela) Kang, Secretary There will be a Prayer Group Each Sunday 3 !5pm in Religious Education Coordinator - the Chapel headed by Edna Kwon. Info inside bulletin. Mrs. Toni Fordyce (201-886-9034) Mrs. Chung Im Juliana Kim and RECONCILIATION (Confession) Each Saturday 5:00pm in the Church Notre Dame Interparochial Academy BAPTISM Principal, Grades Pre-K to . be the First St. Palisades Park, of at 10:30 AM Mass. And, all Korean Baptisms will be held on Third Sunday of the month at the 9:00am Mass. be on the of the at CONGRATULATIONS TO OUR 29 CANDIDATES ON ! 3:00 PM. MAKING THEIR SACRAMENT OF FIRST HOLY (201 233- COMMUNION ON SATURDAY, APRIL 28TH, 2018 ! 0782). come to the to WEDDING Contact the rectory year in advance of the wedding date OUR 29 CANDIDATES ! MAKING THEIR SACRAMENT OF FIRST HOLY COMMUNION ! Christopher Arreaga Espana, Irwing Camaja Vasquez, Brandon Cho, Melany Curruchich Sandoval, Julissa Cuyuch Mejia, David Despaigne, Matthew Guaillas, Brian Guerra Par, Jannelly Hidal- go Jimenez, Daniel Joseph Hummell, Hyunjun Lee, Emily Lopez, Mia Martinez, Edward Martinez, Brian Medina Duarte, Chloe McElkenny, Sofia Stela Morales, Anthony Morel, Evan Morin, Dnaly Morquecho, Bryant Morquecho, Jessica Ramos Castro, Alexander Rivera Pineda, Derek Sisneros, Damien Soler, Jaiden Soler, Elsa Elvira Teletor Taperia, Audrey Won, Justin Yoo.
    [Show full text]
  • ANCIENT TERRACOTTAS from SOUTH ITALY and SICILY in the J
    ANCIENT TERRACOTTAS FROM SOUTH ITALY AND SICILY in the j. paul getty museum The free, online edition of this catalogue, available at http://www.getty.edu/publications/terracottas, includes zoomable high-resolution photography and a select number of 360° rotations; the ability to filter the catalogue by location, typology, and date; and an interactive map drawn from the Ancient World Mapping Center and linked to the Getty’s Thesaurus of Geographic Names and Pleiades. Also available are free PDF, EPUB, and MOBI downloads of the book; CSV and JSON downloads of the object data from the catalogue and the accompanying Guide to the Collection; and JPG and PPT downloads of the main catalogue images. © 2016 J. Paul Getty Trust This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042. First edition, 2016 Last updated, December 19, 2017 https://www.github.com/gettypubs/terracottas Published by the J. Paul Getty Museum, Los Angeles Getty Publications 1200 Getty Center Drive, Suite 500 Los Angeles, California 90049-1682 www.getty.edu/publications Ruth Evans Lane, Benedicte Gilman, and Marina Belozerskaya, Project Editors Robin H. Ray and Mary Christian, Copy Editors Antony Shugaar, Translator Elizabeth Chapin Kahn, Production Stephanie Grimes, Digital Researcher Eric Gardner, Designer & Developer Greg Albers, Project Manager Distributed in the United States and Canada by the University of Chicago Press Distributed outside the United States and Canada by Yale University Press, London Printed in the United States of America Library of Congress Cataloging-in-Publication Data Names: J.
    [Show full text]