DOCSLIB.ORG

Export of Objects of Cultural Interest 2012/13

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Export of Objects of Cultural Interest 2012/13 Export of Objects of Cultural Interest 2012/13 PublishedPublished by by TSO TSO (The (The Stationery Stationery Office) Office) and and available available from: from: OnlineOnline www.tsoshop.co.ukwww.tsoshop.co.uk Mail,Mail, telephone, telephone, fax fax and and email email TSOTSO POPO Box Box 29, 29, Norwich Norwich NR3 NR3 1GN 1GN TelephoneTelephone orders/general orders/general enquiries: enquiries: 0870 0870 600 600 5522 5522 OrderOrder through through the the Parliamentary Parliamentary Hotline Hotline Lo-Call Lo-Call 0845 0845 702 702 3474 3474 FaxFax orders: orders: 0870 0870 600 600 5533 5533 Email:Email: [email protected] [email protected] Textphone:Textphone: 0870 0870 240 240 3701 3701 TheThe Houses Houses of of Parliament Parliament Shop Shop 1212 Bridge Bridge Street, Street, Parliament Parliament Square, Square, ISBNISBN 978-0-10-856005-7 978-0-10-856005-7 LondonLondon SW1A SW1A 2JX 2JX TelephoneTelephone orders/general orders/general enquiries: enquiries: 020 020 7219 7219 3890 3890 FaxFax orders: orders: 020 020 7219 7219 3866 3866 Email:Email: [email protected] [email protected] Internet:Internet: http://www.shop.parliament.uk http://www.shop.parliament.uk TSO@BlackwellTSO@Blackwell and and other other accredited accredited agents agents 99 780108 780108 560057 560057 Export of Objects of Cultural Interest 2012/13 1 May 2012 to 30 April 2013 Presented to Parliament pursuant to Section 10 (1)(a) of the Export Control Act 2002 February 2014 £21.25 London: The Stationery Office Cover image: A Regence ormolu-mounted Chinese porcelain casket © Crown copyright 2014 You may re-use this information (excluding logos) free of charge in any format or medium, under the terms of the Open Government Licence. To view this licence, visit http://www.nationalarchives.gov.uk/doc/open-government-licence/ or e-mail: [email protected]. Where we have identified any third party copyright information you will need to obtain permission from the copyright holders concerned. Any enquiries regarding this publication should be sent to us at [email protected] You can download this publication from www.gov.uk/government/publications ISBN: 9780108560057 Printed in the UK for The Stationery Office Limited on behalf of the Controller of Her Majesty’s Stationery Office ID 2599512 02/14 Printed on paper containing 75% recycled fibre content minimum. Export of Objects of Cultural Interest 2012/13 1 May 2012 to 30 April 2013 I Report of the Secretary of State II Report of the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest Export of Objects of Cultural Interest 2012/13 3 Annual report to Parliament By the Secretary of State for Culture, Media and Sport and Minister for Women and Equalities The Reviewing Committee on This has been another busy year for the Committee and the case histories that unfold are no less fascinating the Export of Works of Art and than before. In total, six items worth just under £11.2 Objects of Cultural Interest million have been saved from export and acquired by I am pleased to lay before Parliament the ninth annual collections throughout the UK. There are, as always, report on the operation of the export controls on some outstanding examples of fine art but also items objects of cultural interest, as required by section 10(1) considered important because of their strong association (a) of the Export Control Act 2002 (the 2002 Act). The with our history and national identity. Two of my report covers the period 1 May 2012 to 30 April 2013. personal favourites from this year’s report are the paintings by George Stubbs of a kangaroo and a dingo This is the 59th year that the Government has published which symbolise the discovery of Australia and what the annual report of the Reviewing Committee and the strange new continent meant to people here at once again we are indebted to the Committee, its the time. Thanks to a very generous donation from expert advisers and staff at the Arts Council for their the shipping magnate, Eyal Ofer, together with Lottery dedication and hard work in ensuring the export licensing funding, the National Maritime Museum has managed system operates effectively and that items of sufficient to acquire the paintings. I agree with the Committee importance to us as a nation are identified and an that the saving of items at risk of export should continue opportunity provided for them to stay in the UK. I am to be seen as an integral part of the Government’s sure that the many items that have been saved in this commitment to deliver world class arts, heritage and way over the years would easily fill a medium sized culture to audiences in the UK, including tourists and I museum or gallery and we remain rich as a nation hope that works such as the Stubbs paintings will as a result. contribute to that. Whilst there is much to celebrate, this is unfortunately I was also pleased to see that seven silk works depicting also the last Report to be made under Lord Inglewood’s views of the Temple of Solomon have been saved from chairmanship. Lord Inglewood has chaired the Committee export and purchased under the ‘Ridley Rules’ by a in an exemplary manner throughout his 10 year tenure private purchaser who has agreed to display the works in the post and I am most grateful to him for his at Waddesdon Manor. As highlighted in last year’s excellent advice on the many cases referred to the Report, I decided that the overall objective of retaining Committee and for his shrewd insight on policy issues. national treasures in the UK was best served by extending Lord Inglewood has presided over meetings which have the present five year period for Ridley purchases from resulted in some truly iconic works of art being saved five years to 10 years and this is the first offer to be for the nation such as the Macclesfield Psalter, a superb accompanied by an undertaking to retain ownership example of medieval craftsmanship, acquired by the of the items for 10 years. Fitzwilliam Museum in 2005 or Turner’s Blue Rigi, acquired by Tate in 2007. Of course, fundraising is always a major challenge for museums and I hope that generous individuals, I would also like to thank Professor David Ekserdjian businesses, and other organisations will continue to and Dr Catherine Johns as they stand down from the support the retention of our national treasures. I agree Committee, for their long and dedicated service and with the Committee that we now have an excellent to welcome Leslie Webster and Richard Calvocoressi. set of initiatives to encourage the philanthropic giving of 4 Export of Objects of Cultural Interest 2012/13 works of art. The Acceptance in Lieu scheme continues to offer opportunities to bring heritage assets into public ownership and the securing for the nation of £50 million worth of important objects and archives in 2012/13 shows that this scheme is as popular as ever. There has also been much excitement around the new Cultural Gifts Scheme which provides opportunities for people to donate important cultural objects within their own lifetimes and four offers have already been accepted including an early portrait by Van Gogh which has been allocated to the National Gallery. I am concerned over the Committee’s observation that expert advisers may not always refer objects that might potentially meet the Waverley criteria, possibly because they sense that funds may not be available for the purchase of export deferred items and I would welcome the Committee’s further views on how this problem might be addressed. I also note the Committee’s concern that in the case of private treaty sales, it is important that information on the amount of tax payable on a particular sale is made available quickly to a museum which is attempting to raise funds to make a compensating offer. We will see what can be done to speed up this process. Finally, I would like to thank the many organisations and individuals without whose help many of these wonderful objects would not have been saved. It is their support, together with the tireless work of museum experts, volunteers and supporters throughout the UK which makes this area of work such a huge success. Maria Miller Secretary of State for Culture, Media and Sport and Minister for Women and Equalities Export of Objects of Cultural Interest 2012/13 5 Operation of the Control The following figures cover the period of this report (1 May 2012 to 30 April 2013). 1 May 2011 – 1 May 2012 – 30 April 2012 30 April 2013 (a) Number of applications for individual export licences1 11,615 12,089 (b) Number of above applications which were for manuscripts, 1,444 1,512 documents or archives (c) Number of items licensed after reference to expert advisers on 33,236 33,842 the question of national importance (d) Total value of items in (c) £1,970,115,511 £1,665,255,992 (e) Number of Open Individual Export Licences (OIEL) in operation 68 68 having been issued in previous years to regular exporters for the export of (i) manuscripts, documents, archives and photographic positives and negatives; (ii) objects imported into the UK in the past 50 years; (iii) UK origin coins; (iv) the temporary export of a Rolls Royce; (v) the temporary export of objects in soil samples from archaeological sites in Northern Ireland; (vi) the temporary export of objects owned or under the control of national institutions or institutions holding designated collections.
Load more

Recommended publications
  • Full Program & Logistics Hna 2018
    Thank you for wearing your badge at all locations. You will need to be able to identify at any moment during the conference. WIFI at Het Pand (GHENT) Network: UGentGuest Login: guestHna1 Password: 57deRGj4 3 WELCOME Welcome to Ghent and Bruges for the 2018 Historians of Netherlandish Art Conference! This is the ninth international quadrennial conference of HNA and the first on the campus of Ghent University. HNA will move to a triennial format with our next conference in 2021. HNA is extremely grateful to Ghent University, Groeningemuseum Bruges, St. John’s Hospital Bruges, and Het Grootseminarie Bruges for placing lecture halls at our disposal and for hosting workshops. HNA would like to express its gratitude in particular to Prof. dr. Maximiliaan Martens and Prof. dr. Koenraad Jonckheere for the initiative and the negotiation of these arrangements. HNA and Ghent University are thankful to the many sponsors who have contributed so generously to this event. A generous grant from the Samuel H. Kress Foundation provided travel assistance for some of our North American speakers and chairs. The opening reception is offered by the city of Ghent, for which we thank Annelies Storms, City Councillor of Culture, in particular. We are grateful to our colleagues of the Museum of Fine Arts Ghent for the reception on Thursday and for offering free admission to conference participants. Also the Museum Het Zotte Kunstkabinet in Mechelen offers free entrance during the conference, for which we are grateful. In addition we also like to thank the sponsoring publishers, who will exhibit books on Thursday. This conference would not have been possible without the efforts of numerous individuals.
    [Show full text]
  • Libertycollection Welcome
    LibertyCollection Welcome We are a specialist boutique British manufacturer of solid brass door and window products, including the original iconic Princess and Constable Collections, along with custom accessories for electrical applications and bathrooms. With a unique range of Collections dating back to architectural periods in the early 16th Century we offer a uniquely extensive range of Period, Heritage and Contemporary Door Furniture made from the purest Brass all hand worked, polished and finished on site... in England. We work with professional and private clients worldwide to create elegant door and window furniture products for royal palaces, super yachts, stately homes and high specification private residences. Here and on our website you can learn more about us, the work we do and how we can help you add those finishing touches of elegancee Our Timeline of Architectural Styles Welcome to our Collections architectural timeline! We are in a privileged position to be able to showcase to you our range of period, heritage, classic and contemporary Collections including the original iconic Princess and Constable Collections. All of our Collections make reference to a particular historical architectural style, helping you choose the right finishing touches to your home. Within our Collections you will find a number of product types so that you can add that luxury touch, not only to your doors! Louis XIV Louis XV Louis XVI Adam Constable Executive Style: Baroque & Rococo Style: Neoclassical Style: Victorian Style: Modern 1590-1725 1750-1880 1835-1901 1918-2000 Style: Ancient Greek Style: Georgian Style: Regency Style: Art Nouveau Style: Contemporary 1200BC-100AD 1720-1840 1810-1835 1890-1910 1980-now Coming Soon Meandros Burlington Governor Princess Liberty Bamboo 2 Liberty Collection Style: Art Nouveau 1890-1910 A Brief History The late 19th Century to early 20th Century saw the arrival of the style that came to be known as Art Nouveau.
    [Show full text]
  • Influences and Confluences in European Silver
    Copy, manner or creation? Influences and confluences in European silver BY KAREL CITROEN Now that the history of the decorative arts has been accepted as an integral part of art history, its sources and origins have acquired the importance which formerly was accorded to the study of the so-called fine arts only. As in the case of painting and sculpture, we want to find out who were the first and the best in creating and exe­ cuting works of art and craftsmanship in precious metal, who were their followers and who were their copyists. As creations may be considered those examples, rarely occurring in silver, whereby a true artist not only invents new forms, but almost on his own a wholly new style: the names of Jamnitzer, the Van Vianens and Meissonnier immediately spring to the mind. With their originality a faultless execution goes hand in hand. Manner may be called the way of the supreme craftsman, who not only fully understands the possibilities of his material, but who also shows that he can think in silver, that he knows something of the How and the Why of his forms: Jan Lutma the Elder, the Germains, Paul dc Lamerie and the Augustes, to name a few only, belong to this category. And then there are the copyists, forming the majority of their craft, who generally are too busy working either for stock or for other shopkeepers, to bother about the intricacies of innovation and refinement. This category contains many varieties, rang­ ing from the earnest and talented craftsman, who may well at some time during his career pass the test of ‘mannerism’ (in the sense of the word as employed above), to the dilettante, who will never be able to link matter and spirit.
    [Show full text]
  • Representations of the Marine in Jacobean Drama and Visual Culture
    ‘A Sea-Change’: Representations of the Marine in Jacobean Drama and Visual Culture By Maria Shmygol Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor in Philosophy December 2014 TABLE OF CONTENTS ______________________________________________________ List of Illustrations ii Acknowledgements iv Note on Presentation v INTRODUCTION 1 CHAPTER ONE The Marine in English and Scottish Entertainments pre 1603 36 CHAPTER TWO Civic Pageantry: Marine Metaphor and Urban Location 69 CHAPTER THREE Seafaring and Maritime Endeavour 100 CHAPTER FOUR Strange Fish 135 CHAPTER FIVE Representations of the Marine in the Jacobean Court Masque 179 CONCLUSION 232 ILLUSTRATIONS 240 APPENDIX: Transcription and translation of Histoire tragique, & espouvantable […] d’un monstre marin (1616) 256 BIBLIOGRAPHY 263 i LIST OF ILLUSTRATIONS _____________________________________________________ Fig. 1. Detail from a hand-coloured woodcut depicting the Elvetham Entertainment (1591) as it appears in the revised second quarto of the printed account. Fig. 2. Plate from John Gough Nichols, ed., The Fishmongers’ Pageant on Lord Mayor's Day, 1616 Fig. 3. Woodcut from A True Relation, of the Lives and Deaths of two Most Famous English pyrats, Purser, and Clinton (London, 1639). Fig 4. Sea monster tableau vivant from Sebastian Münster’s Comographia Universalis (Basel, 1559). Fig. 5. Detail from Olaus Magnus, Carta Marina (Rome, 1572). Fig. 6. Title-page of A Most Strange and True Report of a Monsterous Fish, that Appeared in the forme of a Woman, from her Waist Upwardes (London, 1603). Fig. 7. From Conrad Gesner, Conradi Gesneri Medici Tigurini Historiae Animalium, 5 vols (Zurich, 1551-87), IV (1558).
    [Show full text]
  • Acquisitions Paintings
    92 the rijks museum bulletin Acquisitions Paintings • josephina de fouw, jenny reynaerts, matthias ubl, gregor j.m. weber and lisanne wepler • 1 jan jansz mostaert (Haarlem c. 1474­1552/53 Haarlem) Landscape with an Episode from the Conquest of America, c. 1535 Oil on panel, 86.5 x 152.5 cm ‘There is a landscape as well, a scene in the West boulders, the other has halberds, cannon and Indies with many naked people and a craggy rock muskets. A shot has just been fired, there is a flash and strange architecture of houses and huts; but at the end of the barrel and a native falls dead on it was left unfinished.’ It was thus that the famous the rock. Strikingly, the native population occupies Dutch artists’ biographer Karel van Mander far more space than the attackers. This is not a described this painting in 1604, in his biography picture of a glorious victory, it is a record of the of the Haarlem painter Jan Jansz Mostaert. At that brutal violation of a peaceful society in a recently time the work belonged to Mostaert’s grandson discovered idyllic ‘New World’. It is only at second Nicolaes Suycker. It is the painting now known as glance that we realize this has to be an exotic land­ Landscape with an Episode from the Conquest of scape. At first sight the world Mostaert created America that the Rijksmuseum was able to acquire is one of cattle, sheep, hares and other animals in 2013. that belong in a Northern European landscape. After Van Mander saw and described it, the By adding specific details including a monkey, a painting did not resurface until 1900, since when porcupine and several parrots, he endeavoured it has had a turbulent journey.
    [Show full text]
  • Abstract Biography of the Author
    FRAME: Concept, History and Conservation: Symposium 2, AGNSW, Sydney, April 3 - 5, 2019 George Bisacca Metropolitan Museum of Art, NY, USA [email protected] Abstract This lecture traces the evolution of ornament in Renaissance Florence through manuscript illumination, sculptural and architectural detail, furniture and fresco painting, culminating in the art of Bernardo Buontalenti, who is seen as a link between Mannerism and the Baroque and whose designs in the decorative arts may be responsible for the emergence of the auricular style in frames for the Galleria Palatina at Palazzo Pitti after the devastating fire of 1638. Although various scholars and frame historians attribute the origin of the auricular style to the Netherlands, this is at odds with the otherwise austere and sparse ornament present on buildings and furniture both before and after its 20-year popularity in the Low Countries. Given the seamless evolution and proliferation of ornamental forms across more than three centuries in Italy in general and in Florence in particular, the style would seem to be more logically explained as an outgrowth of existing trends. The flatness and reduced scale of the Northern examples relative to the Florentine prototypes is probably due to the designs first being disseminated northward through drawings. Biography of the Author George Bisacca, The Metropolitan Museum of Art Before joining the Paintings Conservation Department at the Metropolitan in 1983, Mr. Bisacca received conservation training at the Palazzo Pitti, Florence, specializing in the structural treatment of paintings on solid support. He has since been invited to treat panel paintings at several institutions in the United States and Europe.
    [Show full text]
  • The Van Vianen Family, Utrecht Silversmiths of International Renown
    The Van Vianen family, Utrecht silversmiths of international renown BY DR. J R TER MOLEN The work of the Van Vianen family of silversmiths is still highly regarded for its unequalled craftsmanship. They were in fact artists in precious metals, as is clear from the fact that they often signed their pieces. The family, which undoubtedly originated in Vianen, proves to have been established in Utrecht since at least the beginning of the sixteenth century. Willem van Vianen, the father of Adam and Paulus, is referred to as a bailiff and steward, while his wife was the daughter of a brewer and his brother owned a brewery in Vianen. Willem’s third son, Gijsbrecht, had a distinguished career in the Dutch East Indies and later settled in Vianen, while one of his daughters, Jannichgen, pro­ vides an important documentary link between Adam van Vianen and Segher Pietersz, a leading member of the Amsterdam Silversmiths* Guild and brother of the painter Pieter Lastman, who was probably the prime mover behind the interest in Adam in Amsterdam. Christian’s son, Adam jr., trained as a surveyor and is known for a number of maps of estates around Utrecht. Of Christian’s daughters, Aletta married Nicolaes de Bruyn, the son of the silversmith Michiel dc Bruyn van Berendrecht, who is described as a ‘London jeweller’, while Geertruyd married John Cooqus, the suc­ cessor of Christian van Vianen as court goldsmith in London. Ernst Jansz van Vianen, son of Willem’s brother Jan, the Vianen brewer, and cousin to Adam and Paulus, is identified with the silversmith of that name who is recorded as having done the chasing on the St Martin cup for the Brewers’ Guild in Haarlem in 1604 and who made two tazzas bearing the Utrecht mark in 1602.
    [Show full text]
  • Statement from the Expert Advisers
    Case 1 (2012-13): A Dutch Silver ewer and basin by Christian van Vianen Expert Adviser’s Statement Reviewing Committee Secretary’s note: Please note that any illustrations referred to have not been reproduced on the Arts Council England Website EXECUTIVE SUMMARY 1. Brief description of items A silver ewer and basin (see Appendix, fig. 1), the ewer 25.4 cm high; the basin 53.3 x 43 cm; their combined weight, 85 oz. Both ewer and basin marked with the maker’s mark of Christian van Vianen of Utrecht (c. 1600 / 1605 – 1667), and both pieces bearing the Utrecht assay office date mark for 1632. The condition of the ewer and basin is excellent: there are only a few small splits to the border of the basin. These are consistent with age and use. 2. Context Provenance Johan van der Haer (1573-1646) and Maria van Kinschot (1589- 1648) Johan van der Haer was a financial administrator of the Estates General, Maria was his wife. ? Johan van der Haer the younger and his descendants Johan and Maria’s son, also Johan, married at Zierikzee in 1632 and his descendants were related to several notable Zeeland families. The tax mark ‘Z’ for Zierikzee (in the Dutch province of Zeeland) shows that the ewer and basin remained in the Dutch provinces until 1795 at the earliest. Prince Augustus Frederick, Duke of Sussex (1773-1843): sold at Christie’s, 22 June 1843, lot 78. Sir George Murray: sold at Christie’s, 24 July, 1891, lot 55. The Marquess of Sligo The Countess of Rosebery: sold at Sotheby’s, London, 2 June, 1977, lot 186 – listed as among ‘Various Properties’.
    [Show full text]
  • Abstracts of Amsterdam 2010 Conference Papers
    Abstracts of Amsterdam 2010 Conference Papers Thursday, May 27, 2010 PARAGONE, SYMBIOSIS: RELATIONS BETWEEN PAINTING AND SCULPTURE IN NETHERLANDISH ART Chair: Lynn F. Jacobs (University of Arkansas) Kim W. Woods, Open University, [email protected] Early Netherlandish Painting and Sculpture: A Paragone? Early Netherlandish painters faced an artistic world in which painting arguably occupied a less prestigious position than sculpture, metalwork, tapestry and embroidery. Despite his much vaunted position as painter and ‘varlet de chambre’ of Duke Philip the Good of Burgundy, there is no evidence that Jan van Eyck undertook a single large-scale commission from his employer, while the published ducal accounts record large sums spent on other artistic projects. In building their immense reputations, and putting early Netherlandish painting on the cultural map of north-west Europe, Van Eyck, the Master of Flemalle and Rogier van der Weyden all had to establish their art in relation to other media. This paper aims to gather together some visual and documentary threads relating to the relative importance of painting and sculpture up to the mid 15th century. For example, it seems no accident that one of Jan van Eyck’s most virtuoso works, the Annunciation diptych in the Museo Thyssen Bornemisza in Madrid, evokes alabaster statues at exactly the time that fellow Bruges sculptor and ducal employee Gilles de Backere was working on the alabaster tomb of Michelle of France for Philip the Good. What evidence is there for a visual competition with sculpture in early Netherlandish painting? Around the same time, Jacques Daret was commissioned to paint shutters for an alabaster altarpiece for the Abbot of St.
    [Show full text]
  • Cembrit Patina Signature Offers a Wide Range of Design Possibilities for Façades
    Cembrit Patina Design Line DRAFT CEMBRIT PATINA DESIGN LINE Diversity in creation. DRAFT CEMBRIT PATINA DESIGN LINE Font Neutraface Diversity in creation. Cembrit Patina Signature offers a wide range of design possibilities for façades. The choice of different colours and parts of customised surfaces offers a variety of designs to meet creative ideas. The composition of Cembrit Patina façade panels allows an economical solution for the ent- ire building envelope. Different production techniques and manufacturing systems of Cembrit Patina and Cem- brit Patina Signature have to be considered when matching colours. Therefore, slight colour variations between Cembrit Patina and Cembrit Patina Signature are possible and provide individual charm at the same time. Minimal differences may also occur in the surfaces between Cembrit Patina Rough and Cem- TO CHECK brit Patina Signature, as Cembrit Patina Rough is machine sandblasted and Cembrit Patina Signature is manually sandblasted. As adaptable and extraordinary as fibre cement façades are, their appearance in the façade is equally authentic. CEMBRIT PATINA SIGNATURE Detail & overall appearance The overall visual impression of a building or its component is best assessed from a Some examples of application are available online in the Cembrit Visualiser. reasonable distance and under appropriate lighting conditions. The use of several colour tones next to each other, or an accentuated use of colour The following viewing distances have proven effective in practice: within a surface should not affect the motif, so that utilised shapes or motifs can be perceived as desired when viewed objectively. Building: The suitable distance corresponds to the distance that allows the perception of the When assessing details with Cembrit Patina Signature, the overall impression from building’s essential parts.
    [Show full text]
  • A Dutch Silver Windmill Cup Amsterdam, 1629, Gerrit Valck H 22,3 Cm, Ø 7,8 Cm, 210 Gr
    Introduction The Dutch Golden Age was a period in Dutch history, roughly spanning the 17th century, in which Dutch trade, science, and art were among the most acclaimed in the world. Through the Dutch East-India Company, The Northern Netherlands built a far- flung colonial empire and achieved unmatched prosperity. Socially, it saw the rise of what is often called the first “bourgeois” society, dominated by merchants. Therefore, the focus on this year’s collection is on what that prosperity has brought in 17th century silversmithing. Together with NOMOS AG (stand 260) we present a collection of 50 Dutch gold and silver medals that commemorate all the important events that shaped the Dutch Republic in this period. We have also made a separate publication on them. Several finely embossed silver plaquettes, even one on Johan van Oldebarnevelt, show that the Dutch silversmiths could run against any Dutch painter. A Frisian marriage casket, engraved after a print of Hans Janssen, is unmatched in quality. A windmill cup tells us that the Dutch loved their drinking games, but also by doing them in an elegant way. Our latest acquisition that deserves to be shown in Maastricht is a rare silver box in the typical Dutch flowerstyle. A Dutch silver filigree tea service brings the Orient very close to home. And finally, we are proud to present a silver and agate box by the acclaimed 20th century artist Josef Hoffmann, who founded the Wiener Werkstätte. All these treasures and much more can be admired in our stand 233 at Tefaf Maas- tricht from 12 untill 22 March.
    [Show full text]
  • Proquest Dissertations
    NOTE TO USERS This reproduction is the best copy available. ® UMI I "Beschildert met een Glans": Willem van Aelst and Artistic Self-Consciousness in Seventeenth-Century Dutch Still Life Painting Tanya Paul Falmouth, MA B.A. University of Massachusetts, Amherst, 1998 M.A. University of Virginia, 2002 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Art History University of Virginia May, 2008 UMI Number: 3312159 Copyright 2008 by Paul, Tanya All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 3312159 Copyright 2008 by ProQuest LLC. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 E. Eisenhower Parkway PO Box 1346 Ann Arbor, Ml 48106-1346 © Copyright by Tanya Paul All Rights Reserved May 2008 Volume I Ill Abstract: In his 1718 biography of the still life painter Willem van Aelst (1627-1683), Arnold Houbraken describes the artist's grand disposition and his great pride. It is this somewhat biased biography which begins to intimate the nature not only of van Aelst's personality, but also of his work.
    [Show full text]