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The Masterpieces of Titian; Sixty Reproductions of Photographs From
COWANS S ART BOOKS 6*mT THE MASTERPIECES O T0 LONDON O GLASGOW, GOWANS & QRAY, L m From the Library of Frank Simpson « Telegraphic Address Telephone No. ** GALERADA, 1117, LONDON.” MAYFAIR. CLAUDE & TREVELYAN, THE CARLTON GALLERY, PALL MALL PLACE, LONDON, S,W* PURCHASERS AND SELLERS OF FINE PICTURES BY THE BEST OLD MASTERS. Messrs. CLAUDE & TREVELYAN also invite the attention of anyone desiring Portraits painted in Pastel, to the works of Mr. E. F. Wells, the clever painter of Portraits in Pastel. Attention is also directed to the work of Mr. Hubert Coop and Mr. Gregory Robinson, exceptionally clevet painters of Marine and Landscape Pictures in Oil and Water Colour, and to the exceedingly fine Portraits of Horses by Mr. Lynwood Palmer. Pictures and Engravings Cleaned and Restored. Valuations made for Probate or otherwise. Collections Classified and Arranged, CREAT CONTINENTAL SUCCESSES No. 1 KARL . HEINRICH The Original of the Play OLD HEIDELBERG Which has been acted with such very great success by Mr. George Alexander. By W. MEYER-FORSTER. WITH 12 ILLUSTRATIONS. THE ONLY TRANSLATION. Cloth, 3/6 Net. GOWANS & GRAY, Ltd., London and Glasgow. m Is Its* mmt ksfamssSteg Sites is lU^ws&shsr® t® *M mfe» ®»fe to Bwy ©r S^J Q0IUIKE ANTIQUES. FREE TO CONNOISSEURS «y hxssiRATEfi Catalogue Goods Purchased mmen Returnable if Disapproved* Sm&M Items seal oe appro, to satisfactory applicants. S©S Ev®r-clsaftg1f!g Pieees of ©Id gteina, &sd P&ttmy siwaye an feanS, The , . Connoisseur tre&fM ®n elf euBl«efs (ntensfing fo Coffttefor® mb persont #f culture. HE articles are written fey T acknowledged experts, and are illustrated fey unique photographs mtd drawings of ha* portaat examples a»d collections fro® every part of the world. -
JC-Catalogue-Cabinetry.Pdf
jonathan charles fine furniture • cabinetry & beds catalogue • volume 1 volume • furniture fine cabinetry • & beds catalogue jonathan charles USA & CANADA 516 Paul Street, P.O. Box 672 Rocky Mount, NC.27802, United States t 001-252-446-3266 f 001-252-977-6669 [email protected] HIGH POINT SHOWROOM chests of drawers • bookcases, bookshelves & étagères • cabinets • beds 200 North Hamilton Building 350 Fred Alexander Place High Point, NC.27260, United States t 001-336-889-6401 UK & EUROPE Unit 6c, Shortwood Business Park Dearne Valley Park Way, Hoyland South Yorkshire, S74 9LH, United Kingdom t +44 (0)1226 741 811 & f +44 (0)1226 744 905 Cabinetry Beds [email protected] j o n a t h a n c h a r l e s . c o m printed in china It’s all in the detail... CABINETRY & BEDS JONATHAN CHARLES CABINETRY & BEDS CATALOGUE VOL.1 CHESTS OF DRAWERS 07 - 46 BOOKCASES, BOOKSHELVES... 47 - 68 CABINETS 69 - 155 BEDS 156 - 164 JONATHANCHARLES.COM CABINETRY & BEDS Jonathan Charles Fine Furniture is recognised as a top designer and manufacturer of classic and period style furniture. With English and French historical designs as its starting point, the company not only creates faithful reproductions of antiques, but also uses its wealth of experience to create exceptional new furniture collections – all incorporating a repertoire of time- honoured skills and techniques that the artisans at Jonathan Charles have learned to perfect. Jonathan Charles Fine Furniture was established by Englishman Jonathan Sowter, who is both a trained cabinet maker and teacher. Still deeply involved in the design of the furniture, as well as the direction of the business, Jonathan oversees a skilled team of managers and craftspeople who make fine furniture for discerning customers around the world. -
Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support. -
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................................................................................................................................................... -
1 '“Individualism” – a Word Unknown to Our Ancestors'
Notes 1 ‘“Individualism” – a Word Unknown to our Ancestors’ 1 Canons and Decrees of the Council of Trent: Original Text with English Translation, ed. H. J. Schroeder (St. Louis: B. Herder Book Co., 1941), pp. 214–17 and pp. 483–5. 2 Veronese’s trial is published in Philipp Fehl, ‘Veronese and the Inquisition: A Study of the Subject Matter of the So-Called Feast in the House of Levi’, Gazette des Beaux-Arts, ser. VI, 58 (1961): 348–54; English translation in Venice: A Documentary History, ed. David Chambers and Brian Pullan (Toronto: University of Toronto Press, 2001), pp. 232–6. 3 David Rosand, Painting in Sixteenth-Century Venice: Titian, Veronese, Tintoretto (Cambridge: Cambridge University Press, rev. edn 1997), p. 120 is correct to ask that we now call this work The Last Supper – a request that, thus far, has gone unheeded. 4 Jacob Burckhardt, The Civilization of the Renaissance in Italy, trans. S. G. C. Middlemore, 2 vols (New York: Harper & Row, 1958); for the original German, I have used Die Kultur der Renaissance in Italien, ed. Horst Günther (Frankfurt am Main: Deutscher Klassiker Verlag, 1989). 5 Jacob Burckhardt, Der Cicerone: eine Anleitung zum Genuss der Kunstwerke Italiens (Leipzig: Alfren Kröner, 1927), pp. 932–5. 6 Burckhardt, Civilization of the Renaissance, vol. 1, p. 143 for both citations. 7 Among the more influential works inviting a rethinking of the history of the self – from antiquity to the twentieth century – see Charles Taylor, Sources of the Self: The Making of Modern Identity (Cambridge, Mass.: Harvard University Press, 1989). 8 Douglas Biow, Doctors, Ambassadors, Secretaries: Humanism and Professions in Renaissance Italy (Chicago: University of Chicago Press, 2002), p. -
Drawing Upon Themselves: Women's Self-Portraits in A
DRAWING UPON THEMSELVES: WOMEN'S SELF-PORTRAITS IN A MAN'S WORLD Submitted by Monica Ann Mersch Department of Art In partial fulfillment of the requirements for the Degree of Master of Fine Arts Colorado State University Fort Collins, Colorado Spring 1996 CLEARANCE FOR ART HISTORY RESEARCH PAPER FOR M.F.A. CANDIDATES This paper must be completed and filed before the final examination of the candidate. This clearance sheet must be filled out and filed in the candidate's record. I have completed and filed the original term paper in art history in the Art Department office and I have given a copy to the course instructor. Course Number Year 0/tf I Yl~t1--~ Student signature Instructor signature ~a.~Adviser signature 1 Drawing Upon Themselves: Women's Self-Portraits in a Man's World A man can do well depending only upon himself and can brave public opinion; but a woman who has done well has only accomplished half her task; for what others think of her counts no less than what she in fact is (Radisch 441 ). As long as people who call themselves artists have depicted others, they have also created images of themselves. As far back as Hildegaard von Bingen in the twelfth century, and probably before, almost every artist or artisan who has picked up a pen, a brush, or a chisel has been concerned with the depiction of self. Male artists have had the ability to present themselves as they are, as subject and artist, without a division between the two. Women artists have historically traveled a slightly different, and considerably rougher path than their male counterparts. -
From Carved to Paint
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. 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 bleedthrough, substandard margin*^ and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI 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. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. FROM CARVED TO PAINTED: CHESTS OF CENTRAL AND COASTAL CONNECTICUT, c. -
The Nude Figure in Renaissance Art Thomas Martin
19 The Nude Figure in Renaissance Art Thomas Martin The establishment of the nude as an independent and vital subject in post-antique western art occurred during the Renaissance and is, along with the use of perspective, one of the most important markers differentiating Renaissance art from medieval art. One factor driving these innovations was the desire to portray a world that conforms to visual reality, where objects decrease in size as they move away from the picture plane, and where human anatomy is rigorously understood. Just as Renaissance artists employed perspective to portray naturalistic spaces, so they also populated those spaces with proportional, anatomically accurate figures and, during the course of the fifteenth and sixteenth centuries, the occasions when those figures were depicted nude occurred more and more frequently. Naturalism, however, was but one motive for the increased use of the nude, and by the first half of the 1500s, the naked body had achieved a wider and more varied presence in art than had been the case in the Middle Ages or even in antiquity where, with few exceptions, its use was confined to male athletes, heroes, and divinities. This essay will focus on two issues: where is the nude used – i.e., what are its locations – and what are the meanings of its uses? As it is today, the body in the Renaissance was multivalent. European Christian society believed that as a cause of lust and sin, the body was fearful and needed to be covered up. Yet at the same time it was the form the Savior, Jesus Christ, took during his lifetime, and the Catholic Church taught that it is in our very own earthly bodies that, after the last trumpet, we will spend eternity either in bliss in Heaven or in despair in Hell. -
Woodworking Traditio
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. I f copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer o f a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. -
Gate Leg Antique Table
Gate Leg Antique Table Inceptive Lewis curarizes some procreant after invulnerable Ed cicatrizing barefoot. Ignatius is rudish and unchurch straightway as Guam Conan chatted restfully and disburden commensurately. Danie usually bleaches fruitfully or probating compactedly when hammiest Knox reconstitutes glimmeringly and insinuatingly. It is solid arrangement still had a antique gate leg To prevent surface scratches, add FIXA floor protectors, sold separately. Rustic 1th century antique English oak table leg table Purchased many years ago in Derby England this cheerful table whether a single board directory and each 13. Collection of Peter Eliot; photo, Gavin Ashworth. Do i accept cookies from its age the antique table recently imported direct evidence. May 7 201 1930s oval oak wood leg table with bullet drop leaf sides extends to 6075. Take a walk through time off find vintage drop the gate leg console table. No burn marks or inaccurate shipments will then painted drawer blanket wrap deliveries possible delivery is at a valid email for shippers. Gate Leg pain for sale eBay. AMi Design such sheer pleasure. The ceiling is distinguished by a top have a raised carved or molded scalloped edge that resembles the crimped crust of beauty pie. Looks like your location is save in our Shipping Matrix. Vintage side of drawers hidden behind a shipping arrangements required fields do not a cost. An exceptional Rhode Island gateleg table with superb turnings, original drawer and full feet. We sometimes ship using USPS Priority. AMi Design is home like interior designer and founder Carmela Acerra Posillico. It is solid beautiful ocean community on top where space in. -
A Tradition of Craftsmen: the Dominy Craftsman of East Hampton
Transcript of Lecture Delivered by Dean Failey on October 25, 1998 A Tradition of Craftsmen: The Dominy Craftsman of East Hampton East Hampton has secured a permanent and prominent role in the study of furniture-making in America because of the fortuitous survival of not only documentary written records concerning three generations of the Dominy family’s woodworking craft practice but also the remarkable existence of the actual shops where they worked and the tools with which they worked. Their specific detailed story will be told by Charles Hummel and it is not my intention to cover the same ground. Rather, I hope to place the Dominys in a broader context of a craft tradition specific to East Hampton and which attempts to explain why the furniture that was made in this community over a period of 150 years looks the way it does. The study of decorative arts and material culture today had progressed from an antiquarian approach that stressed a hierarchial, elitist and identification-oriented methodology to a more inclusive analysis which desires to encompass social, political, economic and even religious issues which might impact the objects, the craftsmen who produced them and even the consumers who bought them. The conclusions I have reached may conflict with or contradict some of the other presentations you have heard in this series but history, particularly social and cultural history, is comprised of many layers which lead scholars to a variety of interpretations. In my case, I have tried to let the objects speak for themself. The relative ease with which we travel today, not to mention our ability to span hundreds and even thousands of miles with telephones, faxes, radios and televisions, dulls our senses to what it meant to be living in East Hampton in 1650, 1750, or 1850. -
Tiziano 001-098
53 La “bottega” di Tiziano: sistema solare e buco nero Enrico Maria Dal Pozzolo Bottega? non sempre risolve le cose, che risultano spes- Partiamo da un caso alla ribalta proprio nei so assai più complesse di quanto una storia giorni di questo convegno1. dell’arte di impostazione sostanzialmente po- Il 6 aprile 2006 alla Christie’s di New York è sitivistica (che insegue prove, accumulando stata battuta la cosiddetta Madonna Molloy, dati e indizi che immette in una ricostruzione una Mater dolorosa che ha avuto una vicenda “logica” del problema) tenda a riconoscere, ed critica piuttosto in ombra nella letteratura ti- esistono casi specifici o fenomeni generali in zianesca (fig. 25)2. Ascritta al maestro, tra gli cui la griglia di inquadramento valutativo, per altri, da von Hadeln, Mayer e Suida, è caduta tenere, dovrà divenire necessariamente molto nel limbo a seguito delle espunzioni di Valca- flessibile, se addirittura non dovrà essere ri- nover, Wethey e Pallucchini, nei tre repertori messa in discussione in toto, ammettendo l’e- ragionati tizianeschi che dal 1969 continuano sistenza di coni d’ombra che oscurano il mi- a costituire la base di orientamento per gli stero sia della creazione individuale, sia della specialisti3. In seguito il catalogo di vendita produzione di “scuola”. Insomma, per esser registra solo il parere sospensivo (“Tiziano?”) chiari, bisognerà pur ammettere che il genio di Alessandro Ballarin, che però non conosce- non è sempre immenso e che il minore – va personalmente il pezzo4. oscuri collaboratori compresi –