A Guide for the Amateur Collector of Portrait Minl\Tures
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Kingston Lacy Illustrated List of Pictures K Introduction the Restoration
Kingston Lacy Illustrated list of pictures Introduction ingston Lacy has the distinction of being the however, is a set of portraits by Lely, painted at K gentry collection with the earliest recorded still the apogee of his ability, that is without surviving surviving nucleus – something that few collections rival anywhere outside the Royal Collection. Chiefly of any kind in the United Kingdom can boast. When of members of his own family, but also including Ralph – later Sir Ralph – Bankes (?1631–1677) first relations (No.16; Charles Brune of Athelhampton jotted down in his commonplace book, between (1630/1–?1703)), friends (No.2, Edmund Stafford May 1656 and the end of 1658, a note of ‘Pictures in of Buckinghamshire), and beauties of equivocal my Chamber att Grayes Inne’, consisting of a mere reputation (No.4, Elizabeth Trentham, Viscountess 15 of them, he can have had little idea that they Cullen (1640–1713)), they induced Sir Joshua would swell to the roughly 200 paintings that are Reynolds to declare, when he visited Kingston Hall at Kingston Lacy today. in 1762, that: ‘I never had fully appreciated Sir Peter That they have done so is due, above all, to two Lely till I had seen these portraits’. later collectors, Henry Bankes II, MP (1757–1834), Although Sir Ralph evidently collected other – and his son William John Bankes, MP (1786–1855), but largely minor pictures – as did his successors, and to the piety of successive members of the it was not until Henry Bankes II (1757–1834), who Bankes family in preserving these collections made the Grand Tour in 1778–80, and paid a further virtually intact, and ultimately leaving them, in the visit to Rome in 1782, that the family produced astonishingly munificent bequest by (Henry John) another true collector. -
Artists` Picture Rooms in Eighteenth-Century Bath
ARTISTS' PICTURE ROOMS IN EIGHTEENTH-CENTURY BATH Susan Legouix Sloman In May 1775 David Garrick described to Hannah More the sense of well being he experienced in Bath: 'I do this, & do that, & do Nothing, & I go here and go there and go nowhere-Such is ye life of Bath & such the Effects of this place upon me-I forget my Cares, & my large family in London, & Every thing ... '. 1 The visitor to Bath in the second half of the eighteenth century had very few decisions to make once he was safely installed in his lodgings. A well-established pattern of bathing, drinking spa water, worship, concert and theatre-going and balls meant that in the early and later parts of each day he was likely to be fully occupied. However he was free to decide how to spend the daylight hours between around lOam when the company generally left the Pump Room and 3pm when most people retired to their lodgings to dine. Contemporary diaries and journals suggest that favourite daytime pursuits included walking on the parades, carriage excursions, visiting libraries (which were usually also bookshops), milliners, toy shops, jewellers and artists' showrooms and of course, sitting for a portrait. At least 160 artists spent some time working in Bath in the eighteenth century,2 a statistic which indicates that sitting for a portrait was indeed one of the most popular activities. Although he did not specifically have Bath in mind, Thomas Bardwell noted in 1756, 'It is well known, that no Nation in the World delights so much in Face-painting, or gives so generous Encouragement to it as our own'.3 In 1760 the Bath writer Daniel Webb noted 'the extraordinary passion which the English have for portraits'.4 Andre Rouquet in his survey of The Present State of the Arts in England of 1755 described how 'Every portrait painter in England has a room to shew his pictures, separate from that in which he works. -
British Art Studies September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine Macleod and Alexa
British Art Studies September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr British Art Studies Issue 17, published 30 September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr Cover image: Left portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1605, watercolour on vellum, laid onto table-book leaf, 5.7 x 4.4 cm. Collection of National Portrait Gallery, London (NPG 3063); Right portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1603, watercolour on vellum, laid on card, 4.9 x 4 cm. Collection of Fitzwilliam Museum, Cambridge (FM 3869). Digital image courtesy of National Portrait Gallery, London (All rights reserved); Fitzwilliam Museum, Cambridge (All rights reserved). 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. -
Coventry in the Oxford Dictionary of National Biography
Coventry in the Oxford Dictionary of National Biography The Oxford Dictionary of National Biography is the national record of people who have shaped British history, worldwide, from the Romans to the 21st century. The Oxford DNB (ODNB) currently includes the life stories of over 60,000 men and women who died in or before 2017. Over 1,300 of those lives contain references to Coventry, whether of events, offices, institutions, people, places, or sources preserved there. Of these, over 160 men and women in ODNB were either born, baptized, educated, died, or buried there. Many more, of course, spent periods of their life in Coventry and left their mark on the city’s history and its built environment. This survey brings together over 300 lives in ODNB connected with Coventry, ranging over ten centuries, extracted using the advanced search ‘life event’ and ‘full text’ features on the online site (www.oxforddnb.com). The same search functions can be used to explore the biographical histories of other places in the Coventry region: Kenilworth produces references in 229 articles, including 44 key life events; Leamington, 235 and 95; and Nuneaton, 69 and 17, for example. Most public libraries across the UK subscribe to ODNB, which means that the complete dictionary can be accessed for free via a local library. Libraries also offer 'remote access' which makes it possible to log in at any time at home (or anywhere that has internet access). Elsewhere, the ODNB is available online in schools, colleges, universities, and other institutions worldwide. Early benefactors: Godgifu [Godiva] and Leofric The benefactors of Coventry before the Norman conquest, Godgifu [Godiva] (d. -
DID JOSHUA REYNOLDS PAINT HIS PICTURES? Matthew C
DID JOSHUA REYNOLDS PAINT HIS PICTURES? Matthew C. Hunter Did Joshua Reynolds Paint His Pictures? The Transatlantic Work of Picturing in an Age of Chymical Reproduction In the spring of 1787, King George III visited the Royal Academy of Arts at Somerset House on the Strand in London’s West End. The king had come to see the first series of the Seven Sacraments painted by Nicolas Poussin (1594–1665) for Roman patron Cassiano dal Pozzo in the later 1630s. It was Poussin’s Extreme Unction (ca. 1638–1640) (fig. 1) that won the king’s particular praise.1 Below a coffered ceiling, Poussin depicts two trains of mourners converging in a darkened interior as a priest administers last rites to the dying man recumbent on a low bed. Light enters from the left in the elongated taper borne by a barefoot acolyte in a flowing, scarlet robe. It filters in peristaltic motion along the back wall where a projecting, circular molding describes somber totality. Ritual fluids proceed from the right, passing in relay from the cerulean pitcher on the illuminated tripod table to a green-garbed youth then to the gold flagon for which the central bearded elder reaches, to be rubbed as oily film on the invalid’s eyelids. Secured for twenty-first century eyes through a spectacular fund-raising campaign in 2013 by Cambridge’s Fitzwilliam Museum, Poussin’s picture had been put before the king in the 1780s by no less spirited means. Working for Charles Manners, fourth Duke of Rutland, a Scottish antiquarian named James Byres had Poussin’s Joshua Reynolds, Sacraments exported from Rome and shipped to London where they Diana (Sackville), Viscountess Crosbie were cleaned and exhibited under the auspices of Royal Academy (detail, see fig. -
Wells Cathedral Library and Archives
GB 1100 Archives Wells Cathedral Library and Archives This catalogue was digitised by The National Archives as part of the National Register of Archives digitisation project NR A 43650 The National Archives Stack 02(R) Library (East Cloister) WELLS CATHEDRAL LIBRARY READERS' HANDLIST to the ARCHIVES of WELLS CATHEDRAL comprising Archives of CHAPTER Archives of the VICARS CHORAL Archives of the WELLS ALMSHOUSES Library PICTURES & RE ALIA 1 Stack 02(R) Library (East Cloister) Stack 02(R) Library (East Cloister) CONTENTS Page Abbreviations Archives of CHAPTER 1-46 Archives of the VICARS CHORAL 47-57 Archives of the WELLS ALMSHOUSES 58-64 Library PICTURES 65-72 Library RE ALIA 73-81 2 Stack 02(R) Library (East Cloister) Stack 02(R) Library (East Cloister) ABBREVIATIONS etc. HM C Wells Historical Manuscripts Commission, Calendar ofManuscripts ofthe Dean and Chapter of Wells, vols i, ii (1907), (1914) LSC Linzee S.Colchester, Asst. Librarian and Archivist 1976-89 RSB R.S.Bate, who worked in Wells Cathedral Library 1935-40 SRO Somerset Record Office 3 Stack 02(R) Library (East Cloister) Stack 02(R) Library (East Cloister) ARCHIVES of CHAPTER Pages Catalogues & Indexes 3 Cartularies 4 Charters 5 Statutes &c. 6 Chapter Act Books 7 Chapter Minute Books 9 Chapter Clerk's Office 9 Chapter Administration 10 Appointments, resignations, stall lists etc. 12 Services 12 Liturgical procedure 13 Registers 14 Chapter and Vicars Choral 14 Fabric 14 Architect's Reports 16 Plans and drawings 16 Accounts: Communar, Fabric, Escheator 17 Account Books, Private 24 Accounts Department (Modern) 25 Estates: Surveys, Commonwealth Survey 26 Ledger Books, Record Books 26 Manorial Court records etc. -
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University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/1200 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. 20 'that whyche ys nedefoulle and nesesary': The Nature and Purpose of the Original Furnishings and Decoration of Hardwick Hall, Derbyshire Two Volumes (Volume One) Gillian White A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in the History of Art University of Warwick, Centre for the Study of the Renaissance March 2005 CONTENTS Volume One List of Tables and Illustrations page i Acknowledgements Declaration vii Abstract Chapter One: Introduction 1 Bess of Hardwick and Hardwick Hall 4 Existing Studies of Hardwick and the Scope for New Work 15 Chapter Two: The Social Architecture of Hardwick Hall 29 The Layout of Hardwick New Hall 31 The Layout of Hardwick Old Hall 34 The Social Organisation of Space at Hardwick 46 Chapter Three: The Furnishings of Hardwick Hall as Physical Objects 65 The 1601 Inventory and the Will of Bess of Hardwick 66 Wall-Hangings 80 Carpets 99 Beds 112 Furniture 136 Pictures 157 Conclusion 180 Chapter Four: The Furnishings and Decoration of Hardwick Hall as Iconographical Objects 182 The Assertion of Identity -
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Manuscript version: Author’s Accepted Manuscript The version presented in WRAP is the author’s accepted manuscript and may differ from the published version or Version of Record. Persistent WRAP URL: http://wrap.warwick.ac.uk/123427 How to cite: Please refer to published version for the most recent bibliographic citation information. If a published version is known of, the repository item page linked to above, will contain details on accessing it. Copyright and reuse: The Warwick Research Archive Portal (WRAP) makes this work by researchers of the University of Warwick available open access under the following conditions. Copyright © and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable the material made available in WRAP has been checked for eligibility before being made available. Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. Publisher’s statement: Please refer to the repository item page, publisher’s statement section, for further information. For more information, please contact the WRAP Team at: [email protected]. warwick.ac.uk/lib-publications 1 Cover page: Professor Bernard Capp Dept of History University of Warwick Coventry CV4 7AL Email: [email protected] 02476523410 2 Healing the Nation: Royalist Visionaries, Cromwell, and the Restoration of Charles II Bernard Capp Abstract The radical visionaries of the civil war era had several royalist counterparts, today often overlooked. -
Anecdotes of Painting in England : with Some Account of the Principal
C ' 1 2. J? Digitized by the Internet Archive in 2013 http://archive.org/details/paintingineng02walp ^-©HINTESS <0>F AEHJKTID 'oat/ /y ' L o :j : ANECDOTES OF PAINTING IN ENGLAND; WITH SOME ACCOUNT OF THE PRINCIPAL ARTISTS; AND INCIDENTAL NOTES ON OTHER ARTS; COLLECTED BY THE LATE MR. GEORGE VERTUE; DIGESTED AND PUBLISHED FROM HIS ORIGINAL MSS. BY THE HONOURABLE HORACE WALPOLE; WITH CONSIDERABLE ADDITIONS BY THE REV. JAMES DALLAWAY. LONDON PRINTED AT THE SHAKSPEARE PRESS, BY W. NICOL, FOR JOHN MAJOR, FLEET-STREET. MDCCCXXVI. LIST OF PLATES TO VOL. II. The Countess of Arundel, from the Original Painting at Worksop Manor, facing the title page. Paul Vansomer, . to face page 5 Cornelius Jansen, . .9 Daniel Mytens, . .15 Peter Oliver, . 25 The Earl of Arundel, . .144 Sir Peter Paul Rubens, . 161 Abraham Diepenbeck, . 1S7 Sir Anthony Vandyck, . 188 Cornelius Polenburg, . 238 John Torrentius, . .241 George Jameson, his Wife and Son, . 243 William Dobson, . 251 Gerard Honthorst, . 258 Nicholas Laniere, . 270 John Petitot, . 301 Inigo Jones, .... 330 ENGRAVINGS ON WOOD. Arms of Rubens, Vandyck & Jones to follow the title. Henry Gyles and John Rowell, . 39 Nicholas Stone, Senior and Junior, . 55 Henry Stone, .... 65 View of Wollaton, Nottinghamshire, . 91 Abraham Vanderdort, . 101 Sir B. Gerbier, . .114 George Geldorp, . 233 Henry Steenwyck, . 240 John Van Belcamp, . 265 Horatio Gentileschi, . 267 Francis Wouters, . 273 ENGRAVINGS ON WOOD continued. Adrian Hanneman, . 279 Sir Toby Matthews, . , .286 Francis Cleyn, . 291 Edward Pierce, Father and Son, . 314 Hubert Le Soeur, . 316 View of Whitehall, . .361 General Lambert, R. Walker and E. Mascall, 368 CONTENTS OF THE SECOND VOLUME. -
English Female Artists
^ $525.- V ^ T R /S. / / \ * t {/<•/dti '/’rlk- Printed lor Hob'.Saryer.N?^ in Fleet Street ■ ENGLISH 'EMALE ART < rn us. Ei.LSK C. G) aYXO v A' £HOR Of •' QUi'JBKir OF 80N0 ' !,'TO. • • • VOL f. LONDON; ! OTHERS, S CATHERINE ST.. SXRAN I) 187C. (A'ii *1 ijkti r ;,d) * ENGLISH FEMALE ARTISTS. lBY ELLEN C. CLAYTON, AUTHOR OF “QUEENS OF SONG,” ETC. IN TWO VOLUMES. VOL. I. I- LONDON: TINSLEY BROTHERS, 8 CATHERINE ST., STRAND. 1876. (All rights reserved.) TO (gHsabftlt Sltompisian THIS BOOK, A ROLL CALL OF HONOURABLE NAMES, is BY PERMISSION INSCRIBED, IN TESTIMONY OF ADMIRATION FOR HER GENIUS. CONTENTS. CHAPTER I. PAGE Susannah Hornebolt. Lavinia Teerlinck ... ... ... 1 CHAPTER II. Anne Carlisle. Artemisia Gentileschi. The Sisters Cleyn 14 CHAPTER III. Anna Maria Carew. Elizabeth Neale. Mary More. Mrs. Boardman. Elizabeth Creed ... ... ... ... 35 CHAPTER IY. Mary Beale ... ... ... ... ... ... 40 CHAPTER Y. Susan Penelope Rose ... ... ... ... ... 54 CHAPTER VI. Anne Killigrew ... ... ... ... ... ... 59 CHAPTER VII. Maria Varelst ... ... ... ... ... ... 71 VI CONTENTS. CHAPTER VIII. PAGE Anne, Princess of Orange. Princess Caroline. Agatha Van- dermijn. Sarah Hoadley 78 CHAPTER IX. Elizabeth Blackwell 91 CHAPTER X. Mary Delany 96 CHAPTER XL Frances Reynolds 146 CHAPTER XII. Maria Anna Angelica Catherine Kauffman 233 CHAPTER XIII. Mary Moser 295 CHAPTER XIV. Maria Cecilia Louisa Cosway 314 CHAPTER XV. Amateurs: Temp. George the Third 336 CHAPTER XVI. The Close of the Eighteenth Century 359 CHAPTER XVII. The Earlier Years of the Nineteenth Century ... 379 CHAPTER XVIII. Mary Harrison. Anna Maria Charretie. Adelaide A. Maguire 410 LIST OF THE PRINCIPAL AUTHORITIES CONSULTED FOR THE FIRST VOLUME. Annual Registek. Abt Joubnal. -
Chasing Eliza: Shifting and Static Women in Elizabeth Craven's the Miniature Picture
ABO: Interactive Journal for Women in the Arts, 1640-1830 Volume 6 Issue 1 Volume 6.1 (Spring 2016) Article 2 2016 Chasing Eliza: Shifting and Static Women in Elizabeth Craven's The Miniature Picture Heather A. Ladd University of Lethbridge, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/abo Part of the Dramatic Literature, Criticism and Theory Commons, English Language and Literature Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Ladd, Heather A. (2016) "Chasing Eliza: Shifting and Static Women in Elizabeth Craven's The Miniature Picture," ABO: Interactive Journal for Women in the Arts, 1640-1830: Vol. 6 : Iss. 1 , Article 2. https://www.doi.org/http://dx.doi.org/10.5038/2157-7129.6.1.2 Available at: https://scholarcommons.usf.edu/abo/vol6/iss1/2 This Scholarship is brought to you for free and open access by Scholar Commons. It has been accepted for inclusion in ABO: Interactive Journal for Women in the Arts, 1640-1830 by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Chasing Eliza: Shifting and Static Women in Elizabeth Craven's The Miniature Picture Abstract Georgian actress and author Mary Robinson famously wore a miniature portrait of her royal lover, the Prince of Wales, whom she captivated in the Shakespearean breaches role of Perdita. Intriguingly, Robinson’s final stage appearance was as the cross-dressing heroine of The Miniature Picture (1781), a three-act comedy penned by writer and socialite Lady Elizabeth Craven, later Baroness Craven and Margravine of Brandenburg-Ansbach. -
Cromwellian Anger Was the Passage in 1650 of Repressive Friends'
Cromwelliana The Journal of 2003 'l'ho Crom\\'.Oll Alloooluthm CROMWELLIANA 2003 l'rcoklcnt: Dl' llAlUW CO\l(IA1© l"hD, t'Rl-llmS 1 Editor Jane A. Mills Vice l'l'csidcnts: Right HM Mlchncl l1'oe>t1 l'C Profcssot·JONN MOlUUU.., Dl,llll, F.13A, FlU-IistS Consultant Peter Gaunt Professor lVAN ROOTS, MA, l~S.A, FlU~listS Professor AUSTIN WOOLll'YCH. MA, Dlitt, FBA CONTENTS Professor BLAIR WORDEN, FBA PAT BARNES AGM Lecture 2003. TREWIN COPPLESTON, FRGS By Dr Barry Coward 2 Right Hon FRANK DOBSON, MF Chairman: Dr PETER GAUNT, PhD, FRHistS 350 Years On: Cromwell and the Long Parliament. Honorary Secretary: MICHAEL BYRD By Professor Blair Worden 16 5 Town Farm Close, Pinchbeck, near Spalding, Lincolnshire, PEl 1 3SG Learning the Ropes in 'His Own Fields': Cromwell's Early Sieges in the East Honorary Treasurer: DAVID SMITH Midlands. 3 Bowgrave Copse, Abingdon, Oxon, OX14 2NL By Dr Peter Gaunt 27 THE CROMWELL ASSOCIATION was founded in 1935 by the late Rt Hon Writings and Sources VI. Durham University: 'A Pious and laudable work'. By Jane A Mills · Isaac Foot and others to commemorate Oliver Cromwell, the great Puritan 40 statesman, and to encourage the study of the history of his times, his achievements and influence. It is neither political nor sectarian, its aims being The Revolutionary Navy, 1648-1654. essentially historical. The Association seeks to advance its aims in a variety of By Professor Bernard Capp 47 ways, which have included: 'Ancient and Familiar Neighbours': England and Holland on the eve of the a.