DOCSLIB.ORG

Rubens's Drawings After Julius Held

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rubens's Drawings After Julius Held Anne-Marie Logan Rubens’s drawings after Julius Held Among the many significant contributions Julius Held made to the field of art history are his publications on Peter Paul Rubens (1577-1640). His name will always be associated with the connoisseurship of Rubens’s work, whose oeuvre he has studied more extensively and deeply than few before him. Julius Held was not only familiar with the master’s work but with that of many of his contemporaries, pupils or followers, a prerequisite for sorting out the various artists in the so-called Rubens school and Flemish art in general. Not many present-day scholars, moreover, match Held’s thorough knowledge of the classical sources and his fluency in Latin, not to mention his great gift of reason leading to clear, convincing arguments. Julius Held’s catalogue of Rubens’s oil sketches published in two weighty volumes in 1980 and now out of print, is a model for any catalogue raisonné. 2004, a Rubens year in disguise, proved once more how significant Julius Held’s publications on the work of Peter Paul Rubens were, and how his judgments have held up so very well over the years that span now half a century.1 Much of his groundbreaking work on Rubens as a draftsman (1959 and 1986)2 and the oil sketches of Peter Paul Rubens (1980)3 have remained the standard references for any research on the Flemish artist. Held’s opinions were referred to time and again in the many publications that accompanied the more than twenty Rubens exhibitions beginning in late 2001-2002 and ending only four years later, with another one opening in September 2007 in Brussels. His publications on Rubens’s work that began in the 1940s initiated a growing interest not only in the artist but also in Flemish art in general. The many specialized monographs or exhibition catalogues on Rubens and some of his contemporaries are vivid proof. Within the last two decades we witnessed publications not only on the well-known artists like Anthony van Dyck4 or Jacob Jordaens5 but also on lesser known Flemish artists.6 For many of them Julius Held contributed individual articles, spanning back to the 1930s.7 More information has also been found on one of Rubens’s few known pupils, Willem Panneels.8 Moreover, Hans Vlieghe’s Flemish Art and Architecture 1585-1700 that appeared in 19989 gives an excellent survey of the art of the principal artists, sculptors and architects of the region and serves as a point of reference for the many volumes in the Corpus Rubenianum Ludwig Burchard series, sponsored by the Rubenianum (Centrum voor de Vlaamse Kunst van de 16de en de 17de eeuw) in Antwerp. Begun in 1968 the Corpus will eventually publish Rubens’s entire oeuvre. Recent catalogues of collections with significant holdings of Flemish seventeenth-century paintings have made many works more accessible, among them Braunschweig,10 the Prado, Madrid,11 Munich,12 Neuburg,13 the Liechtenstein collection, Vienna,14 and the National Gallery of Art, Washington.15 These publications often include very good color reproductions that enhance our image of Rubens, his contemporaries and followers. More and more museums also post their holdings online. Noteworthy, furthermore are recent catalogues of Flemish seventeenth-century drawings, namely in the Pierpont Morgan Library and Museum, New York (1991),16 at Windsor Castle (1994),17 and at the Museum Boijmans Van Beuningen, Rotterdam (2001).18 More recently a number of articles appeared on the drawings Rubens collected, their classification for easy 160 Oud Holland Jaargang/Volume 120 - 2007 Nr. 3/4 retrieval, on the artist’s inscriptions on his drawings, and on the collecting of Rubens’s drawings.19 These many publications are living proof that Julius Held’s early interest in Rubens and Flemish seventeenth-century art in general has now mushroomed into a lively field and the work of Rubens himself has turned into a growth industry. My contribution concerns above all Julius Held’s fundamental study on Rubens as a draftsman and how it still plays a vital role in this rather specialized field; at the same time it aims at updating the knowledge and publications on Rubens and Flemish artists around him. The brief overview also discusses what is still “in”, what “out” in my opinion, especially in view of the numerous exhibitions dedicated to Rubens’s oeuvre during 2004-2006, as listed in Appendix II. Konrad Renger summarized the result of these many events celebrating Rubens in an excellent, in-depth review in Kunstchronik that appeared in early 2007.20 Held’s statement in his revised edition of the Selected Drawings that his introduction “still remains the only study available analyzing Rubens’s drawings technically, functionally and stylistically, besides dealing with the tricky problem of connoisseurship”21 is to a large extent true, although an effort at updating it to some degree has been made in the recent exhibition Peter Paul Rubens: The Drawings, organized jointly by The Metropolitan Museum of Art, New York and the Albertina, Vienna.22 The same can be said of Held’s critical catalogue of P.P. Rubens. The Oil Sketches that formed the basis for the first recent exhibition dedicated to the subject, Drawn by the Brush: Oil Sketches by Peter Paul Rubens, shown in Greenwich, Connecticut, Berkeley, California and Cincinnati, Ohio.23 In 1987 and 1992 Julius Held published several additional oil sketches that became known since the publication of his catalogue raisonné of 1980.24 Although no new Rubens oil sketches have been discovered since, some have changed owners. A memorable event was celebrated in Munich in 1997-1998, when Konrad Renger organized an exquisite small exhibition around the acquisition of the oil sketch for Munich’s famous Lion Hunt, one of Rubens’s masterpieces in the rich collection of the Alte Pinakothek,25 a painting that was restored and cleaned for the occasion. Munich received a bonus since the reverse of the same panel –now in an upright position - showed Rubens’s preliminary oil sketch for the Marriage of Marie de’ Médicis by proxy in Florence in 1600, an important scene in the Medici cycle that the artist delivered to the Luxembourg Palace, Paris in May 1625. In 1989 Michael Jaffé published for the first time a fully illustrated catalogue of all of Rubens’s paintings and oil sketches in Rubens. Catalogo completo.26 This great achievement presented in one volume and in Italian appeared exactly a century after Max Rooses’ five-volume catalogue of Rubens’s oeuvre of 1886-1892 (see below). Jaffé frequently also mentioned the associated drawings in his brief accompanying texts. His total for Rubens’s painted oeuvre amounts to 1403 works (very few omissions have been found since.) This renders Rudolf Oldenbourg’s Klassiker der Kunst volume of 1921, Peter Paul Rubens: Des Meisters Gemälde, the standard reference for Rubens’s paintings for generations, obsolete for the present; however, it is still needed for older sources since this was the accepted reference to the master’s paintings. Three interesting, recent discoveries of Rubens paintings have to be added to Michael Jaffé’s catalogo completo: the Deposition from the Cross (fig.1) that Rubens painted ca. 1602 for the private chapel of Eleonora Gonzaga in Mantua,27 the Battle of the Amazons of about 1603-05 in a private collection and exhibited in London in 2005,28 and the Massacre of the Innocents of ca. 1611-1612, on loan to the National Gallery, London from a private collection.29 Rubens’s painted oeuvre thus has been extensively published and exhibited. The data on the artist and his work have been expanded and updated significantly since Julius Held’s revised volume on a selection of Rubens’s drawings of 1986 and of the artist’s oil sketches of 1980. Held discussed 456 original oil sketches and 43 that he 161 Oud Holland Jaargang/Volume 120 - 2007 Nr. 3/4.
Load more

Recommended publications
  • Empirically Identify and Analyze Trained and Untrained Observers
    DOCUMENT RESUME ED 052 219 24 TE 499 825 AUTHOR Hardiman, George W. TITLE Identification and Evaluation of Trained and Untrained Observers' Affective Responses to Art Ob'ects. Final Report. INSTITUTION Illinois Univ., Urbana. Dept. of Art. SPONS AGENCY Office of Education (DREW), Washington, D.C. Bureau of Research. BUREAU NO BR-9-0051 PUB DATE Mar 71 GRANT OEG-5-9-230051-0027 NOTE 113p. EDRS PRICE EDRS Price MF-$0.65 HC-$6.58 DESCRIPTORS *Affective Behavior, *Art Expression, *Color Presentation, *Data Analysis, Factor Analysis, *Measurement Instruments, Rating Scales ABSTRACT The objectives of this study were twofold: (1) to empirically identify and analyze trained and untrained observers affective responses to a representative collection of paintings for the purpose et constructing art differential instruments, and (2) to use these instruments to objectively identify and evaluate the major affective factors and components associated with selected paintings by trained and untrained observers. The first objective was accomplished by having 120 trained and 120 untrained observers elicit a universe of 12,450 adjective qualifiers to a collection of 209 color slides of paintings. Data analyses yielded subsets of adjective qualifiers most characteristic of trained and untrained observers' affective decoding of the 209 slides. These subsets served as a basis for constructing separate art differential instruments for trained and untrained observers' use in subsequent analyses. The second objective was achieved by having 48 trained and 48 untrained observers rate 24 color slides of paintings on 50 scale art differential instruments. Trained and untrained observers' art differential ratings of the 24 paintings were factor analyzed in order to identify the major affective factors associated with the paintings.
    [Show full text]
  • November 2012 Newsletter
    historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 29, No. 2 November 2012 Jan and/or Hubert van Eyck, The Three Marys at the Tomb, c. 1425-1435. Oil on panel. Museum Boijmans Van Beuningen, Rotterdam. In the exhibition “De weg naar Van Eyck,” Museum Boijmans Van Beuningen, October 13, 2012 – February 10, 2013. HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President - Stephanie Dickey (2009–2013) Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny (2009–2013) Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Contents Board Members President's Message .............................................................. 1 Paul Crenshaw (2012-2016) HNA News ............................................................................1 Wayne Franits (2009-2013) Personalia ............................................................................... 2 Martha Hollander (2012-2016) Exhibitions ............................................................................ 3 Henry Luttikhuizen (2009 and 2010-2014)
    [Show full text]
  • Luxury Low Countries
    LUXURY LUXURY in the LOW LUXURY COUNTRIES the in in the e superflu, chose très nécessaire”, wrote Voltaire 1736 in COUNTRIES LOW LOW his poem Le mondain. Needless to say that luxury is much Lmore than merely materialised/solidified redundancy. Offering a first panoramic view on various manifestations of conspicuous material culture in a Netherlandish context from 1500 until the present, this study – rather than investigating self- COUNTRIES evident cases of luxury – aims to explore its boundaries and the different stages in which luxury is fabricated or sometimes only simulated. Thematically, the volume focuses on two major issues, i.e. collections and foodways as means of expression of prosperity and splendour, which will be discussed by an international group of scholars, emanating from disciplines such as archaeology, history, book and media studies, art history, linguistics, and historical (ed.) Rittersma Rengenier ethnology. With an afterword by Maxine Berg. MIScellaneous RefleCtions on NETHERlandish MaTERial CULTURE, 1500 to the PRESENT Rengenier Rittersma (ed.) www.vubpress.be 9 789054 875406 Miscellaneous Reflections on Netherlandish Material Culture, 1500 to the Present Rengenier C. Rittersma (ed.) © 2010 FARO. Flemish interface for cultural heritage Cover image: Adriaan de Lelie, De kunstgalerij van Jan Priemstraat 51, B-1000 Brussels Gildemeester Jansz in zijn huis aan de Herengracht te www.faronet.be Amsterdam, 1794-1795 www.pharopublishing.be © Rijksmuseum Amsterdam Editorial board: Marc Jacobs, Rengenier C. Rittersma, All rights reserved. No part of this book may be Peter Scholliers, Ans Van de Cotte reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, Final editors: Frederik Hautain & Ans Van de Cotte recording, or on any information, storage or retrieval system without permission of the publisher.
    [Show full text]
  • Rembrandt's 1654 Life of Christ Prints
    REMBRANDT’S 1654 LIFE OF CHRIST PRINTS: GRAPHIC CHIAROSCURO, THE NORTHERN PRINT TRADITION, AND THE QUESTION OF SERIES by CATHERINE BAILEY WATKINS Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History CASE WESTERN RESERVE UNIVERSITY May, 2011 ii This dissertation is dedicated with love to my children, Peter and Beatrice. iii Table of Contents List of Images v Acknowledgements xii Abstract xv Introduction 1 Chapter 1: Historiography 13 Chapter 2: Rembrandt’s Graphic Chiaroscuro and the Northern Print Tradition 65 Chapter 3: Rembrandt’s Graphic Chiaroscuro and Seventeenth-Century Dutch Interest in Tone 92 Chapter 4: The Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus and Rembrandt’s Techniques for Producing Chiaroscuro 115 Chapter 5: Technique and Meaning in the Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus 140 Chapter 6: The Question of Series 155 Conclusion 170 Appendix: Images 177 Bibliography 288 iv List of Images Figure 1 Rembrandt, The Presentation in the Temple, c. 1654 178 Chicago, The Art Institute of Chicago, 1950.1508 Figure 2 Rembrandt, Descent from the Cross by Torchlight, 1654 179 Boston, Museum of Fine Arts, P474 Figure 3 Rembrandt, Entombment, c. 1654 180 The Cleveland Museum of Art, 1992.5 Figure 4 Rembrandt, Christ at Emmaus, 1654 181 The Cleveland Museum of Art, 1922.280 Figure 5 Rembrandt, Entombment, c. 1654 182 The Cleveland Museum of Art, 1992.4 Figure 6 Rembrandt, Christ at Emmaus, 1654 183 London, The British Museum, 1973,U.1088 Figure 7 Albrecht Dürer, St.
    [Show full text]
  • Pontormo's Capponi Chapel* Leosteinberg
    385 Pontormo's Capponi Chapel* LeoSteinberg Pontormo's work in the Capponi Chapel in Santa Felicita, as "Christ is taken away from His Mother, towards the Florence, began in I525 with the decoration of its hemis- tomb... the Virgin's gesture... becomes one of farewell." pherical dome, a fresco of God the Father surrounded by Meanwhile, on the vault surface directly opposite, the figure four patriarchs. The fresco was followed by four circular of God the Father (known to us from the Uffizi drawings, panels for the pendentives with bust portraits of the evan- Figs. 4-5) extends his right hand in "a gesture of sublime gelists, partly Bronzino's work,1 and by the great altar- compassion and benediction directed across the Chapel to the piece, variously called Descentfrom the Cross (or Deposition), dead Christ." "The fusion by gesture and emotion of dome Pietd, or Entombment (Fig. I).2 The final work, datable in and altarpiece has the effect that the subject-matter of the 1528, was the fresco of the Annunciationon the window wall. parts also becomes one, and that an action takes place across This last, the four tondi, and the altarpiece in its rich the space of the chapel."6 period frame are intact. The cupola decoration was lost In what follows, I will have to quarrel with almost every when the original dome was destroyed to make way for the detail of Shearman's analysis. But my disagreements, in- present shallower vault; nor do we know whether this oc- stead of invalidating, will, I believe, confirm his essential curred in the sixteenth or the eighteenth century.3 In fact, intuition.
    [Show full text]
  • Caravaggio, Second Revised Edition
    CARAVAGGIO second revised edition John T. Spike with the assistance of Michèle K. Spike cd-rom catalogue Note to the Reader 2 Abbreviations 3 How to Use this CD-ROM 3 Autograph Works 6 Other Works Attributed 412 Lost Works 452 Bibliography 510 Exhibition Catalogues 607 Copyright Notice 624 abbeville press publishers new york london Note to the Reader This CD-ROM contains searchable catalogues of all of the known paintings of Caravaggio, including attributed and lost works. In the autograph works are included all paintings which on documentary or stylistic evidence appear to be by, or partly by, the hand of Caravaggio. The attributed works include all paintings that have been associated with Caravaggio’s name in critical writings but which, in the opinion of the present writer, cannot be fully accepted as his, and those of uncertain attribution which he has not been able to examine personally. Some works listed here as copies are regarded as autograph by other authorities. Lost works, whose catalogue numbers are preceded by “L,” are paintings whose current whereabouts are unknown which are ascribed to Caravaggio in seventeenth-century documents, inventories, and in other sources. The catalogue of lost works describes a wide variety of material, including paintings considered copies of lost originals. Entries for untraced paintings include the city where they were identified in either a seventeenth-century source or inventory (“Inv.”). Most of the inventories have been published in the Getty Provenance Index, Los Angeles. Provenance, documents and sources, inventories and selective bibliographies are provided for the paintings by, after, and attributed to Caravaggio.
    [Show full text]
  • Peter Paul Rubens
    T h e Gre at Masters in P ainting and S c ulpture Will iam n Editedby G . C . so P E T E R PA U L R U BEN S TH E GREAT MASTERS IN PAINTING AND L T R E SCU P U . Tbc ollowin Volumes Izam been issued rice s net at /I f g , p 5 . e . ’ ‘ B T I I E LLI S . O C . By A . TREETER R UN ELLE H I . L B SC By EADER SCOTT . M A E I . I COR R GG O S . By ELWYN BR NTON , M N R US HFO R’P H I LLI . I M . A CR E G . V By C E L , M BI the S B UR LA MA CC II I . DELLA RO B A . By ARCHE A RE DE RTO . SS . AND A L SA By H . GUINNE D N TE LLO . H R EA O A By OPE . W M P h . GER R D DOU . D . A By ARTIN , UDE N! I FER R R I . E T II E L H S GA O A By AL EY . FR N I . G O C. I I S Litt D . C . A A By E RGE W LL AM ON , M A GIOR GION E . H B C . By ER ERT OOK, M S. F. S GIOTTO . By A ON PERKIN M A . FR NS H LS . G S . D V S . A A By ERALD A IE , LUIN I . G C. I S Litt . D . By EORGE WILL AM ON , M R T T wE LL C U .
    [Show full text]
  • Deposition-Tom-De-Freston.Pdf
    Christ's College Chapel Unveils Its First Commission of Art in 500 Years Easter Sunday (the 24th April) 2011 will be a very special occasion for Christ's College Chapel in Cambridge University, as it unveils a new altar reredos by the current Leverhulme Artist in Residence, Tom de Freston. This will be the fruition of an exciting and developing collaboration, first imagined by Christopher Woods and Pablo de Gandia (Tablo Arts) at the end of 2008. The paintings were conceived to mark the 500th anniversary (2010) of the chapel's consecration. The service will be an Anglican Choral Evensong with special choral music by the College Choir. There will be readings from the Authorized King James Version of the Bible which is 400 years old this year. A sermon will be preached by the College Chaplain. In the course of the service, there will be an unveiling and dedication of the altarpiece and a short conversation between the Chaplain and Tom de Freston about the work of art. This publication provides insight into the making, meaning and wider context of the works, showing de Freston's studies and works on related themes. The range of figures who have contributed writing to this catalogue is testament to the signifi - cance of the project. Nicholas Serota provides a foreword, Rowan Williams considers the spiritual relevance in de Freston's altarpiece paintings, Graham Howes considers their relationship to the context of Christ's Chapel, Ruth Padel puts them into an art historical context and Jaya Savige gives insight into two other paintings of de Freston's which tackle religion in a Miltonic form.
    [Show full text]
  • Peter Paul Rubens – Cultural Entrepreneur Avant La Lettre
    Erasmus University Rotterdam Faculty of History and Arts Peter Paul Rubens – Cultural Entrepreneur avant la lettre A case study in the economic history of the arts Thesis for the M.A. degree in Art & Cultural Studies Cultural Economics & Cultural Entrepreneurship Fu Lo 314699 [email protected] July 2009 Supervisor: Dr. Filip R. R. Vermeylen Second Reader: Dr. Karolien de Clippel Abstract This thesis is an interdisciplinary research that connects (cultural) economics with history of art through a case study of the great Baroque master Peter Paul Rubens (1577-1640). Rubens has always been a significant icon in history; probably because of his versatile roles during his life. Besides being a genuine artist he was a humanistic scholar and a pacifying diplomat. And as the title of this thesis suggests, Rubens‘s extraordinary awareness and ability towards the business of art is the main focus in this thesis, as he epitomizes the notion of a ‗cultural entrepreneur‘ in the seventeenth century. Using economic theories we can identify Rubens‘s entrepreneurial mind and activities through the way of producing, organizing, transmitting and distributing art. Historical evidence shows that Rubens was indeed very familiar with certain economic concepts, such as division of labor, quality control, market segregation and even customer relationship management. The structure of this thesis can thus be divided into three parts: a literature review on the economic history of the arts, background introduction of Rubens and his time, and finally an economic interpretation of his artistic activities. The main findings of the thesis will be demonstrated in three parts, being the supply, the demand, and the price level of Rubens‘s art, respectively.
    [Show full text]
  • Albrecht Dürer's “Oblong Passion”
    ALBRECHT DÜRER’S “OBLONG PASSION”: THE IMPACT OF THE REFORMATION AND NETHERLANDISH ART ON THE ARTIST’S LATE DRAWINGS by DANA E. COWEN Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY January, 2014 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Dana E. Cowen ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Catherine B. Scallen (signed)_______________________________________________ (chair of the committee) Jon L. Seydl ________________________________________________ Holly Witchey ________________________________________________ Erin Benay ________________________________________________ 4 November 2013 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. This dissertation is dedicated to my parents, Nancy and John, and to my brother Mark Table of Contents Table of Contents i List of Figures ii Acknowledgements xi Introduction 1 Chapter One 23 Albrecht Dürer in the Netherlands, 1520 to 1521: The Diary and Works of Art Chapter 2 58 Dürer and the Passion: The “Oblong Passion” and its Predecessors Chapter 3 111 Dürer, Luther, and the Reformation: The Meaning of the “Oblong Passion” Chapter 4 160 The “Oblong Passion” Drawings and their Relationship to Netherlandish Art Conclusion 198 Appendix 1: 204 Martin Luther. “Ein Sermon von der Betrachtung des heiligen Leidens Christi” (A Sermon on Meditating on the Holy Passion of Christ), 1519 Appendix 2: 209 The Adoration of the Magi Appendix 3: 219 The Progression of Scholarship on Fifteenth- and Sixteenth-Century Netherlandish and German Drawings from the Late Nineteenth-Century to the Present Figures 233 Bibliography 372 i List of Figures Fig.
    [Show full text]
  • The Lebowski Cycle by Joe Forkan
    THE LEBOWSKI CYCLE Joe Forkan THE LEBOWSKI CYCLE Joe Forkan Flecker Gallery Suffolk County Community College, Selden, NY October 17 - December 2, 2013 Curated by Matthew Neil Gehring Essay by Caleb De Jong Oath of the Horatii cover: Jacques-Louis David, 1784 Oath of the Horatii, 2006 - 2010 Oil on canvas, 128 x 170 inches Oil on linen, 72 x 40 inches Musée du Louvre, Paris THE LEBOWSKI CYCLE DIRECTOR’S STATEMENT The Lebowski Cycle is a series of paintings and drawings exploring layered narratives, using masterpieces of European art The paintings in this exhibition by Los Angeles painter Joe Forkan operate as a bridge between and the 1998 Coen Brothers’ flm The Big Lebowski as a starting point. The series is the result of a longstanding interest pop culture and art history and between comedy and tragedy. Mark Rothko’s notion that all in narrative painting, particularly paintings from the Baroque and Neoclassical eras; complex fgurative works that depict great art exhibits a clear preoccupation with death is resonant here. The flm that these works grand story arcs, compressing a multitude of thoughts, ideas and emotions into a singular image. However, it is the human are drawn from, The Big Lebowski, positions its characters, led by the protagonist – the Dude, interactions and conficts, formal qualities, and modes of depiction that were as interesting to me as the specifc stories. within an absurd story arc in which the imminent threat of death, the promise of small, momentary fortune, and a fresh rug propel the decisions and actions that build the plot.
    [Show full text]
  • The Masterpieces of Rubens : Sixty Reproductions of Photographs From
    6^^" S S ART BOORS V'" I i™ MASTERPIECES Of From the Library of Frank Simpson Permanent Reproductions OF THE WORKS O? Sir EDWARD BURNE-JONES, Bart, G F. WATTS, R.A. DANTE GABRIEL ROSSETTI HARRY BATES, R.A., Homer and other* HAGUE GALLERY, a Selection from. By F HoLLYER, Jun. ALBERT MOORE, and other Artist* CAN BE OBTAINED OF FREDK. HOLLYER, 9 PEMBROKE SQUARE, KENSINGTON, LONDON. Illustrated Cataloj^ue^ Post Frett 12 Stamps. THE STUDIOS are open to Visitors daily, from lo a.m. to 6 p.m., and on Mondays, from lo a.m. to 10 p.m. PORTRAITS FROM LIFE are taken on Monday* only. An Appointment is advisable. — Telephone N«. 1117, MAYFAIR. CLAUDE & TREVELYAN, THE CARLTON GALLERY, PALL MALL PLACE, LONDON, S.W. BUYERS AND SELLERS OF FINE PICTURES AND OTHER WORKS OF ART. VALUATIONS MADE FOR PROBATE AND OTHERWISE. From "TJie Connoisseur,** "If you are in London at any time, and are interested in fine Old and Modern Pictures, Antique Furniture, Old Clocks, Watches, and China, try and find the Carlton Gallery; it is somewhat difficult to find, but it is worth your while to find it. You will find the Gallery down a small alley leading from Pall Mall (opposite the Guards' Club) to King Street. You will see two curious old carved wood animals seated at the entrance to the Gallery. There i« no Bhop window. H.M. The King recently honoured the Gallery with a visit, and the visitors' book will show you that nearly everybody of note visits the Gallery. If you want anything valuable restored—be it Pictures or Antiques of any descrip- tion, and of an especially difficult character—send them to the Carlton Gallery if you want them done well and at a reason- able charge." From a note by a Connoisseur.
    [Show full text]