King and Collector I
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Twilight Payment Captures Melbourne Cup As Mcneil Sparkles | 2 | Wednesday, November 4, 2020
STEVE MORAN WE MOVED HEAVEN AND EARTH TO HAVE INTERNATIONAL CUP RUNNERS - AND NOW WE ARE PAYING THE PRICE - PAGE 17 Wednesday, November 4, 2020 | Dedicated to the Australasian bloodstock industry - subscribe for free: Click here Twilight Payment (right) RACING PHOTOS What's on Twilight Payment Metropolitan meetings: Launceston (TAS) Race meetings: Grafton (NSW), Kyneton (VIC), Kilcoy (QLD), Port Lincoln (SA), captures Melbourne Avondale (NZ) Barrier trials / Jump-outs: Warwick Farm (NSW), Grafton (NSW), Mornington (VIC), Cup as McNeil sparkles Mortlake (VIC), Toowoomba (QLD), Port Second O’Brien father-son quinella marred by fatal injury to Lincoln (SA) Derby winner as McEvoy cops record whip fine International meetings: Sha Tin (HK), Lingfield (UK), Nottingham (UK), Kempton But the event was marred by a fatal fetlock BY ANDREW HAWKINS | @ANZ_NEWS (UK), Dundalk (IRE), Greyville (SAF) injury to last year’s Epsom Derby (Gr 1, 1m oseph O’Brien led home his father Aidan 4f) winner Anthony Van Dyck (Galileo), the in the Melbourne Cup (Gr 1, 3200m) for Cup’s fifth racing-related injury resulting in the second time in four years yesterday death since 2013, while Kerrin McEvoy, aboard as Twilight Payment (Teofilo) held off runner-up Tiger Moth, received an Australian JTiger Moth (Galileo) under a sensational record whip fine of $50,000 and a 13-meeting Jye McNeil ride, giving owner Lloyd Williams a suspension as Racing Victoria stewards made historic seventh success in the race that stops good on their threat to heavily penalise overuse the nation at Flemington. of the crop. Continued on page 2>> Follow us @anz_news | 1 | Brought to you by Twilight Payment captures Melbourne Cup as McNeil sparkles | 2 | Wednesday, November 4, 2020 << Continued from page 1 The news overshadowed what will Plaudits for McNeil at first Cup ride be remembered as one of the toughest Melbourne Cup wins the contest has seen in its 160-year history, with McNeil’s ride sure to go down in the annals of history as an all-time great performance. -
Downloaded from Brill.Com09/28/2021 10:23:11PM Via Free Access Notes to Chapter 1 671
Notes 1 Introduction. Fall and Redemption: The Divine Artist 1 Émile Verhaeren, “La place de James Ensor Michelangelo, 3: 1386–98; Summers, Michelangelo dans l’art contemporain,” in Verhaeren, James and the Language of Art, 238–39. Ensor, 98: “À toutes les périodes de l’histoire, 11 Sulzberger, “Les modèles italiens,” 257–64. ces influences de peuple à peuple et d’école à 12 Siena, Church of the Carmines, oil on panel, école se sont produites. Jadis l’Italie dominait 348 × 225 cm; Sanminiatelli, Domenico profondément les Floris, les Vaenius et les de Vos. Beccafumi, 101–02, no. 43. Tous pourtant ont trouvé place chez nous, dans 13 E.g., Bhabha, Location of Culture; Burke, Cultural notre école septentrionale. Plus tard, Pierre- Hybridity; Burke, Hybrid Renaissance; Canclini, Paul Rubens s’en fut à son tour là-bas; il revint Hybrid Cultures; Spivak, An Aesthetic Education. italianisé, mais ce fut pour renouveler tout l’art See also the overview of Mabardi, “Encounters of flamand.” a Heterogeneous Kind,” 1–20. 2 For an overview of scholarship on the painting, 14 Kim, The Traveling Artist, 48, 133–35; Payne, see the entry by Carl Van de Velde in Fabri and “Mescolare,” 273–94. Van Hout, From Quinten Metsys, 99–104, no. 3. 15 In fact, Vasari also uses the term pejoratively to The church received cathedral status in 1559, as refer to German art (opera tedesca) and to “bar- discussed in Chapter Nine. barous” art that appears to be a bad assemblage 3 Silver, The Paintings of Quinten Massys, 204–05, of components; see Payne, “Mescolare,” 290–91. -
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. -
Esther Through the Centuries (Blackwell Bible Commentaries)
Esther Through the Centuries Jo Carruthers Esther Through the Centuries Blackwell Bible Commentaries Series Editors: John Sawyer, Christopher Rowland, Judith Kovacs, David M. Gunn John Th rough the Centuries Ecclesiastes Th rough the Centuries Mark Edwards Eric S. Christianson Revelation Th rough the Centuries Esther Th rough the Centuries Judith Kovacs & Christopher Rowland Jo Carruthers Judges Th rough the Centuries Psalms Th rough the Centuries: David M. Gunn Volume One Exodus Th rough the Centuries Susan Gillingham Scott M. Langston Galatians Th rough the Centuries John Riches Forthcoming: Leviticus Th rough the Centuries Th e Minor Prophets Th rough the Mark Elliott Centuries 1 & 2 Samuel Th rough the Centuries Jin Han & Richard Coggins David M. Gunn Mark Th rough the Centuries 1 & 2 Kings Th rough the Centuries Christine Joynes Martin O’Kane Luke Th rough the Centuries Psalms Th rough the Centuries: Larry Kreitzer Volume Two Th e Acts of the Apostles Th rough the Susan Gillingham Centuries Song of Songs Th rough the Centuries Heidi J. Hornik & Mikael C. Parsons Francis Landy & Fiona Black Romans Th rough the Centuries Isaiah Th rough the Centuries Paul Fiddes John F. A. Sawyer 1 Corinthians Th rough the Centuries Jeremiah Th rough the Centuries Jorunn Okland Mary Chilton Callaway 2 Corinthians Th rough the Centuries Lamentations Th rough the Centuries Paula Gooder Paul M. Joyce & Diane Lipton Hebrews Th rough the Centuries Ezekiel Th rough the Centuries John Lyons Andrew Mein James Th rough the Centuries Jonah Th rough the Centuries David Gowler Yvonne Sherwood Pastoral Epistles Th rough the Centuries Jay Twomey Esther Through the Centuries Jo Carruthers © by Jo Carruthers blackwell publishing Main Street, Malden, MA - , USA Garsington Road, Oxford OX DQ, UK Swanston Street, Carlton, Victoria , Australia Th e right of Jo Carruthers to be identifi ed as the author of this work has been asserted in accordance with the UK Copyright, Designs, and Patents Act . -
Full Press Release
Press Contacts Patrick Milliman 212.590.0310, [email protected] Alanna Schindewolf 212.590.0311, [email protected] THE MORGAN HOSTS MAJOR EXHIBITION OF MASTER DRAWINGS FROM MUNICH’S FAMED STAATLICHE GRAPHISCHE SAMMLUNG SHOW INCLUDES WORKS FROM THE RENAISSANCE TO THE MODERN PERIOD AND MARKS THE FIRST TIME THE GRAPHISCHE SAMMLUNG HAS LENT SUCH AN IMPORTANT GROUP OF DRAWINGS TO AN AMERICAN MUSEUM Dürer to de Kooning: 100 Master Drawings from Munich October 12, 2012–January 6, 2013 **Press Preview: Thursday, October 11, 10 a.m. until 11:30 a.m.** RSVP: (212) 590-0393, [email protected] New York, NY, August 25, 2012—This fall, The Morgan Library & Museum will host an extraordinary exhibition of rarely- seen master drawings from the Staatliche Graphische Sammlung, Munich, one of Europe’s most distinguished drawings collections. On view October 12, 2012– January 6, 2013, Dürer to de Kooning: 100 Master Drawings from Munich marks the first time such a comprehensive and prestigious selection of works has been lent to a single exhibition. Johann Friedrich Overbeck (1789–1869) Italia and Germania, 1815–28 Dürer to de Kooning was conceived in Inv. 2001:12 Z © Staatliche Graphische Sammlung München exchange for a show of one hundred drawings that the Morgan sent to Munich in celebration of the Staatliche Graphische Sammlung’s 250th anniversary in 2008. The Morgan’s organizing curators were granted unprecedented access to the Graphische Sammlung’s vast holdings, ultimately choosing one hundred masterworks that represent the breadth, depth, and vitality of the collection. The exhibition includes drawings by Italian, German, French, Dutch, and Flemish artists of the Renaissance and baroque periods; German draftsmen of the nineteenth century; and an international contingent of modern and contemporary draftsmen. -
Prints and Johan Wittert Van Der Aa in the Rijksmuseum in Amsterdam.[7] Drawings, Inv
Esther before Ahasuerus ca. 1640–45 oil on panel Jan Adriaensz van Staveren 86.7 x 75.2 cm (Leiden 1613/14 – 1669 Leiden) signed in light paint along angel’s shield on armrest of king’s throne: “JOHANNES STAVEREN 1(6?)(??)” JvS-100 © 2021 The Leiden Collection Esther before Ahasuerus Page 2 of 9 How to cite Van Tuinen, Ilona. “Esther before Ahasuerus” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artwork/esther-before-ahasuerus/ (accessed October 02, 2021). A PDF of every version of this entry is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Esther before Ahasuerus Page 3 of 9 During the Babylonian captivity of the Jews, the beautiful Jewish orphan Comparative Figures Esther, heroine of the Old Testament Book of Esther, won the heart of the austere Persian king Ahasuerus and became his wife (Esther 2:17). Esther had been raised by her cousin Mordecai, who made Esther swear that she would keep her Jewish identity a secret from her husband. However, when Ahasuerus appointed as his minister the anti-Semite Haman, who issued a decree to kill all Jews, Mordecai begged Esther to reveal her Jewish heritage to Ahasuerus and plead for the lives of her people. Esther agreed, saying to Mordecai: “I will go to the king, even though it is against the law. -
Oti Racing 29
OMCATROCBHE R2 2 9 2T0H2 02020 ISSVUOEL 2 091 1 OTI GAZETTE The official newsletter of OTI RACING and Management Aidan O’Brien’s Reputation Goes to a New Level IN THIS WEEK'S Aidan O’Brien and his sons’ reputations as trainers went to a new level last EDITION weekend when they decided to withdraw their horses from feature European races, along with Roger Varian. Not surprisingly, some of their peers who were also supplied by the feed merchants at the centre of this Upcoming OTI Runners OTI Fun and Games OTI NEWS controversy, decided otherwise! A CONVERSATION Given the apparent clearance of the infected product in Ireland, O’Brien WITH could well have “ran the gauntlet” in the hope that any trace of Zilpaterol DEANE LESTER would have left the horses’ systems by race time. He chose instead to scratch and hence protect himself, his horses and indeed the industry from possible negative consequences. JOHN BERRY Aidan O’Brien is a tall poppy, a natural target for some of his competitors GET TO KNOW YOUR and those who thrive on innuendo. Unfortunately for them, the reality is FELLOW OTI OWNERS that he is a training genius. As competitive as he is, we also now know that - TRACEY CHAPMAN he is not a ‘win at all costs’ merchant. Through his actions last weekend that potentially cost some horses a stallion career, he displayed a level of integrity that many of us would like to see throughout racing. FUN & GAMES In the meantime, those who ‘ran the gauntlet’ in the hope that their horses DICK WHITTINGTON will produce clear swabs, will endure a few sleepless nights waiting for results. -
Evolution and Ambition in the Career of Jan Lievens (1607-1674)
ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality. -
Remembering King Charles I: History, Art and Polemics from the Restoration to the Reform Act T
REMEMBERING KING CHARLES I: HISTORY, ART AND POLEMICS FROM THE RESTORATION TO THE REFORM ACT T. J. Allen Abstract: The term Restoration can be used simply to refer to the restored monarchy under Charles II, following the Commonwealth period. But it can also be applied to a broader programme of restoring the crown’s traditional prerogatives and rehabilitating the reign of the king’s father, Charles I. Examples of this can be seen in the placement of an equestrian statue of Charles I at Charing Cross and a related poem by Edmund Waller. But these works form elements in a process that continued for 200 years in which the memory of Charles I fused with contemporary constitutional debates. The equestrian statue of Charles I at Charing Cross, produced by the French sculptor Hubert Le Sueur c1633 and erected in 1675. Photograph: T. J. Allen At the southern end of Trafalgar Square, looking towards Whitehall, stands an equestrian statue of Charles I. This is set on a pedestal whose design has been attributed to Sir Christopher Wren and was carved by Joshua Marshall, Master Mason to Charles II. The bronze figure was originally commissioned by Richard Weston (First Earl of Portland, the king’s Lord High Treasurer) and was produced by the French sculptor Hubert Le Sueur in the early 1630s. It originally stood in 46 VIDES 2014 the grounds of Weston’s house in Surrey, but as a consequence of the Civil War was later confiscated and then hidden. The statue’s existence again came to official attention following the Restoration, when it was acquired by the crown, and in 1675 placed in its current location. -
Sight and Touch in the Noli Me Tangere
Chapter 1 Sight and Touch in the Noli me tangere Andrea del Sarto painted his Noli me tangere (Fig. 1) at the age of twenty-four.1 He was young, ambitious, and grappling for the first time with the demands of producing an altarpiece. He had his reputation to consider. He had the spiri- tual function of his picture to think about. And he had his patron’s wishes to address. I begin this chapter by discussing this last category of concern, the complex realities of artistic patronage, as a means of emphasizing the broad- er arguments of my book: the altarpiece commissions that Andrea received were learning opportunities, and his artistic decisions serve as indices of the religious knowledge he acquired in the course of completing his professional endeavors. Throughout this particular endeavor—from his first client consultation to the moment he delivered the Noli me tangere to the Augustinian convent lo- cated just outside the San Gallo gate of Florence—Andrea worked closely with other members of his community. We are able to identify those individuals only in a general sense. Andrea received his commission from the Morelli fam- ily, silk merchants who lived in the Santa Croce quarter of the city and who frequently served in the civic government. They owned the rights to one of the most prestigious chapels in the San Gallo church. It was located close to the chancel, second to the left of the apse.2 This was prime real estate. Renaissance churches were communal structures—always visible, frequently visited. They had a natural hierarchy, dominated by the high altar. -
BM Tour to View
08/06/2020 Gods and Heroes The influence of the Classical World on Art in the C17th and C18th The Tour of the British Museum Room 2a the Waddesdon Bequest from Baron Ferdinand Rothschild 1898 Hercules and Achelous c 1650-1675 Austrian 1 2 Limoges enamel tazza with Judith and Holofernes in the bowl, Joseph and Potiphar’s wife on the foot and the Triumph of Neptune and Amphitrite/Venus on the stem (see next slide) attributed to Joseph Limousin c 1600-1630 Omphale by Artus Quellinus the Elder 1640-1668 Flanders 3 4 see previous slide Limoges enamel salt-cellar of piédouche type with Diana in the bowl and a Muse (with triangle), Mercury, Diana (with moon), Mars, Juno (with peacock) and Venus (with flaming heart) attributed to Joseph Limousin c 1600- 1630 (also see next slide) 5 6 1 08/06/2020 Nautilus shell cup mounted with silver with Neptune on horseback on top 1600-1650 probably made in the Netherlands 7 8 Neptune supporting a Nautilus cup dated 1741 Dresden Opal glass beaker representing the Triumph of Neptune c 1680 Bohemia 9 10 Room 2 Marble figure of a girl possibly a nymph of Artemis restored by Angellini as knucklebone player from the Garden of Sallust Rome C1st-2nd AD discovered 1764 and acquired by Charles Townley on his first Grand Tour in 1768. Townley’s collection came to the museum on his death in 1805 11 12 2 08/06/2020 Charles Townley with his collection which he opened to discerning friends and the public, in a painting by Johann Zoffany of 1782. -
A History of the French in London Liberty, Equality, Opportunity
A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick A history of the French in London liberty, equality, opportunity A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick LONDON INSTITUTE OF HISTORICAL RESEARCH Published by UNIVERSITY OF LONDON SCHOOL OF ADVANCED STUDY INSTITUTE OF HISTORICAL RESEARCH Senate House, Malet Street, London WC1E 7HU First published in print in 2013. This book is published under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International (CC BY- NCND 4.0) license. More information regarding CC licenses is available at https://creativecommons.org/licenses/ Available to download free at http://www.humanities-digital-library.org ISBN 978 1 909646 48 3 (PDF edition) ISBN 978 1 905165 86 5 (hardback edition) Contents List of contributors vii List of figures xv List of tables xxi List of maps xxiii Acknowledgements xxv Introduction The French in London: a study in time and space 1 Martyn Cornick 1. A special case? London’s French Protestants 13 Elizabeth Randall 2. Montagu House, Bloomsbury: a French household in London, 1673–1733 43 Paul Boucher and Tessa Murdoch 3. The novelty of the French émigrés in London in the 1790s 69 Kirsty Carpenter Note on French Catholics in London after 1789 91 4. Courts in exile: Bourbons, Bonapartes and Orléans in London, from George III to Edward VII 99 Philip Mansel 5. The French in London during the 1830s: multidimensional occupancy 129 Máire Cross 6. Introductory exposition: French republicans and communists in exile to 1848 155 Fabrice Bensimon 7.