Sir Edward Burne-Jones, Bart., LIMITED
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The Art of Victorian Photography
THE ART OF VICTORIAN Dr. Laurence Shafe [email protected] PHOTOGRAPHY www.shafe.uk The Art of Victorian Photography The invention and blossoming of photography coincided with the Victorian era and photography had an enormous influence on how Victorians saw the world. We will see how photography developed and how it raised issues concerning its role and purpose and questions about whether it was an art. The photographic revolution put portrait painters out of business and created a new form of portraiture. Many photographers tried various methods and techniques to show it was an art in its own right. It changed the way we see the world and brought the inaccessible, exotic and erotic into the home. It enabled historic events, famous people and exotic places to be seen for the first time and the century ended with the first moving images which ushered in a whole new form of entertainment. • My aim is to take you on a journey from the beginning of photography to the end of the nineteenth century with a focus on the impact it had on the visual arts. • I focus on England and English photographers and I take this title narrowly in the sense of photographs displayed as works of fine art and broadly as the skill of taking photographs using this new medium. • In particular, • Pre-photographic reproduction (including drawing and painting) • The discovery of photography, the first person captured, Fox Talbot and The Pencil of Light • But was it an art, how photographers created ‘artistic’ photographs, ‘artistic’ scenes, blurring, the Pastoral • The Victorian -
Making Amusement the Vehicle of Instruction’: Key Developments in the Nursery Reading Market 1783-1900
1 ‘Making amusement the vehicle of instruction’: Key Developments in the Nursery Reading Market 1783-1900 PhD Thesis submitted by Lesley Jane Delaney UCL Department of English Literature and Language 2012 SIGNED DECLARATION 2 I, Lesley Jane Delaney confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. ––––––––––––––––––––––––––––––––––––––– ABSTRACT 3 ABSTRACT During the course of the nineteenth century children’s early reading experience was radically transformed; late eighteenth-century children were expected to cut their teeth on morally improving texts, while Victorian children learned to read more playfully through colourful picturebooks. This thesis explores the reasons for this paradigm change through a study of the key developments in children’s publishing from 1783 to 1900. Successively examining an amateur author, a commercial publisher, an innovative editor, and a brilliant illustrator with a strong interest in progressive theories of education, the thesis is alive to the multiplicity of influences on children’s reading over the century. Chapter One outlines the scope of the study. Chapter Two focuses on Ellenor Fenn’s graded dialogues, Cobwebs to catch flies (1783), initially marketed as part of a reading scheme, which remained in print for more than 120 years. Fenn’s highly original method of teaching reading through real stories, with its emphasis on simple words, large type, and high-quality pictures, laid the foundations for modern nursery books. Chapter Three examines John Harris, who issued a ground- breaking series of colour-illustrated rhyming stories and educational books in the 1810s, marketed as ‘Harris’s Cabinet of Amusement and Instruction’. -
Graphic Interlude Are You Game?
Angles New Perspectives on the Anglophone World 11 | 2020 Are You Game? Graphic Interlude Are you Game? Winslow Homer, Ambrose Andrews, Briton Rivière, Sharon Lockhart, Anonymous, Marcus Gheeraerts I, Gawen Hamilton, Sir John Everett Millais, Thomas Rowlandson, Marion Post Wolcott, John Rogers, Mary Sargant Florence, Thomas Anshutz, Sir William Reynolds-Stephens and George Cruikshank Electronic version URL: http://journals.openedition.org/angles/3117 DOI: 10.4000/angles.3117 ISSN: 2274-2042 Publisher Société des Anglicistes de l'Enseignement Supérieur Electronic reference Winslow Homer, Ambrose Andrews, Briton Rivière, Sharon Lockhart, Anonymous, Marcus Gheeraerts I , Gawen Hamilton, Sir John Everett Millais, Thomas Rowlandson, Marion Post Wolcott, John Rogers, Mary Sargant Florence, Thomas Anshutz, Sir William Reynolds-Stephens and George Cruikshank, « Graphic Interlude », Angles [Online], 11 | 2020, Online since 01 November 2020, connection on 13 November 2020. URL : http://journals.openedition.org/angles/3117 ; DOI : https://doi.org/10.4000/ angles.3117 This text was automatically generated on 13 November 2020. Angles est mise à disposition selon les termes de la Licence Creative Commons Attribution 4.0 International. Graphic Interlude 1 Graphic Interlude Are you Game? Winslow Homer, Ambrose Andrews, Briton Rivière, Sharon Lockhart, Anonymous, Marcus Gheeraerts I, Gawen Hamilton, Sir John Everett Millais, Thomas Rowlandson, Marion Post Wolcott, John Rogers, Mary Sargant Florence, Thomas Anshutz, Sir William Reynolds-Stephens and George Cruikshank Game as Amusement, Fun, Pleasure Angles, 11 | 2020 Graphic Interlude 2 Winslow Homer (1836-1910), Snap the Whip (1872) - Oil on canvas (30.5x 50.8cm) This outdoor scene is one of many painted by Winslow Homer, one of the most famous American artists of the nineteenth century. -
Going/Or Eternity: a Child's Garden of Verses
Going/or Eternity: A Child's Garden of Verses • Elizabeth Waterston • Resume: Dans cet article, Elizabeth Waterston tente d'expliquer la fortune litteraire du recueil de poemes de Robert Louis Stevenson, A Child's Garden of Verses, dont Ie succes reste encore tres vifde nos jours. D'apres elle, plusieurs auteurs ont tout simplement oublie I'influence marquante que ces poemes ont exerce sur leur premiere jeunesse. Summary: Elizabeth Waterston discusses the reasons for the continued popularity of Robert Louis Stevenson's A Child's Garden of Verses, and suggests that many writers have forgotten the strength of the poems' influence on their pre-school days. TA T hen Robert Louis Stevenson rhymed "children" with "bewildering" r V in the trial edition of his verses for children, his friend Sidney Colvin objected. "A Cockney rhyme," he jotted into the margin of the little book titled Penny Whistles.1 Stevenson responded with his own marginal jotting, "Good enough for me.... These are rhymes, jingles; I don't go for eternity." Whether or not he thought he was in the race for immortality when he published his little rhymes, A Child's Garden of Verses, first published in 1885, has proved to have great survival power. It is still available in all sorts of editions, vari- ously illustrated, and is still a preeminent choice of educators as well as of parents and care-givers. It is a book for children too young to express an opinion of its charms; but many of us re-open it as adults to discover just how deeply it has sunk into our pores. -
The Connoisseur (Sir Gerald Ryan
1 TheConnoisseur An Illustrated Magazine For Collectors Edited by C. Reginald Grundy Vol. LIX. (JANUARY—APRIL. 1921) LONDON Published by the Proprietor, W. CLAUDE JOHNSON, at tiii., Editorial and Advertisement Okkices of The Connoisskuu, AT I, Duke Street, St. James's, S.W. i 192 1 MROSE AND SONS 1 DERIIY AND I.ONDO 8(i 1)656 NDEX ARTICLES AND NOTES A Beautiful Jacobean Hanging (Note) .Authors and Contributors—coiilinucd. "A Citv Banquet," by Fred Roc, K.I., R.B.C. Richardson, Mrs. Herbert. The Fashion Plates '(Note) of Horace Vernet (Art.) ... ... ... yy Adam and other Furniture (Note) ... Roberts, C. Clifton. Salopian China (Art.) ... 2.( Aitken, John E., Drawings by (Note) Roe. F. Gordon. The Life and Work of F. W. An Outpost of London, by Criticus (Note) Hayes, A.R.C.A., F.R.G.S. (Art.) 103 Angelica Kautfmann and Her .Art. by Lady Victoria Rusconi, Art. Jahn. The Tapestries of Mantua Manners (.\rt.) by Raphael (Art.) 77 Another New Gallery (Note) Williamson, Dr. G. C. Some Notes on the Portraits of Sir Pliilip Sidney (Art) ... Antique Business Extension (Note) 217 Antiques at Waring's (Note) Books Reviewed. Aquatints. Old (Note) A Bookseller's igo Authors and Contributor.s. Catalogue " A Catalogue of Etchings by Augustus John, Andrews, Cyril Bruyn. The Valencia Altar-piece 1901-1914." by Campbell Dodgson ... 5S (Art.) " A Dweller in Mcsnpntamia," by Donald Maxwell 1S7 Brochner, Georg. Old Danish Furniture (.Art.)... " A Hamll.".i. ..I Imlini Art," by E. B. Havell ... 188 Brockwell. Maurice W. Frans Hals Pictures at " Haarlem (Note) A Histiii\ <\ I \ri\,l,iy Things in England," by M. -
Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013
Updated Wednesday, February 13, 2013 | 2:36:43 PM Last updated Wednesday, February 13, 2013 Updated Wednesday, February 13, 2013 | 2:36:43 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required (*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Ford Madox Brown The Seeds and Fruits of English Poetry, 1845-1853 oil on canvas 36 x 46 cm (14 3/16 x 18 1/8 in.) framed: 50 x 62.5 x 6.5 cm (19 11/16 x 24 5/8 x 2 9/16 in.) The Ashmolean Museum, Oxford, Presented by Mrs. W.F.R. Weldon, 1920 William Holman Hunt The Finding of the Saviour in the Temple, 1854-1860 oil on canvas 85.7 x 141 cm (33 3/4 x 55 1/2 in.) framed: 148 x 208 x 12 cm (58 1/4 x 81 7/8 x 4 3/4 in.) Birmingham Museums and Art Gallery, Presented by Sir John T. -
The Challenges of French Impressionism in Great Britain
Crossing the Channel: The Challenges of French Impressionism in Great Britain By Catherine Cheney Senior Honors Thesis Department of Art History University of North Carolina at Chapel Hill April 8, 2016 Approved: 1 Introduction: French Impressionism in England As Impressionism spread throughout Europe in the late nineteenth century, the movement took hold in the British art community and helped to change the fundamental ways in which people viewed and collected art. Impressionism made its debut in London in 1870 when Claude Monet, Camille Pissarro, and Paul Durand-Ruel sought safe haven in London during the Franco- Prussian war. The two artists created works of London landscapes done in the new Impressionist style. Paul Durand-Ruel, a commercial dealer, marketed the Impressionist works of these two artists and of the other Impressionist artists that he brought over from Paris. The movement was officially organized for the First Impressionist Exhibition in 1874 in Paris, but the initial introduction in London laid the groundwork for promoting this new style throughout the international art world. This thesis will explore, first, the cultural transformations of London that allowed for the introduction of Impressionism as a new style in England; second, the now- famous Thames series that Monet created in the 1890s and notable exhibitions held in London during the time; and finally, the impact Impressionism had on private collectors and adding Impressionist works to the national collections. With the exception of Edouard Manet, who met with success at the Salon in Paris over the years and did not exhibit with the Impressionists, the modern artists were not received well. -
Download PDF Version
100 Books With Original Photographs 1846–1919 PAUL M. HERTZMANN, INC. MARGOLIS & MOSS 100 BOOKS With ORIGINAL PHOTOGRAPHS 1846–1919 PAUL M. HERTZMANN, INC. MARGOLIS & MOSS Paul M. Hertzmann & Susan Herzig David Margolis & Jean Moss Post Office Box 40447 Post Office Box 2042 San Francisco, California 94140 Santa Fe, New Mexico 87504-2042 Tel: (415) 626-2677 Fax: (415) 552-4160 Tel: (505) 982-1028 Fax: (505) 982-3256 E-mail: [email protected] E-mail: [email protected] Association of International Photography Art Dealers Antiquarian Booksellers’Association of America Private Art Dealers Association International League of Antiquarian Booksellers 90. TERMS The books are offered subject to prior sale. Customers will be billed for shipping and insurance at cost. Payment is by check, wire transfer, or bank draft. Institutions will be billed to suit their needs. Overseas orders will be sent by air service, insured. Payment from abroad may be made with a check drawn on a U. S. bank, international money order, or direct deposit to our bank account. Items may be returned within 5 days of receipt, provided prior notification has been given. Material must be returned to us in the same manner as it was sent and received by us in the same condition. Inquiries may be addressed to either Paul Hertzmann, Inc. or Margolis & Moss Front cover and title page illustrations: Book no. 82. 2 introduction his catalog, a collaborative effort by Paul M. Hertzmann, Inc., and Margolis & Moss, T reflects our shared passion for the printed word and the photographic -
Bulletin of A
Himi m Hijgffjf RLW& tr Archives 27411 Digitized by the Internet Archive in 2013 http://archive.org/details/bulletinofa32agri .••.-• BULLETIN of A. & T. COLLEGE Published by THE AGRICULTURAL AND TECHNICAL COLLEGE of NORTH CAROLINA Obedience to the Law is the Largest Liberty Issued Quarterly GREENSBORO, NORTH CAROLINA CALENDAR 1941-42 Entered as second-class matter, July 2d, 1909, at the Post- office at Greensboro, N. 0., under the act of July 16th, 1894. COLLEGE CALENDAR CALENDAR, 1941-1942 September 16—Entrance examinations. September 16—Freshmen and New students begin Registration Orientation. September 17—Freshman Orientation. September 18—Freshmen complete registration. September 19—Registration of former students. September 22—Classes begin. September 29—Last day for changes in schedule. December 17, 18, 19, 20—Fall term examinations. January 5, 1942—Registration Winter Quarter. January 6—Classes begin. January 12—Last day for changes in schedule. March 17, 18, 19, 20—Winter term examinations. March 23—Registration Spring Quarter. March 24—Classes begin. March 30—Last day for changes in schedule. May 27, 28, 29, 30—Spring term examinations. May 31—Baccalaureate sermon. June 1—Commencement. June 9—Registration for Summer Quarter. HOLIDAYS Thanksgiving Day and Friday following; Christmas holidays, December 21, 1941-January 1, 1942. SPECIAL DATS Dudley Day—November 2, 1941. Education Week. Religious Emphasis Week—December 10-14. Douglas' Birthday and Negro History Week— (Joint Observance) February 9-15. Arbor Day, March 15—Special program by School of Agriculture. National Negro Health Week, April 2-8. Morrill's Birthday, April 14r—Agriculture and Mechanic Arts societies have special programs. -
Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell
Copyrights sought (Albert) Basil (Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell) Filson Young (Alexander) Forbes Hendry (Alexander) Frederick Whyte (Alfred Hubert) Roy Fedden (Alfred) Alistair Cooke (Alfred) Guy Garrod (Alfred) James Hawkey (Archibald) Berkeley Milne (Archibald) David Stirling (Archibald) Havergal Downes-Shaw (Arthur) Berriedale Keith (Arthur) Beverley Baxter (Arthur) Cecil Tyrrell Beck (Arthur) Clive Morrison-Bell (Arthur) Hugh (Elsdale) Molson (Arthur) Mervyn Stockwood (Arthur) Paul Boissier, Harrow Heraldry Committee & Harrow School (Arthur) Trevor Dawson (Arwyn) Lynn Ungoed-Thomas (Basil Arthur) John Peto (Basil) Kingsley Martin (Basil) Kingsley Martin (Basil) Kingsley Martin & New Statesman (Borlasse Elward) Wyndham Childs (Cecil Frederick) Nevil Macready (Cecil George) Graham Hayman (Charles Edward) Howard Vincent (Charles Henry) Collins Baker (Charles) Alexander Harris (Charles) Cyril Clarke (Charles) Edgar Wood (Charles) Edward Troup (Charles) Frederick (Howard) Gough (Charles) Michael Duff (Charles) Philip Fothergill (Charles) Philip Fothergill, Liberal National Organisation, N-E Warwickshire Liberal Association & Rt Hon Charles Albert McCurdy (Charles) Vernon (Oldfield) Bartlett (Charles) Vernon (Oldfield) Bartlett & World Review of Reviews (Claude) Nigel (Byam) Davies (Claude) Nigel (Byam) Davies (Colin) Mark Patrick (Crwfurd) Wilfrid Griffin Eady (Cyril) Berkeley Ormerod (Cyril) Desmond Keeling (Cyril) George Toogood (Cyril) Kenneth Bird (David) Euan Wallace (Davies) Evan Bedford (Denis Duncan) -
Catalogue of the Library and Autographs of William F. Johnson
* Copy / I - V CATALD DUE 30 X Ilibr&ry • &nd - OF WILLIAM F. JOHNSON, ESQ., w OK BOSTON, MASS. fVERY VALUABLE and Interesting Collection of English and American Literature comprising, under the title Americana, a num¬ ber of scarce works by the Mathers, Eliot and other authors of their day ; in General Literature, many Standard and Popular Works of Biography, History and Romance, and worthy of especial notice and attention, a Collection of FIRST EDITIONS of REMARKABLE INTEREST AND VALUE BY REASON OF BOTH RARITY AND BEAUTY OF CONDITION, including the most desired specimens of the works of Coleridge, Hunt, Lamb, Keats, Shelley, Thackeray, Browning, Bry¬ ant, Emerson, Hawthorne, Longfellow and others. Also to be mentioned a charming lot of CRUIKSH ANKIANA, and books illustrated by Leech and Rowlandson. In addition to all the book treasures there are Specimen Autographs of the best known and honored English and American Authors, Statesmen and others, many of them particularly desirable for condition or interesting con¬ tents. TO BE SOLD AT AUCTION Monday, Tuesday, "Wednesday and Thursday, JANUARY 2T—30, 1890, BANQS & 60.,,. , * i A ■» 1 > > > • «. it1 > » i ) >) > ) ) > 5 > 1 J > * ) » > 739 & 741 Broadway, New York. 7 ~ % > n > > ) t> ) >7 > SALE TO BEGIN AT 3 O’CLOCK!’ ' > 7 > ' 7 ' > > 7 ) 7 *7 >v > ) , 7 {y Buyers wl~io cannot attend tloe sale me\y have pcir- chases made to tlieir order toy ttie Auctioneers. •* \ in 3 7 . '" i 'O'b ■ 9 c 1 ( f' * ( 0 « C. < C I < < < I / I , < C l < C » c 1 « l ( 1C. C f «. < « c c c i r < < < < 6 < C < < C \ ( < « ( V ( c C ( < < < < C C C t C. -
Century British Photography and the Case of Walter Benington by Robert William Crow
Reputations made and lost: the writing of histories of early twentieth- century British photography and the case of Walter Benington by Robert William Crow A thesis submitted to the University of Gloucestershire in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts and Technology January 2015 Abstract Walter Benington (1872-1936) was a major British photographer, a member of the Linked Ring and a colleague of international figures such as F H Evans, Alfred Stieglitz, Edward Steichen and Alvin Langdon Coburn. He was also a noted portrait photographer whose sitters included Albert Einstein, Dame Ellen Terry, Sir Arthur Conan Doyle and many others. He is, however, rarely noted in current histories of photography. Beaumont Newhall’s 1937 exhibition Photography 1839-1937 at the Museum of Modern Art in New York is regarded by many respected critics as one of the foundation-stones of the writing of the history of photography. To establish photography as modern art, Newhall believed it was necessary to create a direct link between the master-works of the earliest photographers and the photographic work of his modernist contemporaries in the USA. He argued that any work which demonstrated intervention by the photographer such as the use of soft-focus lenses was a deviation from the direct path of photographic progress and must therefore be eliminated from the history of photography. A consequence of this was that he rejected much British photography as being “unphotographic” and dangerously irrelevant. Newhall’s writings inspired many other historians and have helped to perpetuate the neglect of an important period of British photography.