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12 articles
Article
A competition for the funerary monument of Queen Catherine Opalinska
11/2021 | 1424 | 163
Pages: 1029-1037
related names
Author:
Pénet, Pierre-Hippolyte (Pénet, Pierre-Hippolyte)
Subjects
dates:
subjects:
Illustrations
Attributed works:
1. Design for the funerary monument of Queen Catherine Opalinska, by Jean-Baptiste Il Lemoyne. 1747. Pen and ink wash, 66.5 by 50.2 cm. (Hamburg Kunsthalle).
Attributed works:
10. Design for the funerary monument of Catherine Opalinska, attributed to Jean Joseph Vinache. 1747. Pen and ink wash, 65 by 31.2 cm. (Kunsthalle, Hamburg).
Attributed works:
11. Detail of Elevation of the front facade of the Oratory Church, Paris, by Jean François Blondel, showing the Annunication by Nicolas Sébastien Adam. c.1750. Etching and engraving, sheet 51 by 33 cm. (Bibliothèque nationale de France, Paris).
Attributed works:
12. Design for the funerary monument of Catherine Opalinska, with the flaps raised, by Nicolas Sébastien Adam. 1747. Pen and ink wash, 49.5 by 29 cm. (Kunsthalle, Hamburg; bpk).
Attributed works:
13. The drawing illustrated in Fig.12, with the flaps lowered.
Attributed works:
14. Detail of Catherine Opalinska, Queen of Poland, lying in state, by Charles Nicolas Cochin II. 1747. Etching and engraving, 66.8 by 45.5 cm. (Palais des ducs de Lorraine-Musée lorrain, Nancy).
Attributed works:
15. Funerary monument of Catherine Opalinska, by Jean Charles François. 1756. Etching and engraving, 62 by 47 cm. (Palais des ducs de Lorraine-Musée lorrain, Nancy).
Attributed works:
16. Funerary monument of Catherine Opalinska, by Nicolas Sébastien Adam. 1747–49. Marble. (Notre-Dame-de-Bonsecours, Nancy).
Attributed works:
2. View of Notre-Dame-de-Bonsecours church, Nancy. (© Ville de Nancy).
Attributed works:
3. Catherine Opalinska, by Jean-Baptiste Van Loo. 1727. Oil on canvas, 141 by 112 cm. (Château de Versailles).
Attributed works:
4. Stanislaus Leszczynski, by Jean-Baptiste Van Loo. 1727. Oil on canvas, 133 by 113 cm. (Château de Versailles).
Attributed works:
5. Design for the funerary monument of Catherine Opalinska, by Jean-Baptiste II Lemoyne. 1747. Pen and ink wash, 50.5 by 33 cm. (Kunsthalle, Hamburg).
Attributed works:
6. Design for the funerary monument of Catherine Opalinska, by Jean-Baptiste II Lemoyne. 1747. Pen and ink wash, 66.5 by 50.3 cm. (Kunsthalle, Hamburg).
Attributed works:
7. Funerary monument of Pierre Mignard, by François Bernard Lépicié. 1743. Etching and engraving, 72.5 by 48 cm. (Bibliothèque nationale de France, Paris).
Attributed works:
8. Monument to Alexander VII, by Gian Lorenzo Bernini. 1671–78. Marble. (St Peter’s Basilica, Rome).
Attributed works:
9. Design for the funerary monument of Catherine Opalinska, by Lambert Sigisbert Adam. 1747. Pen and ink wash, 46 by 25.2 cm. (Kunsthalle, Hamburg).
Book Review
David Jones: Engraver, Soldier, Painter, Poet. By Thomas Dilworth
01/2019 | 1390 | 161
Pages: 95-96
related names
Reviewer:
James, Merlin (James, Merlin; James, Merlin Ingli; Ingli James, Merlin; J., M.)
Subjects
dates:
media:
places:
Book Review
Avant-garde Art and Criticism in Francoist Spain. By Paula Barreiro López
12/2018 | 1389 | 160
Pages: 1076
Exhibition Review
Mika Rottenberg. Goldsmiths Centre for Contemporary Art, London
12/2018 | 1389 | 160
Pages: 1063-1065
related names
Reviewer:
Caiger-Smith, Martin (Caiger-Smith, Martin)
Subjects
dates:
places:
Illustrations
Attributed works:
30. Cosmic Generator, by Mika Rottenberg. 2017. Video and sculptural installation, dimensions variable. (© Mika Rottenberg; courtesy Andrea Rosen Gallery, New York, and Galerie Laurent Godin, Paris; exh. Goldsmiths Centre for Contemporary Art, London).
Attributed works:
31. Installation view of Mika Rottenberg at Goldsmiths Centre for Contemporary Art, London, 8th September–4th November 2018. (Photograph Andy Keate; courtesy the artist).
Attributed works:
32. Installation view of Mika Rottenberg at Goldsmiths Centre for Contemporary Art, London, 8th September–4th November 2018. (Photograph Andy Keate; courtesy the artist).
Attributed works:
33. Project space, Goldsmiths Centre for Contemporary Art, London. 2018. (Photograph courtesy Assemble).
Article
The design of New Court at St John’s College, Cambridge
10/2018 | 1387 | 160
Pages: 840-849
related names
Author:
Salmon, Frank (Salmon, Frank)
Subjects
Illustrations
Attributed works:
10. Detail of a design for the south elevation of New Court, by Thomas Rickman and Henry Hutchinson. November 1826. Pen and ink on paper, 62 by 108 cm. (By permission of the Master and Fellows of St John’s College, Cambridge, SJCA/MPSC4/4)
Attributed works:
11. The Bridge of Sighs, viewed westward from the Third Court loggia, St John’s College, Cambridge, by Thomas Rickman and Henry Hutchinson. 1827–31. (Photograph © Tim Rawle)
Attributed works:
12. Detail of Fig.10, showing the design for an iron Bridge of Sighs.
Attributed works:
13. The New Court ‘Bridge Passage’, St John’s College, Cambridge, viewed westward towards the cloister with the entrance to A Staircase on the right, by Thomas Rickman and Henry Hutchinson. 1827–31. (Photograph Tim Rawle).
Attributed works:
14. Detail of Fig.2, digitally rendered to show the building as it would have appeared if built in red brick.
Attributed works:
2. South front of New Court, St John’s College, Cambridge, by Thomas Rickman and Henry Hutchinson. 1827–31. (Photograph © Tim Rawle).
Attributed works:
3. Perspective view of a design for New Court from the south-east, by John Clement Mead. October 1824. Pen, ink and wash on paper, 68 by 124 cm. (By permission of the Master and Fellows of St John’s College, Cambridge, SJCA/MPSC2/10).
Attributed works:
4. Detail of a design for the east elevation of New Court, by John Clement Mead. October 1824. Pen, ink and wash on paper, 70 by 98 cm. (By permission of the Master and Fellows of St John’s College, Cambridge, SJCA/MPSC2/5).
Attributed works:
5. The Shrewsbury Tower gatehouse in Second Court, St John’s College, Cambridge, by Ralph Symons and Gilbert Wigge. 1598–1602. (Photograph © Tim Rawle).
Attributed works:
6. Detail of a design for the south elevation of New Court, by John Clement Mead. October 1824. Ink and wash on paper, 70 by 98 cm. (By permission of the Master and Fellows of St John’s College, Cambridge, SJCA/MPSC2/2).
Attributed works:
7. South side of Second Court, St John’s College, Cambridge, by Ralph Symons and Gilbert Wigge. 1598–1602. (Photograph © Tim Rawle).
Attributed works:
8. Detail of a design for the south elevation of New Court, St John’s College, Cambridge, by Arthur Browne. April–September 1825. Pen, ink and grey wash on card, 22 by 55 cm. (By permission of the Master and Fellows of St John’s College, Cambridge, SJCA/MPSC3/3).
Attributed works:
9. Detail of a plan of a design for New Court, by Arthur Browne. April–September 1825. Pen, ink and wash on card, 22 by 56 cm. (By permission of the Master and Fellows of St John’s College, Cambridge, SJCA/MPSC3/2).
Western art unattributed:
1. New Court and the Bridge of Sighs, St John’s College, Cambridge, viewed from the Kitchen Bridge to the south-east. Mid-nineteenth century. Engraving, 8.5 by 13.5 cm. (Private collection).
Article
Chardin, Vanloo and the Académie royale during the Regency: new archival information
05/2008 | 1262 | 150
Pages: 296-300
related names
Author:
Piotrowska, Anna K (Piotrowska, Anna K)
Subjects
dates:
Illustrations
Attributed works:
1. Oil-sketch for Hercules and Cacus, by François Lemoyne. 1717. Canvas, 35 by 46.5 cm. (Musée du Louvre, Paris)
Attributed works:
2. Life class at the Académie Royale, Paris, with Natoire as an instructor, by Charles-Joseph Natoire. 1746. Watercolour and black chalk on paper, 45.3 by 32.3 cm. (Courtauld Institute of Art Gallery, London)
Attributed works:
3. Sacrifice of Manoah, by Charles-Joseph Natoire. 1721. Canvas, 97 by 121 cm. (Ecole Nationale Supérieure des Beaux-Arts, Paris)
Attributed works:
4. Sacrifice of Manoah, by La Mothe. 1721. Canvas, 103 by 138 cm. (Ecole Nationale Supérieure des Beaux-Arts, Paris).
Attributed works:
5. Oil-sketch for Sacrifice of Manoah, by La Mothe. 1721. Canvas, 53.5 by 65 cm. (Musée des Beaux-Arts, Tours).
Short Notice
'A Noble Kind of Practice': The Society of Arts Art-Workmanship Competitions, 1863-71
06/1993 | 1083 | 135
Pages: 411-415
related names
Author:
Graham, Clare (Graham, Clare)
Subjects
dates:
places:
Illustrations
Attributed works:
45. Design for an Inkstand Attributed to Holbein. 1864. Prescribed Work for the Society of Arts' Art-Workmanship Competition. Wood Engraving, 14.5 by 24 cm. (Victoria and Albert Museum, London).
Attributed works:
46. Plaque, Painted by Alexander Fisher after a Design by Lucas van Leyden Dated 1528. Prize-Winning Entry in the 1865 Art-Workmanship Competition. Porcelain, 20 by 28 cm. (Victoria and Albert Museum, London).
Attributed works:
47. Panel Carved in High Relief, by W. Holmes. Prizewinning Entry in the 1866 Art-Workmanship Competition. Caen Stone, 38 by 10 cm. (Victoria and Albert Museum, London).
Attributed works:
48. Bracket in the Form of a Female Head, by Samuel Moutrie. Prizewinning Entry in the 1869 Competition. Marble and Gilded Wood, 24 by 16.5 cm. (Victoria and Albert Museum, London).
Attributed works:
49. Window Grating, by T. Winstanley. Part of a Group of Prizewinning Objects Entered by the Contestant for the 1867 Art-Workmanship Competition. Hammered Iron, 38 by 20 cm. (Victoria and Albert Museum, London).
Attributed works:
50. Champagne Glass, by Joseph Leicester M. P. One of a Group of Three Glasses Entered by the Contestant for the 1869 Art-Workmanship Competition. Green Glass, Spirally Ribbed, Striped and Flaked with White, 21.5 cm. High. (Victoria and Albert Museum, London).
Editorial
A Modern 'Ecce Homo'
06/1953 | 603 | 95
Pages: 179-180
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museums and institutions:
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subjects:
subjects:
Short Notice
Teyler's Second Society of Haarlem, 1908
04/1908 | 61 | 13
Pages: 40
Subjects
places:
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