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46 articles
Article
Horace Walpole’s queer Gothic
03/2021 | 1416 | 163
Pages: 264-269
related names
Author:
Hall, Michael (Hall, Michael)
Subjects
Illustrations
Attributed works:
1. Horace Walpole, by J.G. Eccardt, 1754. Oil on canvas, 39.4 by 31.8 cm. (National Portrait Gallery, London).
Attributed works:
2. Sir Robert Walpole and Catherine Shorter, by J.G. Eccardt and John Wootton. c.1754, frame c.1680. Oil on canvas, 50.8 by 101.6 (painting). (Courtesy Lewis Walpole Library, Yale University, Farmington CT).
Attributed works:
3. Frontispiece to ‘Memoirs of George II’ by Horace Walpole, by Richard Bentley. 1752. Pen, ink and wash on paper. (Courtesy Lewis Walpole Library, Yale University, Farmington CT).
Attributed works:
4. Miss Prettyman in clover, by ‘Truepenny’. 1785. Etching, 17.3 by 12.5 cm. (New York Public Library).
Attributed works:
5. Illustration for ‘Ode on a Distant Prospect of Eton College’, by Richard Bentley, from Designs by Mr R. Bentley, for Six Poems by Mr T. Gray, London 1753. Etching, 37.3 by 27.3 cm. (page). (British Library, London).
Book Review
Cardiff Castle and the Marquesses of Bute
10/2020 | 1411 | 162
Pages: 914
related names
Reviewer:
Hall, Michael (Hall, Michael)
Subjects
artists:
buildings:
places:
styles:
Reviewed Items
styles:
Cardiff Castle and the Marquesses of Bute By Matthew Williams. 208 pp. incl. 290 col. + b. & w. ills. (Scala, London, 2019), £29.95. ISBN 978–17–85–51234–6. | :
Illustrations
Attributed works:
10. Design for the chimneypiece, Bachelor Bedroom, Cardiff Castle, by William Burges. c.1869. Pen, ink and watercolour on paper, 41 by 37.8 cm. (Cardiff Castle).
Exhibition Review
John Ruskin: The Power of Seeing
04/2019 | 1393 | 161
Pages: 333-336
related names
Author:
Hall, Michael (Hall, Michael)
Subjects
dates:
patrons:
Illustrations
Attributed works:
17. ‘The gates of the hills: detail from ‘The Pass of St Gothard’, near Faido, Switzerland, by John Ruskin after J.M.W.Turner. 1855. Watercolour, 32 by 33.6 cm. (Guild of St George and Museums Sheffield; exh. Two Temple Place, London).
Attributed works:
18. John Ruskin, by Benjamin Creswick. 1887. Terracotta, height 30.5 cm. (Guild of St George and Museums Sheffield; exh. Two Temple Place, London).
Attributed works:
19. View of the east end of Saint- Pierre, Chartres, from the River Eure, France, by Thomas Matthew Rooke. 1885. Watercolour, 42.5 by 42.8 cm. (Guild of St George and Museums Sheffield; exh. Two Temple Place, London).
Exhibition Review
Lost Treasures of Strawberry Hill: Masterpieces from Horace Walpole’s Collection. Strawberry Hill, Twickenham
02/2019 | 1391 | 161
Pages: 148-151
related names
Reviewer:
Aldrich, Megan (Aldrich, Megan)
Subjects
artists:
dates:
places:
Illustrations
Attributed works:
11. Horace Walpole, by Joshua Reynolds. c.1756–57. Canvas, 127 by 110 cm. (Ragley Hall, Warwickshire; exh. Strawberry Hill, Twickenham).
Attributed works:
12. Catherine de Medici and her children, by the studio of François Clouet. 1561. Canvas, 198 by 137.2 cm. (Private collection; exh. Strawberry Hill, Twickenham).
Attributed works:
13. Installation view of Lost Treasures of Strawberry Hill in the Library, Strawberry Hill (Photograph Kilian O’Sullivan).
Article
Sir Christopher Wren’s failed project for a crossing tower and spire at Westminster Abbey, 1713–25
01/2019 | 1390 | 161
Pages: 44-57
related names
Author:
Higgott, Gordon (Higgott, Gordon)
Subjects
art literature:
places:
Illustrations
Attributed works:
1. Model of the crossing with Wren’s project for a tower and spire, from the north west, by Elizabeth Gregory (as head carpenter). 1714–16. Oak and pearwood, 240 by 116 by 85.5 cm. (© The Dean and Chapter of Westminster).
Attributed works:
10. The south-west crossing pier of Westminster Abbey, from the south-east gallery. (Photograph Lisa Stein).
Attributed works:
11. The easternmost bay on the north side of the nave, showing distortion of the crossing pier at the level of the aisle vaults. (Photograph the author).
Attributed works:
12. Plan of the tower of the model at four levels, with Wren’s proposal for strengthening the crossing piers at bottom left, by William Dickinson. c.1714. Pen and brown ink over graphite with grey wash on paper, 33.9 by 39 cm. (The Bodleian Libraries, The University of Oxford, Gough Maps 23, fol.46(b)).
Attributed works:
13. Detail of a survey plan of a crossing pier, by William Dickinson. 1713. Pen and brown ink over graphite with black wash on paper, 20.1 by 31.7 cm. (The Bodleian Libraries, The University of Oxford, Gough Maps 23, fol.24v; photograph the author).
Attributed works:
14. Copy of a diagram by Wren of an aisle and crossing pier, by ‘Mr Gayfere’. c.1715–c.1735. Pen and brown ink on paper, 15.2 by 9 cm. (© The Dean and Chapter of Westminster; WAM 66895*).
Attributed works:
15. Detail of Westminster Abbey from St James’s Park, by William Lodge, printed by Pierce Tempest. 1680s. Etching, 13 by 25.5 cm. (The Bodleian Libraries, The University of Oxford, Gough Maps 23, fol.46v.(d); photograph the author).
Attributed works:
16. Detail of a copy of Wren’s Figure II in his Tract II (1710–30), showing a pier and a half-arch, with their centres of gravity, in Christopher Wren Jr’s manuscript for Parentalia. 1741. Pen and brown ink on paper, 32.7 by 18.6 cm. (© The Royal Society, London; MS 249, fol.483).
Attributed works:
18. Elevation of the proposed tower and spire over a section through the crossing, by William Dickinson. Late 1722 or 1723. With notes and sketched additions by Nicholas Hawksmoor, c.1723. Grey wash over graphite, with grey and brown ink on paper, 72.8 by 21.6 cm. (© The Dean and Chapter of Westminster; WAM (P) 913).
Attributed works:
19. Long section through the Abbey showing proposals for an octagonal dome over the crossing (with alternatives in a half-plan, top left), and the west towers, by Nicholas Hawksmoor. May 1724. Pen and brown ink with grey wash over graphite on paper, 52.2 by 107.5 cm. (© The Dean and Chapter of Westminster; WAM (P) 910).
Attributed works:
2. The north prospect of Westminster Abbey, by Wenceslaus Hollar. 1654. Etching, 21.7 by 32.8 cm. (© The Dean and Chapter of Westminster; Langley Coll I, i (1)).
Attributed works:
20. Detail of a plan of the crossing, choir and sanctuary (with north at the bottom), showing Hawksmoor’s proposal for enlarging the crossing piers, by William Dickinson. June 1724. Pen and brown ink over graphite, with brown, grey and yellow-ochre wash on paper, 49.5 by 54.6 cm. (The Bodleian Libraries, The University of Oxford, Gough Maps 23, fol.24).
Attributed works:
21. The Abbey from the north, showing the first of three alternatives for the lantern and cupola, and a proposal for the west towers, by Nicholas Hawksmoor and Thomas Hinton. 1725–26. Pen and brown ink over grey wash and graphite on paper, 51 by 70.1 cm. (© The Dean and Chapter of Westminster; WAM, Hawksmoor 4A).
Attributed works:
22. The west front of Westminster Abbey, showing the towers built to Hawksmoor’s design, 1735–45. (Photograph the author).
Attributed works:
3. Survey plan of Westminster Abbey (with north at the bottom), by James Broughton. c.1697–c.1705. Pen and brown ink shaded in black and grey wash over graphite on paper, 53.5 by 74.8 cm. (© The Dean and Chapter of Westminster; WAM (P) 915).
Attributed works:
4. Sectional model of one bay of the choir and cloister, by Elizabeth Gregory (as head carpenter), 1710. Oak and pearwood, 72.9 by 83.7 by 16.2 cm. (© The Dean and Chapter of Westminster).
Attributed works:
5. Elevation (with alternatives) of the proposed tower and spire, with the gable of the north transept front, and attached plan, by William Dickinson. September and December 1722. Pen and brown ink over graphite, with grey and brown wash on paper, 104 by 38.2 cm. (© The Dean and Chapter of Westminster; WAM (P) 907, 907A).
Attributed works:
6. Detail of the model in Fig.1, showing the vault over the crossing. (© The Dean and Chapter of Westminster).
Attributed works:
7. The quire of Westminster Abbey from the west. c.1700. Canvas, 153 by 129 cm. (© The Dean and Chapter of Westminster; WA 1775).
Attributed works:
8. Plan of the vault for the crossing lantern, by Nicholas Hawksmoor. 1726–27. Pen and brown ink, with yellow ochre and grey wash over graphite on paper, 47.5 by 35 cm. (© The Dean and Chapter of Westminster).
Attributed works:
9. The north transept front and the crossing lantern of Westminster Abbey. (Photograph the author).
Western art unattributed:
17. The north-east prospect of Beverley Minster, published by H. Overton and J. Hoole (London) and G. Feraby (Hull). c.1717. Engraving, 48.5 by 56.7 cm. (The Bodleian Libraries, The University of Oxford, Gough Maps 35, fol.2).
Book Review
Gothic Revival Worldwide: A. W. N. Pugin’s Global Influence. Edited by Timothy Brittain-Catlin, Jan De Maeyer and Martin Bressani
12/2018 | 1389 | 160
Pages: 1078
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).
Exhibition Review
Thomas Chippendale studies 1968–2018: reflections on his 300th anniversary
09/2018 | 1386 | 160
Pages: 734-739
related names
Reviewer:
Goodison, Nicholas (Goodison, Nicholas)
Subjects
museums and institutions:
places:
Illustrations
Attributed works:
1. Opposite Secretaire, by Thomas Chippendale. 1773. Mahogany with Chinese lacquer and English japanning, 86 by 136 by 43 cm. (Leeds Museums and Galleries, Temple Newsam House).
Attributed works:
2. Drawing for three chairs by Thomas Chippendale. 1753. Pen and grey wash on paper, 20.3 by 33 cm. (The Chippendale Society).
Attributed works:
3. Card table, by Thomas Chippendale. 1759. Mahogany and oak, 75 by 89 by 46 cm. (closed). (Dumfries House Trust).
Attributed works:
4. Armchair, by Thomas Chippendale. 1767. Mahogany, 96 by 63.5 by 65 cm. (Nostell Priory, The National Trust).
Attributed works:
5. Armchair, by Thomas Chippendale. c.1774. Gilt limewood with tapestry covers. 105 by 70 by 74 cm. (Newby Hall, Yorkshire).
Attributed works:
6. Armchair, attributed to Gillows, based on a plate XVII of The Gentleman and Cabinet-Maker’s Director by Thomas Chippendale, London 1762. 1784. Mahogany, 101.6 by 58.4 by 47.5 cm. (Birmingham Museums Trust, Soho House).
Attributed works:
7. Digital reconstruction of Fig.8, to show the original appearance of the marquetry.
Attributed works:
8. Top of a pier table, by Thomas Chippendale. c.1772. Veneered mahogany, 60 by 196 cm. (The Chippendale Society).
Attributed works:
9. Commode, by Thomas Chippendale. c.1773. Veneered mahogany with gilt-brass mounts, 94 by 228.6 by 63.5 cm. (Renishaw Hall, Derbyshire).
Publication Received
The Sympathy of Things: Ruskin and the Ecology of Design. By Lars Spuybroek
07/2017 | 1372 | 159
Pages: 566
related names
Reviewer:
Hughes, Thomas (Hughes, Thomas)
Subjects
art literature:
Book Review
Gothic for the Steam Age: An Illustrated Biography of George Gilbert Scott, by Gavin Stamp
12/2016 | 1365 | 158
Pages: 983
related names
Reviewer:
Lepine, Ayla (Lepine, Ayla)
Subjects
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