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21 articles
Letter
A painted cabinet in Edinburgh
02/2017 | 1367 | 159
Pages: 132
related names
Author:
Hopkinson, Martin (Hopkinson, Martin; Hopkinson, Martin)
Subjects
dates:
Illustrations
Western art unattributed:
60. The cloud cabinet. c.1877-78 (National Museum of Scotland, Edinburgh)
Exhibition Review
The Celts
04/2016 | 1357 | 158
Pages: 311-313
related names
Reviewer:
Bradley, Richard (Bradley, Richard)
Subjects
dates:
Illustrations
Attributed works:
89. The Druids: bringing in the mistletoe, by George Henry and Edward Atkinson Hornel. 1890 (Glasgow Museums; exh. National Museum of Scotland, Edinburgh)
Western art unattributed:
86. The Snettisham great torc. Snettisham, Norfolk, 100-50 BC (British Museum, London; exh. National Museum of Scotland, Edinburgh)
Western art unattributed:
87. Stylised birds on a sheild boss from the River Thames at Wandsworth, c.300-200 BC (British Museum, London; exh. National Museum of Scotland, Edinburgh)
Western art unattributed:
88. The Desborough mirror. Northamptonshire, c.50 BC-50 AD (British Museum, London; exh. National Museum of Scotland, Edinburgh)
Exhibition Review
Ming
01/2015 | 1342 | 157
Pages: 46-48
related names
Reviewer:
Pierson, Stacey (Pierson, Stacey)
Subjects
dates:
Illustrations
Attributed works:
51. Idly fishing on an autumn river, by Shen Zhou (Nanjing Museum; exh. National Museum of Scotland, Edinburgh)
Non-western art unattributed:
48. Meiping jar with cover and underglaze red floral decoration. Ming dynasty, Zhengtong period (Nanjing Museum; exh. National Museum of Scotland, Edinburgh)
Non-western art unattributed:
49. Cloisonné enamel jar and cover with dragns. Beijing, Xuande mark and period (British Museum, London)
Non-western art unattributed:
50. Detail from Amusements in the Xuande emperor's palace, showing the emperor playing an arrow-throwing game. Anonymous, Xuande period (Palace Museum, Beijing; exh. British Museum, London)
Exhibition Review
Scottish silver. Edinburgh
04/2008 | 1261 | 150
Pages: 278-279
related names
Reviewer:
Murdoch, Tessa (Murdoch, Tessa)
Subjects
dates:
places:
print:
Reviewed Items
subjects:
Silver: Made in Scotland | institution: Royal Scottish Museum
Illustrations
Attributed works:
92. The Heriot Loving Cup, by Robert Denneistoun. Edinburgh, 1611–13. Silver and nautilus shell, 22 by 14.5 cm. (The George Heriot Trust, Edinburgh; exh. Royal Scottish Museum, Edinburgh)
Attributed works:
93. Teapot, by Sarah Hutchison. 2007. Silver, dimensions variable. (Sharlene Spiteri collection; exh. Royal Scottish Museum, Edinburgh)
Western art unattributed:
91. The Bute Mazer. Scottish. Bowl, boss and lid (lid not illustrated), c.1320; rim foot and straps, c.1565. Silver and maplewood, 11 by 25.7 cm. (Private collection, Mount Stuart; exh. Royal Scottish Museum, Edinburgh)
Publication Received
Ancient Glass in National Museums Scotland
06/2007 | 1251 | 149
Pages: 423
related names
Reviewer:
Dawson, Aileen (Dawson, Aileen; D., A.)
Subjects
print:
print:
Reviewed Items
subjects:
Ancient Glass in National Museums Scotland | author: Lightfoot, C.S.
Supplement
Recent Museum Acquisitions in Edinburgh: Supplement
08/1987 | 1013 | 129
Pages: 562-565
Subjects
artists:
artists:
artists:
artists:
artists:
artists:
dates:
places:
subjects:
Illustrations
Attributed works:
107-109. La jardinière endormie, L'offrande à la villageoise, and L'aimable pastorale, by François Boucher. Each 229 by 89 cm. (National Gallery of Scotland). A set of three canvases which were formerly in the collection of Marchal de Saincy (d.1789); they were subsequently bought by Baron Meyer Amschel de Rothschild and hung at Mentmore. Purchased by private treaty sale from the estate of H. M. V. Showering.
Attributed works:
110. James Watt and the steam engine: the dawn of the nineteenth century, by James Eckford Lauder. 147.3 by 238.8 cm. (National Gallery of Scotland). Lauder's celebration of the modern age of steam was painted in 1855 and exhibited in the Royal Scottish Academy's half of the newly erected National Gallery of Scotland building. This dramatic painting, with its obvious debt to Wright of Derby, is unusual in Lauder's career, his preferred subjects being generally selected from Scott or Shakespeare.
Attributed works:
113. Seton Palace and the Firth of Forth, by Alexander Keirincx. 45.6 by 68.5 cm. (Scottish National Portrait Gallery). This Landscape, Discovered and Identified Last Year, Contains the Only Known View of the Great Medieval and Renaissance Palace of Seton. It Was Painted for Charles I.
Attributed works:
114. The Musical Contest between Apollo and Masyas, by Giulio Sanuto. Engraving in Three Plates, 51.8 by 42.4 cm Each. (National Gallery of Scotland).
Attributed works:
115. Portrait of Mrs Fuseli, by Johann Heinrich Fuseli. Pen and Grey Wash over Traces of Black Chalk, 22 by 15.4 cm. Inscribed by the Artist '31 May 1800'. (National Gallery of Scotland). Purchased by Private Treaty from a Scottish Private Collection.
Attributed works:
116. Holy Family with St John in a Landscape, by Denys Calvaert. Oil on Copper, 42 by 32 cm. (National Gallery of Scotland). Dated by Stephen Pepper C.1593-94, a Close Variant is in the National Gallery, Warsaw, and Related Drawings are in the Albertina, Vienna and the Budapest Museum. Purchased with the Aid of the Patrons of the National Galleries of Scotland and the NACF.
Attributed works:
117. Close number 46, Saltmarket, by Thomas Annan. 1868-71. Albumen photograph, 27.9 by 22.5 cm. (Scottish National Portrait Gallery). One of thirty-one photographs from Thomas Annan's famous series Old Closes and Streets of Glasgow, taken for the Glasgow Improvement Trust, which is remarkable not just as a social or historical document but as a group of strikingly beautiful photographs.
Attributed works:
118. Alexander III of Scotland rescued from the fury of a stag by the intrepidity of Colin Fitzgerald, by Benjamin West. 1786. 366 by 521 cm. (National Gallery of Scotland). One of the earliest portrayals of Scottish history to be shown at the Royal Academy, it was commissioned by Francis Humberston Mackenzie to illustrate the legendary exploit of his ancestor in the thirteenth century. There is a preparatory oil-sketch at Petworth House, Sussex. Purchased with the aid of the National Heritage Memorial Fund, the NACF, the Pilgrim Trust, Ross and Cromarty District Council and Mr Dennis F. Ward.
Attributed works:
119. Two Sleeping Figures with Still-Life of Flask and Bottles, by Pier Francesco Mola. Pen and Brush with Brown Ink, 20.4 by 28 cm. (National Gallery of Scotland).
Attributed works:
120. Spiral Theme, by Naum Gabo. 1941. Perspex, 7.5 by 11 by 12.5 cm. (Scottish National Gallery of Modern Art).
Attributed works:
121. Clamp, by Bill Woodrow. 1986. Painted Metal, 248 by 67 by 51 cm. (Scottish National Gallery of Modern Art).
Western art unattributed:
111. One of a Set of Eight Carved Oak Panels Made for Cardinal David Beaton, Scottish, before 1546. The Whole Measures 670 by 145 cm. (The Royal Museum of Scotland).
Western art unattributed:
112. Deposition from the Cross, a Miniature from the Murthly Hours. The Manuscript was Written and Illuminated in England in the Late 13th or Early 14th Century, but It Has Been in Scottish Ownership Since 1420. (National Library of Scotland).
Supplement
Recent Museum Acquisitions in Edinburgh: Supplement
08/1985 | 989 | 127
Pages: 568-571
Subjects
artists:
artists:
artists:
dates:
places:
Illustrations
Attributed works:
100. Margaret Sym, Mrs John Wilson, by Archibald Skirving. Pastel, 68.5 by 56 cm. (Scottish National Portrait Gallery).
Attributed works:
102. Andromache Mourning the Dead Hector, by Gavin Hamilton. 64.2 by 98.5 cm. (National Gallery of Scotland). Sketches by Hamilton of Similar Size, Also for Subjects from the Iliad, Are in the Tate and a Scottish Collection. No Full-Scale Painting from This Sketch is Known to Survive, and the Engraving of the Subject Differs in Several Respects. Until Recently This Sketch Was in an Italian Collection and Ascribed to a Follower of David.
Attributed works:
89. An Interior in Naples, with Lord Fortrose (1744-1781) and His Friends, Attributed to Pietro Fabris. 35.5 by 47.6 cm. (Scottish National Portrait Gallery). Acquired with the Assistance of the N. A.-C. F. This Picture and Its Pendant Are Discussed in the Current N. A.-C. F. Annual Report.
Attributed works:
90. Sir Alexander Morrison, by Richard Dadd. 51.1 by 61.3 cm. (Scottish National Portrait Gallery). Morrison, Shown in Front of His House at Anchorfield, Newhaven, Was an Alienist at Bethlem Hospital, Where Dadd Was Interned.
Attributed works:
91. Martyrdom of St Lawrence, by Gaetano Gandolfi. Black and White Chalks, 43.3 by 30.5 cm. (National Gallery of Scotland). A Preliminary Study for the Central Part of the Altar-Piece in S. Lorenzo in Budrio, near Bologna.
Attributed works:
92. Christ on the Road to Emmaus, by Rembrandt. Pen and Gallnut Ink, 22.6 by 16.1 cm. (National Gallery of Scotland). The Attribution Has Been Doubted, Perhaps Because of the Condition. The Use of Gallnut Ink Would Suggest a Date in the Late 1630s, Rather Than the Date of 1632-33 Proposed by Benesch.
Attributed works:
93. Norman McCaig and Hugh McDiarmid in Rose Street, by Alexander Moffat. Pastel on Paper, 78.8 by 50.8 cm. (City of Edinburgh Art Centre). Moffat's Portrait of the Two Most Important Scots Poets of This Century Was Purchased at an Auction in Aid of the Lord Provost's Appeal for Miners' Families during the Recent Strike.
Attributed works:
94. Les constructeurs: l'équipe au repos, by Fernand Léger, 1950. 162 by 129.5 cm. (Scottish National Gallery of Modern Art). One of the First of Léger's Paintings of Construction Workers Erecting the Metal Framework of a Building.
Attributed works:
95. Two Lines up Excentric VI, by George Rickey, 1977. Stainless Steel, Height 670.5 cm. The Two Arms React to the Slightest Breeze, But Never Meet. (Scottish National Gallery of Modern Art).
Attributed works:
96. Arthur St Clair Anstruther Thomson (1872-1904), by Aimé Jules Dalou, 1877. Marble, Height 114 cm. (Royal Scottish Museum). One of the Few Marbles Known from Dalou's Years of Exile in England (1871-80). It Was Probably Commissioned as a Pendant to a Statue of the Sitter's Mother as Psyche, by Lawrence MacDonald.
Attributed works:
97. Bitch and Pup, by Robert Colquhoun. 117 by 92 cm. (City of Edinburgh Art Centre). One of the Paintings Completed for the 1958 Whitechapel Exhibition.
Attributed works:
98. L'équipe de Cardiff, by Robert Delaunay. Oil and Tempera, 146.8 by 114.2 cm. (Scottish National Gallery of Modern Art). A 1922/23 Version of the Large Picture, Now in the Musée d'Art Moderne de la Ville de Paris, That Delaunay Painted in 1912/13. Two Other Versions Are Known.
Attributed works:
99. Silver Communion Cup from the Parish Church of St Medans, Rosneath. Made in Edinburgh in 1585; Marked by John Mosman as Both Maker and Deacon (National Museum of Antiquities of Scotland).
Western art unattributed:
101. Jacobite Wine Glass, c. 1750, Wheel-Engraved with a Portrait of Charles Edward Stuart and the Virgilian Motto Adventior Ibo. (National Museum of Antiquities of Scotland).
Supplement
Recent Ceramic Acquisitions by Major Museums: Supplement
05/1985 | 986 | 127
Pages: 337-346
Subjects
dates:
museums and institutions:
museums and institutions:
museums and institutions:
museums and institutions:
museums and institutions:
museums and institutions:
Illustrations
Attributed works:
10. Vase, Decorated in Blue and White in the Style of Kangxi Porcelain, Ansbach, 1728. Faience, Height 37 cm. Marked I U 1728 (Johann Leonhard Uz, Painter at the Faience Factory in Ansbach, 1723-47). (Museum für Kunst und Gewerbe, Hamburg).
Attributed works:
11. Coffee Set, Meissen c.1905. Porcelain Painted in Underglaze Colours, Height of Coffee Pot 15.8 cm. Blue Grey and Blue on White Ground. Designed by Theodor Grust (1857-1919). (Bayerisches Nationalmuseum, Munich).
Attributed works:
12. Tile Panel, William de Morgan, 1880. Height 163.5 cm. Designed by William Morris. (Kunstgewerbemuseum, Cologne).
Attributed works:
13. Cock, Arthur Storch. Älteste Volkstedter Porzellanmanufaktur, c. 1921-23. Porcelain, Height 98 cm. (Kunstgewerbemuseum, Cologne).
Attributed works:
14. Pot-Pourri 'vaisseau', Sèvres, 1760. Soft Paste Porcelain, in Pink, Blue and Green, Height 37 cm. The Cartouche Was Probably Painted by Dodin. (Musée du Louvre, Paris).
Attributed works:
15. Clock, Sèvres, 1762(?) Soft-Paste Porcelain, Decorated in 'petit verd', Height 39 cm. From the Collection of Madame de Pompadour at the château de Ménars. (Musée du Louvre, Paris).
Attributed works:
16. Tile, Delft (Greek A Factory), between 1686 and 1701. Tin Glazed Earthenware, Decorated at High Temperature in Monochrome Blue, Height 62 cm. In the Central Medallion, William III on Horseback. This Tile Originates from the Dairy at Hampton Court, and the Design Is Derived from Engravings by Daniel Marot. (Musée National de Ceramique, Sèvres).
Attributed works:
17. One of Two Table Decorations, Representing Fountains, Delft, (Ascribed to the Greek A Factory) c. 1700; Earthenware with Blue Decoration, Height 52 cm. (Rijksmuseum Paleis Het Loo, Apeldoorn).
Attributed works:
19. Dish, Delft, c. 1680. Earthenware Decorated in Blue with Chinoiserie Designs, Diam. 30.5 cm. From the Pottery De Metalen Pot, under Lambertus Cleffius, Marked with the Monogram LC. (Rijksmuseum, Amsterdam).
Attributed works:
2. Jug with Trilobate Opening, Cafaggiolo, c. 1515. Polychrome Maiolica, Height 35 cm. On the Front, Portrait of Pope Leo X. (Museo Internazionale Delle Ceramiche, Faenza).
Attributed works:
20. Ewer, Delft, Ascribed to the Greek A Factory, c. 1690. Glazed Earthenware, with Blue Decorations. (Rijksmuseum Paleis Het Loo, Apeldoorn).
Attributed works:
21. Shepherd and Shepherdess in an Arbour, Frankenthal, c. 1760. Porcelain, with Polychrome and Gold Decoration, and Bright Blue for the Rocailles, Height 32.1 cm. Marked with a Lion in Underglaze Blue, Model of Johann Wilhelm Lanz. (Rijksmuseum, Amsterdam).
Attributed works:
22. Bowl, Lucie Rie, 1978. Stoneware with Engraved Line Decoration, Light Grey/Green Glaze, Height 29.6 cm. (Museum Boymans-van Beuningen, Rotterdam).
Attributed works:
23. Teapot, Tournai, c. 1765-70. Porcelain, Decorated with Landscapes in Monochrome Crimson Attributed to Duvivier, and Gold cul-de-lampe, Height 12.5 cm. (Musée de Mariemont, Morlanwelz).
Attributed works:
24. Two Figures, Marieberg, Early 1770s. Hybrid Porcelain with Painted Decoration. (National Swedish Art Museum, Stockholm).
Attributed works:
25. Drug Jar, Naples 1717. Maiolica, Height 8.2 cm. Painted by Francesco Antonio Xaverio Grue. Inscribed within the Rim Nicolaus Ferrara Iatrotechnis Neapolitanus (British Museum).
Attributed works:
26. Underside of Fig.25: Inscribed near the Foot Raphethichol and Beneath the Foot MD CCXVII VII KAL XBRIS D Grue f Neap [Drug Jar, Naples 1717. Maiolica, Height 8.2 cm. Painted by Francesco Antonio Xaverio Grue. Inscribed within the Rim Nicolaus Ferrara Iatrotechnis Neapolitanus (British Museum).]
Attributed works:
27. Plate, Wedgwood, c.1773. Creamware, Diam. 22.5 cm. View of 'Westcowes Castle in the Isle of Wight' from a Drawing by Francis Grose, 1761. This May be a 'Trial Piece' for the 'Frog Service' Commissioned from Wedgwood and Bentley by Catherine the Great. (British Museum).
Attributed works:
28. Tea Jar, Staffordshire, c.1690-98. Red Stoneware, Height 11.5 cm. Attributed to John and David Elers, Bradwell Wood, Newcastle-under-Lyme. This Is the Earliest Form of Tea Jar or Caddy in Western Europe. (Hampshire County Museum, Winchester).
Attributed works:
29. Wall Plaque, Wedgwood, 1878. Creamware, Decorated by Thomas Allen in the Egyptian Style, Diam 38.5 cm. (British Museum).
Attributed works:
3. Gourd, Siegburg (Rhineland), 1573. Stoneware with Reliefs, Height 40 cm. Workshop of Anno Knütgen. (Hetjens-Museum, Düsseldorf).
Attributed works:
30. Figure of Minerva, Wiener Keramik Werkstätte, c.1910. Hard Paste Porcelain, Decorated in Black, Height 33.6 cm. Probably Designed by Michael Powolny. Marks: WW (City Art Gallery, Manchester).
Attributed works:
31. River God, Probably Southwark, c.1680. Tin Glazed Buff Earthenware Decorated in High Temperature Oxide Colours, Height 13.5 cm. (Hampshire County Museum, Winchester).
Attributed works:
32. Cabaret Set, Vienna, 1801-09. Hard Paste Porcelain, Height of Jug 21.5 cm. Decorated in Gilt on a Lavender-Blue Ground. Marks: Banded Shield in Underglaze Blue. (City Art Gallery, Manchester).
Attributed works:
33. La France as Goddess of War, Vincennes c. 1752. Glazed White Soft Paste Porcelain, Height 21.1 cm. The Only Recorded Example of This Model, Which Forms a Pendant to the Victoria and Albert Museum's Vincennes Figure of La France as Goddess of Peace. (Victoria and Albert Museum).
Attributed works:
34. Harlequin Family, Meissen, c.1740-45. Hard Paste Porcelain with Enamelled Decoration, from a Model by J. J. Kändler, Height 8.5 cm. (Mrs Jose Finney Bequest, Victoria and Albert Museum).
Attributed works:
35. Vase, Gustavsberg, Sweden, c.1930-40. 'Argenta'ware, Stoneware with Applied Silver Decoration, Height 20.5 cm. Designed by Wilhelm Håge (1889-1960). Wilhelm Håge Was Head of the Art Studio at Gustavsberg, 1917-49. (Victoria and Albert Museum).
Attributed works:
37. Tureen, Cover and Stand, Chelsea, c.1755. Soft Paste Porcelain Moulded and Painted in Pinkish-Orange, Purple, Yellow-Green and Greyish-Bluish-Green Enamel Colours, Height 22.9 cm. Marks: A Red Anchor Painted in Enamel on the Tureen and Stand; 'w' Incised on the Stand. (Royal Scottish Museum, Edinburgh).
Attributed works:
39. Dessert Plate, Nantgarw, 1818. Porcelain, Diam. 24.2 cm. London Decorated. Part of a Service Presented by the Prince Regent to His Younger Brother, Adolphus, Duke of Cambridge, (National Museum of Wales, Cardiff).
Attributed works:
4. Bowl on high foot with outward curling lip, painted in orange, yellow, green, deep blue, dark red, grey with white highlights, Faenza, 1529. Maiolica ('berettina') blue, height 11.5 cm, diam. 27 cm. Workshop of Piero Bergantini. Recto: Sacrifice of Marcus Curtius and small medallions with heads between trophies. Verso: grouped motives of vines, festoons, fruit, grotesques and trophies. On the inside of the foot, inscribed FATA. IN FAENZA. I(N). LABOTEGA/DE. Mo. PIERE. BERGA(N) TIN(N)O. M. CCCCC/1529 adi 17 di zugno. (Museo Internazionale delle Ceramiche, Faenza).
Attributed works:
40. Skillet, Meissen, c.1735. Hard Paste Porcelain Decorated in Underglaze Blue and Overglaze Enamels, with a Design of Crayfish and Foliage Copied from Chinese Famille Verte. Height Approx. 10.5 cm (National Museum of Wales, Cardiff).
Attributed works:
41. Coffee Pot, Meissen, 1710-15. Red Stoneware with Dark Brown Glaze, Enamelled in Red and Yellow, Height 16 cm. Oriental in Inspiration, This Is among the Earliest Examples of Böttger's so Called Jasper Porcelain. (Nelson-Atkins Museum of Art, Kansas City).
Attributed works:
42. Columbine, Kloster Veilsdorf, 1764-65. Hard Paste Porcelain, with Enamel Colours Height 15.9 cm. Modelled by Wenzel Neu. (Nelson-Atkins Museum of Art, Kansas City).
Attributed works:
43. Sundial, Sèvres, 1793. Hard Paste Porcelain, Height 3.8 cm. Diam. 28.6 cm. Painted by Pfeiffer (Active 1771-1800). (Museum of Fine Arts, Boston).
Attributed works:
44. Ecuelle, Cover and Stand, Sèvres, 1782. Hard Paste Porcelain, Height of écuelle and Cover 13 cm. Painted by Jean-Jacques Dieu. (John and Ernestine Payne Fund, Museum of Fine Arts, Boston).
Attributed works:
45. The Mouse Catchers, Capodimonte, c. 1745. Soft Paste Porcelain, Height 14.9 cm. (Gift of Douglas Dillon, Metropolitan Museum of Art, New York).
Attributed works:
46. Satyr, Mennecy, c. 1740. Soft Paste Porcelain, Height 18 cm. Mark: D. V. in Blue Enamel. (Metropolitan Museum of Art, New York).
Attributed works:
47. Bragget Pot and Cover, Staffordshire, Late Seventeenth Century. Lead Glazed Earthenware, Height 28.6 cm. Decoration: Five Birds in Tones of Olive Green, with Stylised Floral Motifs. Covered Overall with Brilliant Lead Glaze of Honey Tones. (Fine Arts Museum of San Francisco).
Attributed works:
48. Tureen in Form of a Hen and Her Chicks, Bow, c.1755. Soft Paste Porcelain, Naturalistically Decorated in Shades of Yellow, Grey, Brown, Rust and Black, Height 17.1 cm. (Fine Arts Museum of San Francisco).
Attributed works:
49. Tureen in Form of a Basket of Game, Sceaux, c. 1760. Faience, Height 20 cm. (Cleveland Museum of Art).
Attributed works:
5. Bowl, Florence, Medici Factory, c. 1580. Porcellaneous Frit, Height 4.76 cm, Diam. 13.02 cm. (Kunstgewerbemuseum, Berlin).
Attributed works:
50. Figure Seated on a Lion, Chantilly, c.1750. Soft Paste Porcelain, Height 18.2 cm. (Cleveland Museum of Art).
Attributed works:
51. Hot Water Jug and Shaving Basin, St Cloud, 1730-50. Soft Paste Porcelain, Jug with Silver Mounts. Height of Jug 20.3 cm. (Gift of Florence Scott Libbey, Toledo Museum of Art).
Attributed works:
52. Pair of Perfume Burners, Tournai, c. 1760. Soft Paste Porcelain, Height: Spring 29 cm., Autumn 27.5 cm. (Gift of Florence Scott Libbey, Toledo Museum of Art).
Attributed works:
53. Three Lidded Vases, Sèvres, 1781. Soft Paste Porcelain with bleu nouveau Ground Colour, Height of Central Vase 51.2 cm. These Formed the Central Part of a Garniture of Five Vases des Âges. The Mythological Subjects Painted on the Front Reserves Are Taken from Engravings Published in 1773 by Jean-Baptiste Tilliard after Designs by Charles Monnet (1732-1808), and Illustrate Fénelon's Aventures de Télémaque. (J. Paul Getty Museum, Malibu).
Attributed works:
54. Louis XV, Mennecy, c.1750-55. Soft Paste Porcelain, Height 42.5 cm. The Bust Was Fired in Two Parts, as the Kilns at Mennecy Could Not Hold Objects of More Than 22.5 cm. (J. Paul Getty Museum, Malibu).
Attributed works:
55. Ewer and Basin, Sèvres, 1757. Soft Paste Porcelain, Height of Ewer 19.2 cm. The Ewer Incised T. m. The Basin Bears an Unidentified Painter's Mark of a Spray of Flowers and Is Incised C. N. (J. Paul Getty Museum, Malibu).
Attributed works:
56. Peacock, Minton, c.1874. Maiolica, with Polychrome Decoration, Modelled by Paul Comolera (1818-1897), Height 144 cm. (Power House Museum, Haymarket, New South Wales).
Attributed works:
57. Stool, Wedgwood, c. 1880. Earthenware, Height 42 cm. (National Gallery of Victoria, Melbourne).
Attributed works:
58. Sugar Bowl, Derby, 1800-10. Soft Paste Porcelain with Gilt Decoration of Hieroglyphics, Orange, Black and Gold Borders, Height 8.8 cm. This Unusual Derby Pattern Was Very Likely Inspired by the Battle of the Nile and the Discovery of the Rosetta Stone. (Gift of Mrs Estelle Morris, Royal Ontario Museum, Toronto).
Attributed works:
59. Teapot, English, Impressed 'Turner' c.1800-05. Fine White Stoneware, Smear-Glazed and Trimmed in Blue with Polychrome Scenic Vignettes on the Sides, Height 14 cm. (Gift of Mrs Brown, Royal Ontario Museum, Toronto).
Attributed works:
6. Mark from Base of Fig. 5: Dome of Florence Cathedral with 'F' (In Centre of Foot). [Bowl, Florence, Medici Factory, c. 1580. Porcellaneous Frit, Height 4.76 cm, Diam. 13.02 cm. (Kunstgewerbemuseum, Berlin).
Attributed works:
61. Scaramouche, Würzburg, c.1775. Hard Paste Porcelain, Height 13.5 cm. Costume Partially Coloured with Black Enamel and Gilded. (George R. Gardiner Museum of Ceramic Art, Toronto).
Attributed works:
62. Watering can, Vincennes, 1753. Soft Paste Porcelain, Banded with 'bleu lapis' and Gilded, Floral Sprays in Polychrome Enamel, Height 20 cm. (George R. Gardiner Museum of Ceramic Art, Toronto).
Attributed works:
7. Tureen in Shape of a Turkey, Hoechst (Near Frankfurt) C. 1750. Faience with Overglaze Painting, Height 38 cm. (Hetjens-Museum, Düsseldorf).
Attributed works:
8. Augustus-Rex Vase, Meissen, c.1726-28. Porcelain, with Relief Decoration and Painted in the Style of Famille Verte, Height 66 cm. (Museum für Kunst und Gewerbe, Hamburg).
Attributed works:
9. Teapot, Nymphenburg, c. 1765-70. Hard Paste Porcelain, Polychrome and Gilt, Height 26 cm. Bacchanalian Scenes and Decoration Attributed to Cajetan Purtscher (1740-1813). (Bayerisches Nationalmuseum, Munich).
Non-western art unattributed:
1. Ovoid Vase, Decorated in Underglaze Blue and Black. Syria, Fourteenth Century. Fritware, Height 31.5 cm. (Museo Internazionale Delle Ceramiche, Faenza).
Non-western art unattributed:
18. Vase, China, Eighteenth Century. Porcelain, for Export, with Polychrome and Gold Decoration, Height Without Stand 128 cm. (Museum Boymans-van Beuningen, Rotterdam).
Non-western art unattributed:
36. Three Teapots, Yixing Kilns (China, Jiangsu Province), Contemporary. Coloured Stoneware Clays, Height of Teapot in Water Chestnut form 5 cm (By Jiang Rong), of the Larger Teapot 6.5 cm (By Xu Xiutang), and of the Smaller Teapot 5.8 cm (By Jin Zhixu). (Victoria and Albert Museum).
Western art unattributed:
38. Mug, English (York), Late Seventeenth Century. Fine Grey Stoneware Covered with a Grey Glaze Sparsely Streaked Greenish-Blackish-Brown, Height 6.7 cm. By Francis Place. (Royal Scottish Museum, Edinburgh).
Western art unattributed:
60. Effigy Vessel, Teotihuacan, Mexico, c. A. D. 250-650. 'Thin Orange' Ware, Height 22.8 cm. (George R. Gardiner Museum of Ceramic Art, Toronto).
Short Notice
Recent Museum Acquisitions in Edinburgh
08/1984 | 977 | 126
Pages: 472+530-533
Subjects
dates:
places:
Illustrations
Attributed works:
1. Anne Bayne, Mrs Allan Ramsay, by Allan Ramsay. 68.3 by 54.6 cm. (Recently Acquired by the Scottish National Portrait Gallery).
Attributed works:
56. Virgin and Child with Saints, by Lorenzo Lotto. Canvas, Transferred from Panel. 82.5 by 105 cm. (National Gallery of Scotland).
Attributed works:
57. Hercules and Antæus, by Stefano Maderno. Base Signed and Dated St. M. fo 1620. Terracotta, Height 55.5 cm (Royal Scottish Museum). Recorded in 1738 in the Clerk of Penicuik Collection.
Attributed works:
58. By the bonnie banks of Fordie, by Charles Hodge Mackie. Monogrammed and dated 1897. 61.9 by 90.8 cm. (Edinburgh City Art Collection). This is an early painting by Charles Hodge Mackie (1862-1920), showing signs of the decorative influences on his work at this stage in his career. It is believed to be based on part of a cycle of murals which Patrick Geddes commissioned from Mackie for a flat in Ramsay Gardens, Edinburgh, based on the theme of the four seasons. It shows Mackie's interest in the decorative use of colour and form and the influence of his early French contacts. A black and white illustration based on this painting was published in the Evergreen in 1887, a magazine to which Mackie and other artists of Geddes's circle contributed.
Attributed works:
59. Violon dans l'espace, by Arman. 1967-68. Fragmented violoncello in polyester resin. 127.9 by 48.6 by 14.6 cm. (Scottish National Gallery of Modern Art). Since joining Pierre Restany's movement Nouveau réalisme in 1960, Arman (b.1928) has founded his work on what Restany has called 'controlled chance'. This piece belongs to the group aptly named colères, in which dismembered objects are fixed in resin, or sometimes in concrete. As Arman's title suggests, the work does with a real object what cubism had done on canvas nearly sixty years before, that is to say redistribute its planes and facets in a new arrangement in pictorial space, here defined by the dimensions of the plastic block.
Attributed works:
60. Villa Gotte, garden, by John Duncan Fergusson. Signed. 37.5 by 36.8 cm. (Edinburgh City Art Collection). This work by the Scottish artist, Fergusson, belongs to the 1920s and shows the head of an unknown girl in the garden of the Villa Gotte, bought by the artist's friend George Davidson in 1921.
Attributed works:
61. Eclair, by Nicolas de Stael. 115.5 by 89 cm. (Scottish National Gallery of Modern Art). Although the back of the canvas is dated 1946, the method of painting suggests some reworking during the next year or two. All the elements employed are extremely material, and can almost be traced in space as if they were sticks or rods, although the title makes clear they are meant to be purely visual phenomena. The solidity and clarity of construction save the artist from the sloppiness so characteristic of post-war art informel.
Attributed works:
62. James Byres of Tonley and members of his family, by Franciszek Smugliewicz. 65.7 by 75.9 cm. (Scottish National Portrait Gallery). The son of a Jacobite, Byres was one of the most celebrated guides of British visitors to Rome in the late eighteenth century. The picture is fully discussed by Brinsley Ford in the National Art-Collection Fund's Review 1984, p. 111.
Attributed works:
63. Christ delivered to the people, by Stanley Spencer. 1950. 68.8 by 149 cm. (Scottish National Gallery of Modern Art). This fine and hitherto little-known painting is the first by Spencer to enter the collection. It is from his later phase, when his memories of Cookham and its inhabitants, and his perception of exotic iconography, were merged in an overpowering dream-like fantasy. The homespun folk who drag off Christ seem motivated more by village malice than by great passion, but Spencer places them in a rudimentary renaissance perspective enlivened by a St Veronica (?) crowned by electric light globes.
Attributed works:
64. James Watt, by Sir William Beechey. 74.3 by 61.6 cm. (Scottish National Portrait Gallery).
Attributed works:
65. Madame Victoire, by Louis-Claude 'Vassé. Signed and Dated 1763. Marble, Height 71 cm. (Royal Scottish Museum).
Attributed works:
66. My baby moon, by June Redfern. 1983. 190.5 by 214 cm. (Scottish National Gallery of Modern Art). This strong, nervous, painting is representative of the recent revival of large-scale figurative painting which has taken its own particular direction in Scotland.
Attributed works:
67. Elizabeth with a Yellow Lily, by John Houston. 127.1 by 101.6 cm. (Edinburgh City Art Collections). A Recent Portrait of the Artist's Wife, Elizabeth Blackadder.
Attributed works:
68. Dance to the Music of Time, by Nicolas Poussin. Pen, Brown Ink and Wash, 14.8 by 19.9 cm. (National Gallery of Scotland). Recently Acquired from the Loyd Collection, This Is the Only Study Known for the Painting in the Wallace Collection.
Attributed works:
69. The Trinity, by Luca Giordano. Black Chalk and Brown Wash, with White Heightening. 35 by 20.7 cm. (National Gallery of Scotland). This Drawing Has Not Been Connected with Any Known Painting by the Artist.
Attributed works:
70. The Deposition, by Jacopo Tintoretto. 203 by 150 cm. (National Gallery of Scotland). Almost certainly the altar-piece from the Bassi Chapel in the Church of S. Francesco della Vigna, Venice, described by Vasari in 1568. The removal of the discoloured varnish, at present being undertaken, will fully endorse the generally held view that this is an entirely autograph work by Tintoretto.
Attributed works:
71. Interior with a young violinist, by Gerrit Dou. Signed and dated 1637. Panel, 31.1 by 23.7 cm. The earliest work by the artist to have survived and one of the paintings bought from Dou between 1637 and 1641 by the Swedish Ambassador, Pieter Spiering, and sent to Queen Christina of Sweden.
Short Notice
Giuseppe Mazza's 'Judgment of Paris'
03/1979 | 912 | 121
Pages: 174+176-177
related names
Author:
Baker, Malcolm (Baker, Malcolm)
Subjects
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dates:
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subjects:
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Illustrations
Attributed works:
54. The Judgment of Paris, by Giuseppe Mazza. Terracotta, 53 by 72 cm. (Royal Scottish Museum, Edinburgh).
Attributed works:
55. The Judgment of Paris, by Giovan Gioseffo Dal Sole. Fresco. (Palazzo Mansi, Bologna).
Attributed works:
56. The Finding of Moses, by Giuseppe Mazza. Terracotta, 36 by 32 cm. (Private Collection, Bologna).
Attributed works:
57. Hercules and Omphale, by Giovan Gioseffo Dal Sole. 87 by 66.5 cm. (Gemälde-Galerie, Dresden).
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