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130 articles
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
Antony Gormley: SUBJECT. Kettle’s Yard, Cambridge
08/2018 | 1385 | 160
Pages: 686-688
related names
Reviewer:
Lewison, Jeremy (Lewison, Jeremy)
Subjects
dates:
Illustrations
Attributed works:
28. Time horizon, by Antony Gormley. 2006. Cast iron (100 elements), 189 by 53 by 29 cm. Installation view at Parco Archeologico di Scolacium, Roccelletta di Borgia, Catanzaro (Photograph by Peppe Avallone; © the artist)
Attributed works:
29. Infinite cube II, by Antony Gormley. 2018. Mirrored glass with internal copper wire matrix of 1,000 LED lights, 176 by 88 by 88 cm. (© the artist; installation photograph by Benjamin Westoby at Kettle’s Yard, Cambridge).
Attributed works:
30. Installation view of Antony Gormley: SUBJECT at Kettle’s Yard, Cambridge (Photograph Benjamin Westoby; © the artist).
Exhibition Review
Things of Beauty Growing: British Studio Pottery. Fitzwilliam Museum, Cambridge
06/2018 | 1383 | 160
Pages: 503-506
related names
Reviewer:
Haslam, Malcolm (Haslam, Malcolm)
Subjects
collectors and dealers:
dates:
media:
Illustrations
Attributed works:
20. Leaning blue and white pot, by Alison Britton. 1987. Handbuilt, high-fired earthenware, painted with slip and underglaze pigment under a clear matt glaze. 48 by 35.7 cm. (Victoria and Albert Museum, London; exh. Fitzwilliam Museum, Cambridge).
Attributed works:
21. Moon jar, by Akiko Hirai. 2016. Stoneware, porcelain slip, paper fibre, wood ash, and white glaze, 52 by 46 cm. (Collection of Akiko Hirai, London; exh. Fitzwilliam Museum, Cambridge).
Attributed works:
22. In praise of shadows, by Grayson Perry. 2005. Coiled stoneware, stencilled and inlaid slip, transparent glaze, handdrawn and photographic transfers, gold lustre, 80 by 50 cm. (Private collection; exh. Fitzwilliam Museum, Cambridge).
Exhibition Review
Kettle’s Yard
04/2018 | 1381 | 160
Pages: 335-338
related names
Reviewer:
Vaizey, Marina (Vaizey, Marina)
Subjects
collectors and dealers:
dates:
Illustrations
Attributed works:
15. New entrance to the galleries at Kettle’s Yard by Jamie Fobert Architects. (Photograph Hufton + Crow).
Attributed works:
16. Linear construction in space no. 1, by Naum Gabo. 1944–45. Perspex and Nylon thread, 304 by 304 by 62 cm. (Kettle’s Yard, University of Cambridge).
Attributed works:
17. Transparent orange rose / May green, by Callum Innes. 2017. Watercolour on Canson Heritage 640gsm, 56 by 76 cm. (Courtesy the artist; exh. Kettle’s Yard, Cambridge).
Attributed works:
18. The ladies (Wren Library), by Melanie Manchot. 2017. Digital Chromagenic print, 120 by 80 cm. (Courtesy the artist and Parafin, London; exh. Kettle’s Yard, Cambridge).
Exhibition Review
Degas
04/2018 | 1381 | 160
Pages: 334-335
related names
Reviewer:
Sloan, Rachel (Sloan, Rachel)
Subjects
dates:
Illustrations
Attributed works:
12. Lady with a parasol, by Edgar Degas. 1870–72. Canvas, 75.3 by 85 cm. (Courtauld Gallery, London; exh. Denver Art Museum).
Attributed works:
13. At the café, by Edgar Degas. c.1875–77. Canvas, 65.7 by 54.6 cm. (Fitzwilliam Museum, Cambridge; exh. Denver Art Museum).
Attributed works:
14. Arabesque over the right leg, left arm in front, first study, by Edgar Degas. c.1882–95. Coloured wax over a commercially prefabricated metal wire armature, attached to a wooden base, 23.5 by 13.7 by 27.5 cm. (Fitzwilliam Museum, Cambridge).
Exhibition Review
Victor Pasmore. Nottingham and Chichester
06/2017 | 1371 | 159
Pages: 497-498
related names
Reviewer:
Smith, Rachel (Smith, Rachel)
Subjects
artists:
dates:
subjects:
Illustrations
Attributed works:
56. Triangular motif in pink and yellow, by Victor Pasmore. 1949 (Ferens Art Gallery, Hull; exh. Pallant House Gallery, Chichester)
Attributed works:
57. Spiral motif in green, violet, blue and gold: the coast of the inland sea, by Victor Pasmore. 1950 (Tate, London; exh. Pallant House Gallery, Chichester)
Exhibition Review
Piety at home in Renaissance Italy. Cambridge
06/2017 | 1371 | 159
Pages: 495-497
related names
Reviewer:
Stemp, Richard (Stemp, Richard)
Subjects
dates:
places:
Illustrations
Attributed works:
52. Annunciation to the shepherds and the adoration of the magi, attributed to Giovanni di Nicola di Manzoni dal Colle. c.1509-15 (Fitzwilliam Museum, Cambridge)
Western art unattributed:
53. Knife inscribed with musical notation. France (possibly) for use in Italy. Sixteenth century (Musée National de la Renaissance, Château d'Ecouen; exh. Fitzwilliam Museum, Cambridge)
Western art unattributed:
54. Virgin and Child. Umbria, possibly Orvieto. c.1350-1450 (Fitzwilliam Museum, Cambridge)
Western art unattributed:
55. Comb with The Annunciation. Italy, France or Flanders? c.1450-1500 (Kunstgewerbemuseum, Berlin; exh. Fitzwilliam Museum, Cambridge)
Exhibition Review
Artists’ mannequins
12/2014 | 1341 | 156
Pages: 840-841
related names
Reviewer:
Ayres, James (Ayres, James)
Subjects
dates:
places:
subjects:
Illustrations
Attributed works:
54. Decomposing, by Alan Beeton (Tate, London; exh. Fitzwilliam Museum, Cambridge)
Western art unattributed:
55. Neo-classical mannequin. Italian, probably early nineteenth century (Accademia Carrara, Bergamo; exh. Fitzwilliam Museum, Cambridge)
Exhibition Review
John Craxton
04/2014 | 1333 | 156
Pages: 259-260
related names
Reviewer:
Spalding, Frances (Spalding, Frances)
Subjects
artists:
dates:
places:
subjects:
Illustrations
Attributed works:
61. Poet in a landscape, by John Craxton (Artist's estate; exh. Fitzwilliam Museum, Cambridge)
Attributed works:
62. Shepherd and rocks, by John Craxton (Britten-Pears Foundation, Aldeburgh; exh. Fitzwilliam Museum, Cambridge)
Attributed works:
63. Pastoral for R.W., by John Craxton (Tate Britain; exh. Fitzwilliam Museum, Cambridge)
Exhibition Review
John Brett’s portraits. Birmingham, London and Cambridge
07/2010 | 1288 | 152
Pages: 488-489
related names
Reviewer:
Treuherz, Julian (Treuherz, Julian)
Subjects
artists:
dates:
print:
subjects:
Reviewed Items
subjects:
Objects of Affection. Pre-Raphaelite Portraits by John Brett | institution: Barber Institute of Fine Arts , institution: Fine Art Society , institution: Fitzwilliam Museum
Illustrations
Attributed works:
42. Christina Rossetti, by John Brett. 1857. Panel, 13.3 by 10.1 cm. (Private collection; exh. Barber Institute of Fine Arts, Birmingham).
Attributed works:
43. Georgina Weldon with her dog, by John Brett. 1866. Pencil, 26 by 17.8 cm. (Private collection; exh. Barber Institute of Fine Arts, Birmingham).
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