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10 articles
Exhibition Review
Entangled Pasts, 1768–Now: Art, Colonialism and Change
04/2024 | 1453 | 166
Pages: 411–414
related names
Reviewer:
Sykes, Rebecca (Sykes, Rebecca)
Subjects
dates:
Reviewed Items
subjects:
Entangled Pasts, 1768–Now: Art, Colonialism and Change Royal Academy of Arts, London 3rd February–28th April 2024 | :
Illustrations
Attributed works:
23. George, Prince of Wales, later King George IV (1762– 1830), by Joshua Reynolds. c.1787. Oil on canvas, 234 by 147 cm. (Collection of the Duke of Norfolk, Arundel Castle; exh. Royal Academy of Arts, London).
Attributed works:
24. Whale falls, by Ellen Gallagher. 2017. Oil, acrylic, ink and paper on canvas, 188 by 202 cm. (Courtesy the artist and Hauser and Wirth; Ekard Collection; exh. Royal Academy of Arts, London).
Attributed works:
25. Naming the money, by Lubaina Himid. 2004. Mixed-media installation with sound, dimensions variable. (Courtesy the artist and Hollybush Gardens, London; International Slavery Museum, National Museums Liverpool; photograph Stuart Whipps; exh. Royal Academy of Arts, London).
Article
The design of Cape Coast Castle and Dixcove Fort, Ghana
04/2023 | 1441 | 165
Pages: 378-393
related names
Author:
Bailey, Gauvin Alexander (Bailey, Gauvin Alexander)
Subjects
dates:
places:
Illustrations
Attributed works:
1. Detail of Fig.4, showing the double staircase, St George Castle, Elmina, Ghana. (Photograph the author).
Attributed works:
10. Gate, Fort St Anthony, Axim, Ghana. 1515, present structure before 1637. (Photograph the author).
Attributed works:
11. Bell gable in Western Spur, Cape Coast Castle, Ghana. 1771 or 1778. (Photograph the author).
Attributed works:
12. Northern Wing, Cape Coast Castle, Ghana, here attributed to Nicholas Lomax and Robert Spooner. 1773–78 and 1822–24. (Photograph the author).
Attributed works:
13. Part of the Northern Wing intended for a chapel, Cape Coast Castle, Ghana, here attributed to Nicholas Lomax and Robert Spooner. 1773–78 and 1822–24. (Photograph the author).
Attributed works:
14. West terrace, Bedford Square, London, by Thomas Leverton and others. 1775–83. (Photograph the author).
Attributed works:
15. Plan and elevation of a Country House in the Modern Taste. Engraving. (From J. Crunden: Convenient and Ornamental Architecture, London 1767; Getty Research Institute, Los Angeles).
Attributed works:
16. The Five Orders of Architecture. (From R. Dodsley: The Preceptor: Containing a General Course of Education, London 1769, I, between pp.176 and 177; Boston Public Library).
Attributed works:
17. Detail of Ground plan of Dix Cove Fort, by Justly Watson. 1756. Ink and coloured wash on paper, 29 by 47 cm. (National Archives, London).
Attributed works:
18. Plan of the Fort at Dix-Cove, by Thomas Pye. 1749. Ink and coloured wash on paper. (National Archives, London).
Attributed works:
19. Spur court, Dixcove Fort, Ghana. 1747–50. (Photograph the author).
Attributed works:
2. West tower, St George Castle, Elmina, Ghana. 1482. (Photograph the author).
Attributed works:
20. Detail of a bay on the northern range, Spur Court, Dixcove Fort, Ghana. (Photograph the author).
Attributed works:
21. Tuscan Order, by John Sturt. Engraving. (From S. Le Clerc: A Treatise of Architecture with Remarks and Observations, London 1732; Getty Research Institute, Los Angeles).
Attributed works:
22. Courtyard, Maison Pépin, Gorée, Senegal. 1780–84. (Photograph the author).
Attributed works:
3. The main gate, Christiansborg Castle, Osu (Accra), Ghana. 1790. (Photograph the author).
Attributed works:
4. The main courtyard and double staircase, St George Castle, Elmina, Ghana. Before 1665. (Photograph the author).
Attributed works:
5. View of Fort Royale du Senegal from the Coast of [. . .] Guinea. 1694. Ink and coloured wash on paper. (Archives Nationales d’Outre-Mer, Aix-en-Provence).
Attributed works:
6. View of Fort Christiansborg [Christiansborg Castle, Osu] from the Shore. March 1764. Ink and coloured wash on paper. (Danish National Archives).
Attributed works:
7. Ground plan of Cape Coast Castle, by Justly Watson. 1756. Ink and coloured wash on paper, 47 by 69 cm. (National Archives, London).
Attributed works:
8. Western block, Cape Coast Castle, Ghana. 1768. (Photograph the author).
Attributed works:
9. Interior of main entrance, Fort St Sebastian, Shama, Ghana. 1520–26, present structure 1640–42. (Photograph the author).
Editorial
The Rustat Memorial
05/2022 | 1430 | 164
Pages: 443
Subjects
museums and institutions:
patrons:
subjects:
Exhibition Review
New galleries of Dutch and Flemish art
02/2022 | 1427 | 164
Pages: 195-198
related names
Reviewer:
Gaskell, Ivan (Gaskell, Ivan; G., I.)
Subjects
dates:
Reviewed Items
subjects:
New galleries of Dutch and Flemish art Museum of Fine Arts, Boston from 20th November 2021 | :
Illustrations
Attributed works:
14. Kalis Boud, by Adriaen van de Venne. c.1635. Oil on canvas, 39.4 by 26 cm. (Museum of Fine Arts, Boston).
Attributed works:
15. Model of the Dutch East India Company ship Valkenisse. 1717. Wood with hemp and cotton rigging, 48.3 by 35.6 by 172.7 cm. (Museum of Fine Arts, Boston).
Attributed works:
16. Still life with various vessels on a table, by Osias Beert. c.1610. Oil on canvas, 72.4 by 108.6 cm. (Museum of Fine Arts, Boston).
Article
Henry Cheere’s statue of Christopher Codrington: conventions and setting
11/2021 | 1424 | 163
Pages: 1038-1045
related names
Author:
Baker, Malcolm (Baker, Malcolm)
Subjects
dates:
museums and institutions:
Illustrations
Attributed works:
1. The library, All Souls College, Oxford. (Photograph Warden and Fellows, All Souls College, Oxford).
Attributed works:
2. Robert Bertie, 1st Duke of Ancaster, by Henry Cheere and Henry Scheemakers. 1728. Marble. (St Michael, Edenham, Lincolnshire; photograph Courtauld Institute of Art, London; Bridgeman Images).
Attributed works:
3. William III, by Henry Cheere. 1733–34. Marble, height 175 cm. (Bank of England, London; photograph Courtauld Institute of Art, London; Bridgeman Images).
Attributed works:
4. Christopher Codrington, by James Thornhill. 1702. Oil on canvas, 237.5 by 151.1 cm. (All Souls College, Oxford; photograph Warden and Fellows, All Souls College, Oxford).
Attributed works:
5. Christopher Codrington, by Henry Cheere. 1732–34. Marble. (Library, All Souls College, Oxford; photograph Warden and Fellows, All Souls College, Oxford).
Attributed works:
6. The library of All Souls College, by Thomas Malton. 1802. Etching and aquatint, 42 by 32 cm. (Photograph Warden and Fellows, All Souls College, Oxford).
Attributed works:
7. The North Quadrangle, All Souls College, Oxford, looking north to the original main door of the library. (Photograph Warden and Fellows, All Souls College, Oxford).
Attributed works:
8. Plan of the North Quadrangle, All Souls College, Oxford, based on Nicholas Hawksmoor’s 1715 plan. (From H. Colvin and J.S.G. Simmons: All Souls: An Oxford College and its Buildings, Oxford 1989).
Book Review
Witnessing Slavery: Art and Travel in the Age of Abolition. By Sarah Thomas
02/2020 | 1403 | 162
Pages: 172-174
related names
Reviewer:
Arabindan Kesson, Anna (Arabindan Kesson, Anna)
Subjects
Reviewed Items
subjects:
Witnessing Slavery: Art and Travel in the Age of Abolition By Sarah Thomas. 304 pp. incl. 168 col. + b. & w. ills. (Yale University Press, New Haven and London, and Paul Mellon Centre for Studies in British Art, London 2019), £45. ISBN 978–1–913107–05–5. | :
Illustrations
Attributed works:
6. Execrable human traffick, or the affectionate slaves, by George Morland. c.1788, after the original of 1788. Oil on canvas, 87.2 by 121.4 cm. (National Museum of African American History and Culture, Washington).
Exhibition Review
Charles White: A Retrospective. Museum of Modern Art, New York
11/2018 | 1388 | 160
Pages: 968-970
related names
Reviewer:
Hylton, Richard (Hylton, Richard)
Subjects
dates:
Illustrations
Attributed works:
22. Paul Robeson (Study for Contribution of the negro to democracy in America), by Charles White. 1942–43. Carbon pencil over charcoal, with additions and corrections in white gouache, border in Wolff crayon, on cream drawing board, 63.2 by 48.4 cm. (Princeton University Art Museum, Princeton NJ; © The Charles White Archives; exh. Museum of Modern Art, New York).
Attributed works:
23. Awaken from the unknowing, by Charles White. 1961. Compressed brown and grey vine charcoal with scratching out, blending and erasing on cold-pressed illustration board, 78.7 by 142.2 cm. (Blanton Museum of Art, The University of Texas at Austin; © The Charles White Archives; exh. Museum of Modern Art, New York).
Attributed works:
24. Wanted poster series #17, by Charles White. 1971. Oil wash and pencil on poster board, 152.4 by 76.2 cm. (Flint Institute of Arts, Flint MI; © The Charles White Archives; exh. Museum of Modern Art, New York).
Publication Received
Representing Slavery: Art, Artefacts and Archives in the Collections of the National Maritime Museum
04/2008 | 1261 | 150
Pages: 268
related names
Reviewer:
Brockington, Grace (Brockington, Grace)
Subjects
print:
Reviewed Items
subjects:
Representing Slavery: Art, Artefacts and Archives in the Collections of the National Maritime Museum | editor: Blyth, Robert J. , editor: Hamilton, Douglas
Exhibition Review
Art and Emancipation in Jamaica. New Haven and Kingston
02/2008 | 1259 | 150
Pages: 134-135
related names
Reviewer:
Brockington, Grace (Brockington, Grace)
Subjects
dates:
subjects:
subjects:
Reviewed Items
subjects:
Art and Emancipation in Jamaica: Isaac Mendes Belisario and His Worlds | institution: National Gallery of Jamaica , institution: Yale Center for British Art
Illustrations
Attributed works:
70. ‘Jaw-Bone, or House John Canoe’, by Isaac Mendes Belisario. From Sketches of Character, In Illustration of the Habits, Occupations, and Costume of the Negro Population in the Island of Jamaica. Kingston [Jamaica], published by the artist, 1837. Hand-coloured lithograph, 37.5 by 27.6 cm. (Yale Center for British Art, New Haven)
Attributed works:
71. The Attack of the Rebels on Montpelier Old Works Estate in, the Parish of St James’s, the Property of Lord Seaford, by Adolphe Duperly. 1833. Lithograph with watercolour, 57.6 by 49.5 cm. (Christopher Issa Collection, Jamaica; exh. Yale Center for British Art, New Haven)
Article
After the 'Raft of the Medusa': Gericault's Later Projects
08/1986 | 1001 | 128
Pages: 563-569+571
related names
Author:
Sells, Christopher (Sells, Christopher)
Subjects
dates:
places:
subjects:
subjects:
Illustrations
Attributed works:
16. The African Slave-Trade, by Théodore Gericault. 1819 or 1820 (?). Black and Red Chalk, 30.6 by 48.6 cm. (Paris, Ecole nationale supérieure des Beaux-Arts).
Attributed works:
17. The Opening of the Doors of the Spanish Inquisition, by Théodore Gericault. Here Dated to 1820. Black and Red Chalk, 41.9 by 58.1 cm. (Paris, Private Collection).
Attributed works:
18. The Embarkation of the Parganiots, by Apollodore Callet. 307 by 404 cm. (Musée des Beaux-Arts, Rouen).
Attributed works:
19. Parga, by James and George Foggo. Undated Lithograph. 41 by 62.5 cm. (British Museum).
Attributed works:
20. Here Identified as The Barcelona Plague, by Théodore Gericault. 38 by 46.5 cm. (Virginia Museum of Fine Arts, Richmond, Va.).