Acquisitions: Photographs (original) (raw)
Related papers
Two Seascapes from the Collection of Louis-Michel Van Loo
A catalogue copy of the estate sale of Louis-Michel Van Loo (Paris, December 1772) contains pencil sketches by Gabriel de Saint-Aubin, which, along with other relevant data, allow the identification of many of the artworks. The present paper discusses two seascapes, one by Claude Lorrain, the other by Joseph Vernet, which hung as pendants in Van Loo’s residence, with paintings at the Winter Palace in St. Petersburg and at the Fitzwilliam Museum in Cambridge respectively.
Print Quarterly, 2022
There is little evidence of interest or awareness of British printmaking in Italy before the last quarter of the eighteenth century. In those years, however, things bega n to change with remarkable speed. The purpose of this article is to drawn attention to five importers of British prints-Molini in Florence, Micali in Livorno (Leghorn), Montagnani in Rome, and Viero and Wagner, both in Venice-ali of whom produced catalogues of their imported stock within the five years between 1785 and 1789. When considered as a group, these catalogues give evidence of how quickly dealers were able to import newly published stock and how varied tastes were in these years. The most traditional of the catalogues is a manuscript list of Giuseppe Molini (1 733-1808) in Florence (fig. 285)" Molini was one of four sons of Romualdo Molini, who died in Florence in 1759, ali of whom became major figures in the book trade as publishers and dealers. 2 Pietro and Jacopo Giovanni set up in London, Giovant:lÌ' Claudio moved to Paris where he gained a forrnidable reputation as an antiquarian bookseller, and Giuseppe (father of a more famous son of the same name who later worked in Pisa) took over the bookshop in Florence which he turned into a major operation. The catalogue is not dated, and the latest publication date that has been noted for a print listed in it-JohnJones's mezzotint of Lunardi's second balloon ascent-is June 1785.3 The list, which is in the hand of a clerk, covers 24 pages and lists 593 tides, most of them single prints, but with some pairs and sets. The prints are a rnixture published in London or in Paris. Ali are eighteenth century, but far from all are contemporary works; there are, for example, prints after Watteau from the early eighteenth century as well as prints after Fragonard. The catalogue falls into three sections: 78 prints by Bartolozzi, 104 portraits, and 411 'stampe diverse'. These last are a rnixture of prints after old masters, landscapes, classical and modern history, and allegory. The list is arranged in four columns, with a number, tide, painter, engraver, and price in I. Library or the Department or Prints and Drawings, British Museum, pressmark M .2. 1. It is bound in a contemporary binding with ot her cata logues a nd announcements or prints. 2. P. Scapecchi, entry on Giuseppe MoLini the Younger (1772
Ship engravings at Kilepwa, Mida Creek, Kenya
Azania: Archaeological Research in Africa, 2017
With the archaeological survey of shipwrecks on the East African coast in its infancy, ship engravings are a source for maritime information for the medieval period. This paper reports on the discovery of engravings incised into the plaster of the internal wall of a fifteenth-century house on the island of Kilepwa at Mida Creek, Kenya. The engravings show Indian Ocean vessels resembling mitepe at rest and at sail, including mast, sail, prow and planking details. The function of the building is discussed and the evidence from the engravings considered in terms of boat technology, navigation and local belief. The engravings are considered to have been drawn by people involved with the oceanic economy at Kilepwa, a convenient port for large vessels close to the main channel. Finally, possible purposes of the drawings are discussed, including that of a votive or charm function. RESUME L'étude archéologique des épaves sur la côte de l'Afrique de l'Est étant à ses débuts, les gravures de navires offrent une source d'informations maritimes pour la période médiévale. Cet article rend compte de la découverte de gravures incisées dans le plâtre de la paroi interne d'une maison du quinzième siècle sur l'île de Kilepwa à Mida Creek, au Kenya. Les gravures montrent des navires de l'océan Indien ressemblant à des mitepe et au repos et avec les voiles déployées, montrant le mât, la voile, la proue et les détails du bordage. La fonction du bâtiment est considérée et les données fournies par les gravures sont examinées en termes de la technologie du navire, la navigation, et les croyances locales. Les gravures ont probablement été effectuées par des personnes qui étaient impliquées dans l'économie océanique à Kilepwa, un port commode pour les grands navires à proximité du canal principal. Enfin, les fonctions possibles des dessins sont considérées, y compris une possible fonction votive ou en tant que charme.
A seventeenth-century house at Ferryland, Newfoundland (CgAf-2, area B)
1999
has been reprociJcedfrom the microfilm master. UMI films the text directly from the original or copy submitted. Thus. some thesis and dissertation copies are in typewrrterface, while others may be from any type of computer printer. The quality of this rwproductlon Is dependent upon the quaflty of the copy submitted. Brokenor indistinctprint. ooIoredor poor quality illustrations and photographs , print tMeedthrough, substandard margins. and improper alignment can adverselyaffect reproduction. In the unlikely eY~1 that the 8IJthor did not send UMI a complete manusa;pt and there are missing pages, these 'Nil! be noted. Also.' unauthOrized copyright materialhad to be removed. a note will indicate !he deletion. Oversize materials (e.g.. maps, drawings, charts) are reprodueecI by sectioning the anginal , beginning at the upper Iefl~comer and continuing from left to right in equal sections with small ovenaps. PhotographS induded in the original manusaipl have been reproduced xerographically in this copy. Higher quality 6-x 9" black and ..nile phOtographicprints are avaMabilfor any pI'lotograpt'lsor illustrationsappearing in this copy for an additional charge. Contad UMIdirectly to Ol'det.
Panel 1 - Museology and the Sea Known as the most important UK museum for maritime art, where histories of exploration and exploitation are disclosed, the National Maritime Museum Greenwich was founded thanks to Sir James Caird’s race against time to acquire the Macpherson collection of maritime and naval prints before it was sold abroad. A famous yachtsman, Arthur G.H. Macpherson (1874-1942) had gathered around 12,000 prints depicting ships of all kinds, seaport views, naval battles, literary adventures at sea and portraits of admirals and of national heroes. Initially housed in the National Maritime Museum’s Print Room, a space which no longer exists, the Macpherson prints are now stored in the Museum’s Caird Library. Drawing on previously unpublished archive records and on provenance research conducted during my internship at the National Maritime Museum Greenwich (2017), this paper approaches the little-known Macpherson maritime prints from the collecting and museological perspective. The paper looks at the formation and content of the Macpherson collection, and at the display solutions adopted at the Museum - since its opening in 1937 - to present prints which, just like an illustrated book, documented Britain's maritime history. The main focus is laid on the shifting values both of single sheets (for instance Theodoor de Bry’s 16th-century prints, whose meaning was altered by cutting them out of books) and of the collection as a whole. In conclusion, the paper shows how these maritime prints, initially gathered for private amusement, contributed to shape the national identity discourse in the 1930s.