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18 articles
Article
British press reaction to the London exhibitions of David, Lefèvre, Wicar and Lethière
05/2025 | 1466 | 167
Pages: 450–59
related names
Author:
Wine, Humphrey (Wine, Humphrey)
Subjects
dates:
Illustrations
Attributed works:
1. Emperor Napoleon in his study at the Tuileries, by Jacques-Louis David. 1812. Oil on canvas, 205 by 127.5 cm. (Musée national du château, Fontainebleau; Bridgeman Images).
Attributed works:
10. The raft of the Medusa, by Théodore Géricault. 1819. Oil on canvas, 491 by 716 cm. (Musée du Louvre, Paris; Bridgeman Images).
Attributed works:
11. Homer singing his Iliad at the gates of Athens, by Guillaume-Guillon Lethière. 1814. Oil on canvas, 198.1 by 246.4 cm. (Nottingham City Museums and Galleries; Bridgeman Images).
Attributed works:
2. Napoleon crossing the Alps, by the studio of Jacques-Louis David. 1803. Oil on canvas, 268.5 by 224.3 cm. (Château de Versailles; Bridgeman Images).
Attributed works:
3. Portrait of Pope Pius VII and Cardinal Caprara, by Jacques-Louis David. c.1805. Oil on canvas, 138.1 by 96 cm. (Philadelphia Museum of Art; Bridgeman Images).
Attributed works:
4. A full-length portrait of Napoleon after his return from Moscow, by Thomas Goff Lupton after George Clint. 1819. Engraving, 44.9 by 31.4 cm. (British Museum, London).
Attributed works:
5. Bonaparte and General Berthier at the Battle of Marengo, by Joseph Boze, with Robert Lefevre and Carle Vernet. 1800–01. Oil on canvas, 289 by 232 cm. (Musée de l’Armée, Paris; Bridgeman Images).
Attributed works:
6. Consecration of the Emperor Napoleon and the coronation of Empress Josephine on December 2, 1804, by Jacques-Louis David. 1808–22. Oil on canvas, 610 by 971 cm. (Chateau de Versailles).
Attributed works:
6. Consecration of the Emperor Napoleon and the coronation of Empress Josephine on December 2, 1804, by Jacques-Louis David. 1808–22. Oil on canvas, 610 by 971 cm. (Chateau de Versailles).
Attributed works:
7. Resurrection of the son of the widow of Naim, by Jean-Baptiste Wicar. 1816. Oil on canvas, 5.7 by 9 m. (Palais des Beaux-Arts de Lille).
Attributed works:
8. Brutus condemning his sons to death, by Guillaume Guillon-Lethière. 1811. Oil on canvas, 59.4 cm by 99.1 cm. (Sterling and Francine Clark Art Institute, Williamstown MA).
Attributed works:
9. The death of Virginia, by Guillaume-Guillon Lethière. 1828. Oil on canvas, 4.58 by 7.88 m. (Musée du Louvre, Paris; Bridgeman Images).
Article
The elder sisters of the ‘The Campbell sisters’: William Gordon Cumming’s patronage of Lorenzo Bartolini
02/2025 | 1463 | 167
Pages: 126–153
related names
Author:
Stevens, Timothy (Stevens, Timothy)
Author:
Wood, Lucy (Wood, Lucy)
Subjects
dates:
Illustrations
Attributed works:
1. The Campbell sisters dancing a waltz, by Lorenzo Bartolini. Here dated 1817–18. Marble, height 170 cm; height of plinth, 92 cm. (National Galleries of Scotland, Edinburgh, and the Victoria and Albert Museum, London).
Attributed works:
10. Eliza Maria, Lady Gordon Cumming, by George Sanders. 1838. Photogravure by Emery Walker, after a painting of 1838. (From C.F. Gordon Cumming: Memories, Edinburgh 1904, facing p.38).
Attributed works:
11. Lady Charlotte Campbell and John Campbell of Islay, thought to be by George Sanders. c.1796. Oil on board(?); each 13.6 by 10.5 cm. (framed individually and mounted together on velvet in a gilded wood frame, not shown). (Private collection; photograph Marc Hindley).
Attributed works:
12. Altyre House, Morayshire, by Constance Frederica Gordon Cumming. After a drawing of before 1854. (From C.F. Gordon Cumming: Memories, Edinburgh 1904, facing p.52).
Attributed works:
13. Sofa table, by George Bullock. c.1815–18. Veneered in rosewood with brass marquetry and lacquered brass mounts, 70.6 by 172.5 by 91.3 cm. (Walker Art Gallery, National Museums Liverpool).
Attributed works:
14. Model for The Campbell sisters dancing a waltz, by Lorenzo Bartolini. Plaster, height 167 cm. (Gipsoteca Bartolini, Accademia, Florence; Catalogo generale dei Beni Culturali, no.0900337755).
Attributed works:
16. Bust of a man (left), here identified as Walter Frederick Campbell, and bust of a woman (right), here identified as Lady Charlotte Campbell (later Bury), both by Lorenzo Bartolini. c.1817–18. Marble, height 74 cm. (left) and 82 cm. (right). (Present location unknown; photograph Christie’s, London).
Attributed works:
17. Model for the bust in Fig.16 (left), by Lorenzo Bartolini. Plaster, height 61 cm. (Gipsoteca Bartolini, Accademia, Florence; Catalogo generale dei Beni Culturali, no.0900382892).
Attributed works:
18. Model for the bust in Fig.16 (right), by Lorenzo Bartolini. Plaster, height 63 cm. (Gipsoteca Bartolini, Accademia, Florence; Catalogo generale dei Beni Culturali, no.0900382921, as ‘Marchioness of Londonderry’).
Attributed works:
19. Fig.16 (left) on its pedestal, supplied by Lorenzi Bartolini. Marble, pedestal height 107 cm. (Present location unknown; photograph Christie’s, London).
Attributed works:
2. Eliza Maria (née Campbell), Lady Gordon Cumming, by Lorenzo Bartolini. 1817–18. Marble, height with socle 81.5 cm. (Private collection; photograph Cara Willoughby).
Attributed works:
20. Fig.2 on its pedestal, supplied by Lorenzi Bartolini. Marble, pedestal height 106 cm. (Private collection; photograph Cara Willoughby).
Attributed works:
21. Design for a vase and columnar pedestal, inscribed (top left) ‘15’, by Lorenzo Bartolini’s workshop. Pen and ink on paper, 26 by 18.4 cm. (Museo Civico, Prato, inv no.1035).
Attributed works:
22. Model for the bust of Eleanora Campbell (Fig.3), by Lorenzo Bartolini. 1817. Plaster, height 64 cm. (Gipsoteca Bartolini, Accademia, Florence; Catalogo generale dei Beni Culturali, no.0900382923).
Attributed works:
23. Model for a bust, probably Eliza Gordon Cumming (Fig.2), by Lorenzo Bartolini. 1817. Plaster, height 46.5 cm. (Gipsoteca Bartolini, Accademia, Florence; Catalogo generale dei Beni Culturali, no.0900750676).
Attributed works:
24. Model for a statue of a child, possibly Penrose Gordon Cumming, by Lorenzo Bartolini. 1818. Plaster, height 101 cm. (Gipsoteca Bartolini, Accademia, Florence; Catalogo generale dei Beni Culturali, no.0900337775).
Attributed works:
26. Model for a bust of Madame de Staël, by Lorenzo Bartolini. 1816. Plaster, height 78 cm. (Gipsoteca Bartolini, Accademia, Florence; Catalogo generale dei Beni Culturali, no.0900742880).
Attributed works:
28. Model for a statue of Venus, formerly with a figure of Cupid, by Lorenzo Bartolini. c.1817. Plaster, height 158 cm. (Gipsoteca Bartolini, Accademia, Florence; Catalogo generale dei Beni Culturali, no.0900337748).
Attributed works:
29. Lorenzo Bartolini’s receipt for 484 francesconi for the items in Sir William Gordon Cumming’s third commission, dated 12th June 1818 and annotated by Sir William with individual prices and the total, including his second commission. (National Library of Scotland, Dep.175, Box 128; see Appendix 3.4).
Attributed works:
3. Eleanora Campbell (later Countess of Uxbridge), by Lorenzo Bartolini. 1817–18. Marble, height with socle 78 cm. (Private collection; photograph Cara Willoughby).
Attributed works:
4. Side view of Fig.2. (Photograph Cara Willoughby).
Attributed works:
5. Side view of Fig.3. (Photograph Cara Willoughby).
Attributed works:
6. Eliza Maria Campbell. c.1815. Possibly watercolour on ivory, 9 by 8 cm. (Private collection; photograph Marc Hindley).
Attributed works:
7. Eliza Maria, Lady Gordon Cumming, by Henry Raeburn. 1817. Oil on canvas, 76.2 by 63.5 cm. (Present location unknown; courtesy of the Witt Library, Courtauld Institute of Art, London).
Attributed works:
8. Charles Cumming (later Cumming Bruce) in Turkish dress, by Andrew Geddes. 1817. Oil on panel, 64.1 by 53.3 cm. (Yale Center for British Art, New Haven).
Attributed works:
9. Sir William Gordon Cumming, by George Sanders. 1838. Photogravure by Emery Walker, after a painting of 1838. (From C.F. Gordon Cumming: Memories, Edinburgh 1904, facing p.136).
Attributed works:
Opposite 15. Detail of Fig.1.
Western art unattributed:
27. Venus and Cupid. Roman, partly mid-2nd century CE, restored 1584. Marble, height 182 cm. (Gallerie degli Uffizi, Florence; photograph Gabinetto Fotograficao).
Article
Piranesi, the Stowe Vase and the silver Buckingham Vases
06/2020 | 1407 | 162
Pages: 502-511
related names
Author:
Chambers Mills, Rosie (Chambers Mills, Rosie)
Subjects
collectors and dealers:
dates:
museums and institutions:
styles:
subjects:
Illustrations
Attributed works:
1. Buckingham Vase, marked by Paul Storr, London. 1811–12. Silver, 40 by 35.6 by 26.7 cm. Los Angeles County Museum of Art, purchased with funds provided by The Rosalinde and Arthur Gilbert Foundation, the family of Sir Arthur Gilbert, and Marilyn B. and Calvin B. Gross. (Photograph   Museum Associates/LACMA).
Attributed works:
10. Study of an altar, by Bernardino Ciferri. c.1710–30. Red chalk on paper, 30.3 by 28 cm. (British Museum, London).
Attributed works:
11. Her Majesty’s departure from Stowe House, from the Illustrated London News, 25th January 1845. Engraving. (Bridgeman Images).
Attributed works:
12. Marble vase from Hadrian’s Villa, by Henry Moses. Engraving. (Repr. Vorbilder für Fabrikanten und Handwerker, Berlin 1830, part 1, section 2, pl.23; Kupferstichkabinett, Staatliche Museen zu Berlin).
Attributed works:
13. Detail of the Innovo Vase, by Michael Eden. 2016. Coated nylon. 50.2 by 40.6 by 29.2 cm. Los Angeles County Museum of Art, gift of Viveca Paulin-Ferrell and Will Ferrell, Alice and Nahum Lainer, Shannon and Peter Loughrey, and Heidi Wettenhall and Said Saffari through the 2016 Decorative Arts and Design Acquisitions Committee (DA ). (  Michael Eden; photograph   Museum Associates/LACMA.
Attributed works:
2. The Stowe Vase (front), from Vasi, candelabri [. . .], by Giovanni Battista Piranesi, Rome 1778. Etching on paper, plate 57 by 37.5 cm.
Attributed works:
3. The Stowe Vase (side), from Vasi, candelabri [. . .], by Giovanni Battista Piranesi, Rome 1778. Etching on paper, plate 57 by 37 cm.
Attributed works:
4. The Stowe Vase. Rome, 2nd century BC. Marble, 119.4 by 101.6 by 76.2 cm. Los Angeles County Museum of Art, William Randolph Hearst Collection. (Photograph   Museum Associates/LACMA).
Attributed works:
5. Doncaster Race Cup, marked by Rebecca Emes & Edward Barnard. 1828. Silver with gilding, height 39.4 cm. (Temple Newsam House, Leeds Museums and Galleries).
Attributed works:
6. Detail of a design for a sauce tureen, from an album, ‘Designs for plate etc. by John Flaxman’, by Edward Hodges Baily, fol.16r. c.1820. Pencil and ink on paper, 51 by 31.4 cm. (Victoria and Albert Museum, London).
Attributed works:
7. Pair of wine coolers, marked by Benjamin Smith, London. 1814–15. Silver with gilding, each 36.7 by 34.3 by 24.8 cm. (Virginia Museum of Fine Arts, Richmond, gift of Rita R. Gans; photograph Katherine Wetzel).
Attributed works:
8. Wine cooler (one of four), marked by Barnard & Sons, London. 1828–29. Silver with gilding, 36.2 by 30.5 by 22.2 cm. (Minneapolis Institute of Art, Minneapolis).
Attributed works:
9. Wine cooler (one of a pair), marked by Barnard & Sons, London. torted the profile of the Stowe Vase to match the other vase, 1831–32. Silver with gilding, height 37 cm. (British Museum, London).
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).
Book Review
Painting in Latin America, 1550–1820: From Conquest to Independence, L.E. Alcalá and J. Brown, eds.
12/2015 | 1353 | 157
Pages: 856
related names
Reviewer:
Cruz González, Cristina (Cruz González, Cristina)
Subjects
Exhibition Review
The Congress of Vienna
06/2015 | 1347 | 157
Pages: 436-439
related names
Reviewer:
Clegg, Elizabeth (Clegg, Elizabeth)
Subjects
dates:
places:
Illustrations
Attributed works:
65. Clemens, Prince Metternich, by Thomas Lawrence (Fürst von Metternich'sche Domäne Schloss Johannisberg-Rheingau; exh. Österreichische Galerie Belvedere, Vienna)
Attributed works:
66. Masked ball at the Imperial Winter Riding School, Vienna, on the evening of 9th October 1814, by Johann Nepomuk Höchle (Österreichische Nationalbibliothek, Vienna; exh. Österreichische Galerie Belvedere, Vienna)
Article
The architect and the philhellene: newly discovered designs by John Nash for Frederick North’s London house
07/2014 | 1336 | 156
Pages: 445-451
related names
Author:
Bradney, Jane (Bradney, Jane)
Author:
Hetherington, Paul (Hetherington, Paul; Hetherington, P. B.; H., P.; Hetherington, P.)
Subjects
dates:
museums and institutions:
Illustrations
Attributed works:
33. Projected plan for southern end of 'The new street' opposite Carlton House, now Waterloo Place, by John Nash (British Library, London)
Attributed works:
34. Design for façade with two-storey temple front for Frederick North's house, by John Nash (British Library, London)
Attributed works:
35. Design for façade with single-storey temple front for Frederick North's house, by John Nash (British Library, London)
Attributed works:
36. Ground plan for Frederick North's house and conservatory, by John Nash (British Library, London)
Attributed works:
37. Plan of first floor of Frederick North's house and conservatory, by John Nash (British Library, London)
Attributed works:
38. Waterloo Place, looking towards Regent Street, from a drawing by Thomas H. Shepherd (From Metropolitan improvements; or London in the nineteenth century, London n.d.)
Article
Canova as hairdresser
01/2014 | 1330 | 156
Pages: 26-28
related names
Author:
Ferando, Christina (Ferando, Christina)
Subjects
artists:
dates:
places:
subjects:
Illustrations
Attributed works:
36. Antonio Canova lays the cornerstone for the Tempio in Possagno, by Johann Anton Pock. 1819. Canvas, 35 by 47 cm. (Museo Glauco Lombardi, Parma).
Article
A newly discovered portrait of Napoleon by Jacques-Louis David
10/2013 | 1327 | 155
Pages: 687-692
related names
Author:
Lee, Simon (Lee, Simon)
Subjects
dates:
subjects:
subjects:
Illustrations
Attributed works:
41. The Emperor Napoleon in his study at the Tuileries, by Jacques-Louis David (National Gallery of Art, Washington)
Attributed works:
42. S.M. le Roi de Rome, En habit de garde nationale - presenté au peuple à une fenêtre de son appartement [au] château des Tuileries, by Jean-Baptiste Gautier (Bibliothèque Nationale, Paris)
Attributed works:
43. Napoleon in the uniform of the National Guard, by Jacques-Louis David (Private collection, United States; photograph courtesy of Collins Fine Art Ltd, New York)
Attributed works:
44. Detail of Fig. 43
Attributed works:
45. Detail of Fig. 43
Attributed works:
46. Detail of Fig. 41
Attributed works:
47. Napoleon, by Georges Rouget (Private collection)
Attributed works:
48. Napoleon Le Grand, D'après le Portrait en pied de S.M. l'Empereur et Roi. Fait par M. David son premier Peintre, drawn by David's pupil Eugène Bourgeois, and engraved under David's supervision by Noel Bertrand (Musée de l'Armée, Paris)
Western art unattributed:
49. Napoleon Le Grand, D'après le Portrait en pied de S.M. l'Empereur et Roi. Fait par M. David son premier Peintre. Anonymous (Private collection)
Article
‘Ecorché’ drawings by Edwin Landseer
05/2012 | 1310 | 154
Pages: 337-344
related names
Author:
Owens, Susan (Owens, Susan)
Subjects
artists:
dates:
Illustrations
Attributed works:
34. Study of an écorché greyhound, lateral view, by Edwin Landseer. c.1817–21. Black and red chalk and graphite heightened with white chalk on buff-coloured paper, 38.9 by 60.4 cm. (Victoria and Albert Museum, London).
Attributed works:
35. Study of an écorché greyhound, lateral view, by Edwin Landseer. c.1817–21. Black and red chalk and graphite heightened with white chalk on buff-coloured paper, 48.6 by 67.3 cm. (Private collection).
Attributed works:
36. Study of an écorché greyhound supported by planks, by Edwin Landseer. ­c.1817–21. Black, red and white chalk on brown paper, 30.7 by 49 cm. (Victoria and Albert Museum, London).
Attributed works:
37. Plate IV: Muscles, by John Bell. Illustration in J. Bell: Engravings, Explaining the Anatomy of the Bones, Muscles and Joints, Edinburgh 1794. (Wellcome Library, London).
Attributed works:
38. Finished study for the second anatomical table for ‘The Anatomy of the Horse’, by George Stubbs. c.1756–58. Pencil and black chalk, 36.5 by 49.5 cm. (Royal Academy of Arts, London).
Attributed works:
39. Study of an écorché horse’s head, by Edwin Landseer. 1817. Watercolour over graphite heightened with touches of bodycolour on grey paper, 30.5 by 40 cm. (Private collection).
Attributed works:
40. Study of an écorché dog’s head, by Edwin Landseer. 1821. Black and red chalk and graphite heightened with white chalk on buff-coloured paper, 29.7 by 44.2 cm. (Victoria and Albert Museum, London).
Attributed works:
41. Study of an écorché horse’s head, seen from the side, by Edwin Landseer. c.1817–21. Black and red chalk heightened with white chalk on buff-coloured paper, 31.5 by 51.2 cm. (Private collection).
Attributed works:
42. Study of an écorché horse’s head, seen from the side, by Benjamin Robert Haydon. 1806. Black, red and white chalk on brown paper, 30.5 by 47 cm. (Royal Academy of Arts, London).
Attributed works:
43. Study of the head and shoulders of an écorché wild cat, by Edwin Landseer. c.1817–21. Black, red and white chalk and graphite on buff-coloured paper, 37.5 by 53.4 cm. (Victoria and Albert Museum, London).
Attributed works:
44. Drawing of a wolf’s head, by John Frederick Lewis. c.1821–22. Black, red and white chalk on brown paper, 33.7 by 27.2 cm. (British Museum, London).
Attributed works:
45. Study of an écorché horse’s head, seen from the front (a sketch of a lion and the torso of a youth in graphite on the verso), by Edwin Landseer. c.1817–21. Black, red and white chalk on buff-coloured paper, 50 by 31 cm. (Snite Museum of Art, University of Notre Dame, Indiana).
Attributed works:
46. Study of an écorché horse’s head, seen from the front, here attributed to Edwin Landseer. c.1817–21. Black, red and white chalk over graphite on grey paper, 56.8 by 38.7 cm. (With W/S Fine Art Ltd., London).
Attributed works:
47. Study of an écorché greyhound with enlarged detail of a paw, by Edwin Landseer. c.1817–21. Black, red and white chalk and graphite on buff-coloured paper, 44.2 by 58.8 cm. (Victoria and Albert Museum, London).
Attributed works:
48. Three studies of the hind leg of an écorché dog, here attributed to Edwin Landseer. c.1817–21. Black, red and white chalk on grey paper, 37.8 by 54.3 cm. (With W/S Fine Art Ltd., London).
Attributed works:
49. Study of an écorché greyhound’s head, by Edwin Landseer. c.1817–21. Black, red and white chalk on buff-coloured paper, 26.6 by 33 cm. (Victoria and Albert Museum, London).
Attributed works:
50. Study of an écorché wild cat, lateral view, by Edwin Landseer. 1817. Black, red and white chalk and graphite on buff-coloured paper, 30.2 by 48.8 cm. (Victoria and Albert Museum, London).
Attributed works:
51. Study of the foreleg of an écorché dog, by Edwin Landseer. 1821. Black, red and white chalk and graphite on buff-coloured paper, 29 by 45 cm. (Victoria and Albert Museum, London).
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